Henry Nielsen has never been interested in grand gestures. Instead, the London-based singer-songwriter finds meaning in the overlooked corners of everyday life, writing songs that give a voice to the quiet, lonely and often forgotten characters who exist on the fringes. Drawing inspiration from classic '60s and '70s folk-rock while maintaining a distinctly personal perspective, his music combines timeless songwriting with warm, homespun production and deeply observant storytelling.
Following the acclaim of his debut EP 'Business Partner', he now returns with his self-produced debut album 'Hollyhocks'. Recorded across a series of London studios, the record unfolds through a cast of richly drawn characters, wrapped in lap steel, jangling guitars and analogue textures that recall the golden age of singer-songwriters while feeling unmistakably contemporary.
So with the new album out now, we sat down with him to find out more about his origins and what has been inspiring him most over the years.
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What was the first instrument you fell in love with?
I remember being obsessed with Ukuleles when Beirut came out with Postcards From Italy and buying one, then walking around Denmark Street playing it. All in all very embarrassing behaviour, even if I was a teenager & expected to be. I have since abandoned the Ukulele!
What kind of music did you love when you were younger?
To be completely honest, I remember coming online into consciousness the first time I heard Dancing Queen - and still to this day I love that song. When I was younger, I loved a real mix of post punk bands like Television and then later, bands like Pavement and Dinosaur JR were huge for me. I think they’ve had a lasting impact on me in terms of my album Hollyhocks being indebted to slacker rock, even if the folky influence sort of became more prominent for me as I got older.
What was the first album you remember owning?
The first album I remember owning was probably Velvet Underground and Nico. I used to wear that out seriously on my Walkman. I really related to the lyrics about heroin use of course, being a middle class 13-year-old from suburban North London at the time.
What is the one song you wished you could have written yourself?
I wish I could have written I Stole the Right to Live by Michael Hurley. It's also the ending song to a film I really love called Lucky. It’s a masterpiece and I really like the laid-back view of life Michael Hurley had, even though the song seems heavy at first. I met him briefly when he played London at Cafe Oto a few years ago and he was such a sweetheart. He was a huge influence on my album and I was so upset when he passed away.
Do you have any habits or rituals you go through when trying to write new music?
I try to play in front of the TV, or while people are chatting away, or just if something else is going on as I find when you’re noodling about while other stuff is going on, that’s when an idea pops into your head. That’s what happened with nearly all the songs on my album Hollyhocks - once you have that initial nub of an idea, you have to hone in a bit more on what the song needs then shape it into something you like.
Who are your favourite artists you have found yourself listening to at the moment?
Right now, I am really enjoying contemporary bands like Brown Horse and Baggio in the UK. In terms of influences on my album Hollyhocks, I drew hugely on 1970s singer-songwriters, with some of the underrated ones I particularly like being Danny O’Keefe, Jackson Browne, Karen Dalton and John Cale. I think that’s where the 1970s songwriter aesthetic on the album has come from really & I aspire to be a mid-tier 1970s singer-songwriter in truth, maybe with one hit that crosses over into the crooner world like Mr Bojangles so I can retire to Belize like Jerry Jeff Walker did!
If you could open a show for anyone in the world, who would it be?
I would love to open for Gillian Welch and David Rawlings; they are otherworldly. I saw them in London recently and it was the best show I have seen. It inspired me to try changing my capo mid song as I had never seen that before.
What do you find is the most rewarding part about being a musician?
I really enjoy playing music with people. The album has a lot of collaborators - Archie Owen and Emmett Cruddas to name a couple, who brought so much to the album. Playing with people broadens your horizons and it makes your music so much better. Having a fresh set of eyes on something you’re working on is just invaluable and the sonic palette of the album would never have been as expansive if I didn't play with such amazing people.
And what is the most frustrating part?
The fact that musicians are getting ripped off by tech conglomerates. However, they can never take away originality, unless AI can do that now? I’m not 100% on that one though.
And what is the best piece of advice you have received as a musician?
Play every day.
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Henry Nielsen's debut album 'Hollyhocks' is out now. Stream it here and in the player below.