Featured image and gallery: Sally Stretch

---

Fresh from a whirlwind run of sold‑out UK dates and a month of writing in the States, indie singer-songwriter Finn Forster sits down before his headline show at Manchester’s illustrious Deaf Institute to talk life on tour, new music, and the Teesside roots that keep him grounded.

Have you been up to anything in Manchester?

I played Radio One Big Weekend [on Sunday] so I had a day off, then I tried to wind down because I knew I was heading back out on tour today. I woke up and went for a run, got in a van with the guys, travelled up from Middlesbrough, arrived, did sound check and load-in, then headed down to House of Social and then into Manchester for some food. It’s really nice to be back in Manchester. I love it here. It’s always been on my UK tours from the start, so it’s great to be back.

People don’t realise that even before this UK tour, we were in America for a month, writing and getting as many demos done as possible, with a couple of acoustic shows in Nashville, and about a week of rehearsals with the band. Then we went straight back out on the road. I knew I was going to be constantly on the move, but I’ve loved it.

Who’s better: American crowds or UK crowds?

I haven’t really got to the point yet where I’ve got proper American crowds, so I’d have to say UK for now. But I get on really well with American people. It feels like everyone’s an extrovert, which I am, massively, so we connect that way. I’m excited for the future and for proper touring there. But this has been my favourite UK tour so far, my favourite headline tour I’ve ever done. I’m having the best time, even when it’s 100 degrees like today.

Has there been a special moment on tour that’s really stood out?

The first night in Wrexham. You have all this anticipation for what the tour will be like, and you don’t really know until you get there and start playing. This is the first proper tour where I’ve noticed sold-out rooms across the country with everyone singing along. You start to really gauge what genuine fans of my music love. That’s a whole new part of this I’d never experienced before. It’s probably the biggest tour I’ve done so far, in terms of both the number of dates and how many are sold out, with people coming from all over.

It’s the first time I’ve had crowds big enough just for me where I can really see, ‘Oh, wow, they really love the songs and are singing along.’ It means a lot.

Is that part of the reason why you do it? Did you always know you’d love live music?

One hundred per cent. I’m live music through and through. It’s how I got into music in the first place.

I was lucky: I was in my family band. At the beginning we only ever played Irish folk covers like The Dubliners. There were seven of us, and I was the third generation. My first gigs were in folk clubs and folk festivals; we played all over.

That was my first experience playing music in front of people, and I take it with me every day now. I’ve chosen it as a career, and I’m grateful I had that, because it’s made me feel a bit bulletproof about going out and playing live. It’s where I find the most comfort. For some artists it’s different, but I feel fortunate that playing live, however big or small the crowd, feels like home.

A lot of people turn up to a half-empty room and don’t want to stick with it. Is that what makes you stick with it?

I’ve done plenty of half-empty rooms; I just trusted the process and stuck at it. In those early days I was starting, gigging anywhere, taking a chance and finding my feet, trying to make a name for myself, sometimes playing to no one, sometimes to just a handful of people.

I’d always think, whoever’s in this room, even if it’s three, four, five people, I’m going to try to make them fans. I’d give it the same energy I would if the room was full. I’ve always had that mentality, and I think it’s helped me progress because I’ve always loved performing.

I see it as inviting people into a little bubble of my world as a musician and artist. I try not to worry about controlling what people think. I just invite them in, and the rest is out of my control.

You’ve just released a single. Will there maybe be an album this year?

It won’t be an album, but there will be a much larger body of work – the biggest I’ve done so far. People can expect a big run of singles.

What would you do if you weren’t doing music?

It’s pretty boring, but I’d be an actor. I went to drama school and initially wanted to act, and I still do a bit of acting. I was in a short film a couple of years ago called Offload. My first love was acting before music.

It feels boring to say that because it would be more fun if I said, ‘I’d have been the best milkman in the world!’ – something totally different. But I’d probably still be in the arts.

I’ve always been very creative and philosophical, and the way I think has always led me to want a creative outlet.

Is there a song that’s always on your touring playlist?

We always have ‘Children of the Stars’ by Paolo Nutini – that’s always on. I’m also into Hans Williams, a song called ‘Skin,’ which came up on a streaming radio mix.

I have playlists I set for doors for the crowds that come to my gigs. For my headline shows, I want it to feel very much like it comes from me.

Some of the songs on the doors playlist when people first enter the venue are ‘Stay For Something’ by CMAT, ‘Drowning’ by Red Clay Strays, ‘Darker Love’ by Niall McCabe – who’s definitely a rising star and that tune is unbelievable – ‘Pain’ by The War on Drugs, and ‘Do It For Yourself’ by Fatherson. Shoutout Ross, he’s one of my mates.

There’s also ‘Cowboy Gangster Politician’ by Goldie Boutilier. Just cool music. That’s what’s on my playlist.

Is there one artist you think people should get into; someone underrated?

Definitely Niall McCabe, with the song ‘Darker Love’. He’s Irish, I think. When I first heard it, I thought this song must be massive, world-renowned. Then I realised he’s just an up-and-coming artist.

That’s one of my favourite things, discovering someone when they’re up and coming. He’s got beautiful songs, an amazing voice, and he’s an amazing songwriter, so check him out.

When it comes to your songwriting, do you have a specific process? Is there a special place you go to write, or do you just write on tour?

Not really a set place. It’s changed as I’ve matured as an artist and singer-songwriter. I’ve let go of the reins a bit in terms of not letting my ego get involved, leaning into collaboration, and having peace of mind in my own ability.

I’ve learned to pick up as much as I can from other people and collaborate as much as possible. There’s never a destination where I’m happy to stay put. I always want to keep moving forward.

Sometimes I’ll just be shopping in the supermarket, and a melody will pop into my head when I’m in a bit of a flow state doing something random. Then I have to grab my phone quickly and record a voice memo. You get used to people looking at you like a weirdo. My voice memos are full of thousands of rough ideas I didn’t want to forget. All of that is part of how I work.

Who are your top three inspirations?

Paolo Nutini is a big one. I probably mention him in every interview. He’s one of the reasons I make music.

I was lucky enough to tour with one of my inspirations last year: Kelly Jones. I toured with Stereophonics. Even before I went on tour with them, I looked up to them. I’d seen them seven times. They were a great bunch, and I really look at their career; how long it’s lasted at such a high level; and think that’s where I’d love to get to.

And my Mum.