Having successfully evaded any type of life changing success in music, I’ve always been intrigued by those who achieve in music.

So when I had the opportunity to chat with Evan Sult, one of the guys who wrote and recorded Flagpole Sitta, the theme song for Peep Show, I jumped at the chance. I don’t want to go on about it too much, as he’s working on a new project called The Open Flames, the subject of this episode, but I wanted to ask him one question about musical success. You’ll have to listen to the episode to find out what it was.

The Open Flames are a psychedelic, raw, punky, indie rock band. They recorded their excellent album - Same Time Next Year - bi-annually in London. It’s such a brilliant album, and I wanted to learn as much as I could about their writing and recording process. The album was released on Subjangle in early 2025 and they’re already working on a follow up.The Open Flames are 4 veteran musicians - Dave Eastman, Evan Sult, Paige Brubeck and Len Bendel. Their musical background involves bands such as Sleepy Kitty, Harvey Danger and Say Yes, Do Nothing.Download, listen to the podcast and find out how they went about making their brilliant album - Same Time Next Year.

I really wanted Bridie and Nick to tell me something more poetic about why they recorded their album Flowers in the winter of 2024. It turns out the answer was really ordinary and had something to do with frolicking in the summer sun. Around ten years ago, maybe more, I was introduced to a song called Scarecrow by a mate called Scott. Correction, I was Scott’s manager and I was a much better recipient of music suggestions than I was a boss. Anyway, a few months ago, out of curiosity, I searched for the artist, Bridie Jackson and the Arbour and came across a new project - Staithe. Staithe is Nick and Bridie, and their new album Flowers is a beautiful collection of classical, electronica inspired, storytelling folk songs.

This was a really fun conversation, even though everyone dies and Staithe couldn’t make up something more poetic about why they recorded the album in the winter.

There’s a church called St Mary’s in Lastingham. When you step inside, it feels like its 1,371-year history has soaked into the stone and timber. Time hasn’t just passed through the place, it lives there, in every brick, beam and pew.

I feel the same about some acoustic instruments. My old piano, a 1950s upright, always felt like it held echoes of everything it had ever played. Old songs, long-forgotten lessons, they still seemed to vibrate inside it.

I’ve always been drawn to the way certain places and objects hold on to the ghosts of what’s come and gone.

Thirty-three years ago, Vienna by Ultravox was re-recorded at Berwick Street Studios in London. It’s one of my favourite songs. Whenever I hear it, I’m transported, not to a clear memory, but to a feeling of my mam.

So when I read that La Nouvelle Musique had recorded their new album there, I wanted to know if they felt it too, that sense of history, solemnity, reverence. Whether it somehow soaked into the recording process. Whether the place left its mark on the music.

Their new album is breathtaking in its poetry and scope. From wintery finger-picked guitars and haunting vocals, to cinema-esque pieces with horns, timpani and strings, it has something for everyone.

In this episode, we talk about the husband and wife duos songwriting process, navigating creative disagreement, hopes for the future of independent music and as always much more.