Honeyblood
Glasgow two piece Honeyblood are poised to release their second album Babes Never Die and they’re heading out on their biggest headline tour to date, calling in at the Arts Centre on their way. We’re expecting great things from their new album as the debut got near perfect reviews from the likes of the Uncut and Mojo. Supported by the amazing PINS who played Norwich Sound & Vision last year and sponsored by DIY Magazine, this will be a show to remember. I spoke to lead singer and founding member Stina about their intense, catchy doom/disco/punk/folk tunes, and how it felt to support the Foo Fighters last year.
You used to be in a band called Boycotts, but how did your love for music start?
My dad plays guitar and it’s always been very important in my family. My mum’s a big music lover as well and they listened to very different things that I was exposed to. There were always guitars in our house, that was the main thing, and I wasn’t forced to make any music at all but it was always there. If I was inquisitive about something my dad would always give me a little lesson or sit me in front of the sound system and ask what I could hear in the songs, so I got really good at being able to pick out different instruments and train my ear. It wasn’t until I went to high school that I started investigating bands myself and getting into them. I was fortunate enough to have some really good music teachers that helped to put me on the path I’m on now.
Your music’s really strong, and reminds me of Belly or Breeders a bit, or Liz Phair. How did you come up with your own unique sound – did it take a long time to find your identity?
All those acts you’ve just mentioned are pretty much what I was into at school! There weren’t a lot of other people who were into girls screaming; I used to hang about with boys and they’d say “what are you listening to..that’s horrible!” I really identified with it though..I never had a sweet voice and I wasn’t good at guitar but I just wanted to play big chords and make a noise. That’s where my style came from. I tried the whole acoustic singer/songwriter thing for a while but it didin’t feel like it fitted me. So when I started Honeyblood, wrote some songs, got a new electric guitar and an overdrive pedal I realised this was what I wanted to do when I was 14. I always think the influences you find by yourself - your first ever favourites are always the ones that stick by you.
Scotland is well known for having a strong and supportive network of musicians, bands and labels. How much did having a strong scene up there help you when you started Honeyblood?
Yeah it was. The scene is quite healthy but it’s small and everybody already knew I’d been in Boycotts so when I said to everyone I was writing songs for a new band they said let us know when you’ve set everything up and we’ll put on a gig or help you. The sfirst or second gig that Honeyblood ever played was a showcase for Born To Be Wide which is for young musicians and that’s where we met Alex from Fat Cat Records. I guess if you put the groundwork in and you have the network to support you it’s great.

How come you called your album Babes Never Die, and who is the little girl on the cover?
The title is my own mantra that I’ve said to people about five years – it’s based on self respect and confidence, not letting anybody shoot that down. I actually had it tattooed on me two years ago before the song was written so I had to make sure the song was a good one when I wrote it as it was forever on my skin! It was the first one we wrote for the album, and the punchiness of it sets the goalposts for the rest of the album. The little girl is called Darcy – I thought of the cutest most innocent thing you can imagine which was little girls, but people underestimate their strength. I thought it was a really good image for the front cover as it says everything I wanted our album to say.
There seem to be a few bands around now who only have two members - Royal Blood, Slaves and yourselves being just some. Was it a deliberate move from the start to be just a duo?
It was in a way. Personally I’m still looking for more members to join Honeyblood – if you want to send your CV I will read it! I wrote our first songs for just drums and guitar and we got moving so quickly we didn’t have time to change that. Being in a duo is so much easier than being in a five piece band – to tour a big band is very expensive and a lot of hard work and a lot of labels don’t have much money now. We started touring in a Ford Fiesta! It’s challenging being in a two piece because you’re always trying to push the boundaries of what you can achieve with two people. We don’t play with a backing track but we now have a piece of equipment we call Sebastian which Cat plays bass lines on whilst she’s drumming. It helps us to make our sound full but not noisy. In a duo no one can slack, you both have to be on it all the time which I think makes you a good player as well. In a big band usually everyone just watches the singer, right? Not in our band, because Cat’s so incredible to watch.
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How difficult was it for you when your drummer Shona left and Cat replaced her?
It turned out to be the best things ever. I actually asked her to join a year before she actually did but we were both busy then. She jumped in headfirst – we had one practice and then went straight out on tour. She takes everything in her stride and loves playing drums.
What makes a gig good for you?
We always have fun really – even if we have a disastrous gig we look back and laugh. I feed off the crowd so if they’re engaging with me, that makes it good. We’ve had shows where people have been very quiet, but maybe that’s because I live in Glasgow where folk are a bit more rowdy! But if it’s quiet that’s fine too because it shows people are listening to the lyrics so I do appreciate that, but the thing I enjoy most is when people sing back to me. It’s a very surreal feeling!
Your latest album as recorded in London, and your debut in the States. Did your environments change the resulting music at all?
Yes absolutely, they’re completely different. Recording in the States for the first album felt like I’d won a prize. It was amazing and I’m so proud of that album and what we achieved. I didn’t have much experience so going out of my comfort zone and to a different country seemed so bizarre. For this album I wanted to do it closer to home and have a bit more control over the process. They both only took under two weeks to make but we demoed everything within an inch of its life so when we went down we were ready to go. The biggest difference was having a lot more experience and being able to explain to the producer what I wanted.
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What was it like supporting the Foo Fighters and seeing that massive machine working so close up?
Again that was a bit like winning a prize - we’re not a big enough band to do that really! It was incredible how accommodating they were for us…I mean we’re nobodies. Cat smashed her cymbal at the show and Taylor Hawkins gave her one of his cymbals…the reason why she plays drums is because of him so she was weak at the knees and couldn’t speak! It’s a massive machine but they’re still real and lovely people. They gave us hugs and cuddles! There were 60,000 people there that day. Then we just went back to our normal lives the next day. Mental.
Honeyblood play Norwich Arts Centre on 29th November. Tickets available from norwichartscentre.co.uk