What’s My Scene: Ryan Martin John finds magic in the moment
In our regular Q&A column What’s My Scene, InReview speaks to emerging and established local artists to get their take on the South Australian creative scene and their place within it. This week, singer songwriter Ryan Martin John looks back on his live debut as an underage teen, and the rewards of making music without faking it.
Where was your first Adelaide gig, and how did it go?
It was at the Lizard Lounge with my first cover band Glass Shadow (we were angsty at the time, go figure) when I was 14 I think. We were sooo underage to be playing that place. I didn’t sing a note in pitch the entire show, I was so green. But we played a bunch of Grinspoon/Powderfinger/Green Day and the adrenaline of playing music in front of a crowd was something that I never wanted to let go of.
What is your artist origin story?
I’ve been writing since my teens, but actually being a proper singer songwriter took until my twenties to understand. It’s a bit of a coming of age thing I guess; you stop looking at music as just a cool thing, and start thinking about it more artfully. What do I want to say? What picture do I want to paint? What genre am I? I went from being a little wannabe rocker in my teens to someone now deeply invested in songcraft and lyrics. So naturally the path has led me to a more folky country-ish style of playing. I’m also equally a recording engineer/producer, and that hugely informs me because I know how to lean into recording techniques to make an even better song. Also I get inspired by all the artists I work with – theres always something unique happening and it reminds me to be bolder with my own artistic choices.
What was your impression of the Adelaide creative scene when you first started, and how has that changed?
If I’m completely honest, it felt way more male dominated, which I almost felt scared of in my teens. Nowadays there’s so much more accomodation as far as diversity is concerned. It’s really beautiful. The community looks out for each other, and lifts each other up. Theres much more equality now too (still work to be done, but it’s better) and all of that makes it feel like there’s a huge energy shift from back when I started. As a guy, I felt like i had to be guarded about how sensitive I was as a writer, and always had to pepper in some sort of dumb bravado to even it out. Now, exploring my introspection is kind of where I’m most comfortable to find things to express in music. And people have responded to those songs far more genuinely than my older stuff.
How has your own work evolved since you first started?
I think as someone starting out being a bit more rocky etc you have put on a bit of a mask. And I definitely worried about how I was perceived, so I’dd be writing things I thought would appeal to everyone and ultimately not really writing anything too deep. Fast forward to now as a folky acoustic songwriter and I’m much more angular and intentional about what I want to sing about and how personal I want to be. I’ve come into who I am as a person more. That said, I’m fully aware my music ain’t for everyone – I’m not writing dance floor anthems – but I think everyone can find something relatable in my music if they happen upon it in the quieter, slower hours of a day or night. Thats kind of where I like to be. In the contemplative hours!
What is it about your next release that you’re most excited/nervous to share with the world?
My next record Big Love is maybe my most personal album yet. I think I’m nervous because I tracked it live, so there’s definitely a few raw human moments on it. But I’m equally excited about that because AI can’t do this, and its the sound of musicians playing next to each other at the same time. I recorded and mixed it myself too, and part of the beauty of live recording is I deliberately made sure I couldn’t ‘fake’ anything in the computer. No tuning or tweaking the performance. So what you hear is true capture on record. There’s a magic in doing things that way, I think.
Who are the artists around you that inspire or challenge you?
Tin Town, because they’re the best songwriters in the country. I’m lucky to be playing with them on my upcoming tour! I think Jamie Lena is amazing. Her writing, her voice and guitar playing is something to behold. Her guitar playing makes me want to practice guitar more! I also think everyone needs to keep an eye on Oblivia Jean. Big things a-comin’ out of that band. I could also mention all the insanely talented artists I’ve been lucky to have recorded recently via my sound engineering alter ego Cactus Cactus. I’m really fortunate to be surrounded by so many incredible artists!
Favourite Adelaide venue to play?
The Wheatsheaf Hotel. Because the crowd is always really beautifully focused which makes my show extra special. The crew and staff are also amazing. It’s my second home basically!
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Dream artist to perform alongside?
I’d say Gillian Welch but I’d be in such awe of her I’d be too distracted to contribute. Maybe Beck? Or Neil Finn would be amazing. Or play mellotron for LA indie artist Jessica Pratt. Theres too many!
Favourite artist to collaborate with?
Easy! Nancy Bates. When we get together its always funny, always deep, and we grow together when we write together. No one quite has a connection to song like Nancy does, she constantly teaches me new things about the world and lifts me up. Oh and Tom Kneebone who I play with. He makes me a better musician every time we put a new song together.
Where is your next Adelaide performance, and how do you hope it will go?
Ern Malley on July 25 will be the first Adelaide show after my new album arrives on July 10! I know it’ll be an awesome one, because everyone’s buying tickets and I thrive in intimate spaces. Connecting with the room is the best part of the show!
Ryan Martin John and Tin Town perform at Ern Malley on Saturday July 25. Big Love is out now.
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