BRUNO MAJOR'S UNFILTERED THOUGHTS ON FAME, FREEDOM, AND 'COLUMBO'
INTERVIEW BY IRVIN RIVERA
PHOTOGRAPHER: G L ASKEW II @ THE JUDE GROUP
Singer-songwriter Bruno Major's highly anticipated album, 'Columbo,' recently made its way into the airwaves carrying promises of a captivating journey through his introspective and emotionally charged musical landscape.
His latest single, 'The Show Must Go On,' serves as the perfect overture to this album, setting the stage with an uplifting yet introspective melody that delves into the depths of his mental health struggles. It's a testament to Bruno's ability to infuse his music with raw, honest emotion, creating a connection with his audience that goes beyond the surface.
FASHION STYLING: ANDREW PHILIP NGUYEN, GROOMING: LISA CHAMBERLAIN @THE REX AGENCY, PHOTOGRAPHY ASSISTANT: KELLY WISE, STYLING ASSISTANT: JESSE ZAPATERO, STUDIO MANAGER: MICHAEL HIGGINS, PRODUCTION DIRECTOR: LOUISE BARRETTO, SPECIAL THANKS:: VALERIA SEMUSHINA, THE ORIEL CO
Bruno Major's artistic evolution shines through in 'Columbo.' Inspired by the constraints of lockdown, he embarked on a whirlwind journey, embracing life and doubling his experiences. The result is an album that blooms like a flower in the sunlight, showcasing his growth as an artist. As he candidly shares the challenges and rewards of his career, it becomes evident that 'Columbo' is not just another album but a deeply personal and authentic expression of Bruno Major's musical journey.
With tracks like 'A Strange Kind Of Beautiful' and 'We Were Never Really Friends,' he masterfully combines introspection and observation, crafting songs that resonate with both heart and soul. Bruno's commitment to authenticity and his ability to balance personal and observational storytelling make 'Columbo' a testament to his growth and unwavering dedication to his craft.
As Bruno Major continues to navigate the highs and lows of his career, his dedication to his artistry and the profound connection he forges with his audience remain unwavering, ensuring that 'Columbo' will be a chapter in his musical journey worth savoring.
Congratulations on the upcoming release of your album 'Columbo.' How does your latest single, 'The Show Must Go On,' set the stage for the rest of the album?
I like the way you asked that question because it does set the stage. I feel very much that it’s the curtains opening for the album. You’ve got this big opening chord which sets off the whole thing and it’s got a really uplifting feeling to it even though it’s about my mental health issues. I feel like it’s got an uplifting vibe and I love playing the guitar solo.
"In the music video for 'The Show Must Go On,' you explore themes of anxiety and public image. How did you come up with the concept for the video, and what message were you hoping to convey?
With the music video I really wanted to represent the duality of the person versus the artist because sometimes I feel like those two people aren't necessarily the same person, at least it isn't for me. So I just wanted to show the kind of identity struggles that artists go through, especially when you’re touring and you’re kind of going up every night and presenting a certain version of yourself that is sometimes not quite the version that you feel at the moment in time.
Your new album seems to delve into introspective and relatable themes. Could you tell us more about the personal experiences or observations that influenced the songs on 'Columbo'?
Well, this album was really almost a knee jerk reaction to the lockdown and the way we were all, in a way, repressed from doing what we wanted to do. I feel like we had our liberty taken away from us and after lockdown I wanted to live life at twice the pace because I had basically had a fear of missing out. So I went to America and just had this 6 to 8 months where I was saying yes to everything and doubling my life experiences in a short space of time. It was really amazing and really prolific. I wrote most of the album during that period. It was like a flower that had been in the dark for a while and then was put in the sunlight and suddenly bloomed.
Many critics have praised the track 'A Strange Kind Of Beautiful' for its intimate and relaxed vibe. What inspired you to create this introspective song, and how does it fit within the overall narrative of the album?
Honestly, this is one of my favorite songs I’ve ever written. I wrote it with Finn Robson or Phairo, my co producer, and we just kind of accessed this other realm and it was almost like we were writing something down that already existed. It was a very magical time. I will be forever in love with that song.
Your music often incorporates elements of jazz and folk, giving it a unique and distinctive sound. How did you come to blend these genres, and how do they contribute to your musical identity?
I think to be an artist is to develop a palette based on your musical osmosis throughout your life and you really absorb all your influences and they become your palette from which you can paint and then you start to paint your own pictures. So I do wear my influences on my sleeve, proudly, but I hope that I'm painting my own picture.
The video for your song 'Columbo' features a special guest star – your 1981 Mercedes 380SL. Could you share the significance behind including this car in the video?
The car was really an inanimate object that was representative of that period of time for me because as I said, I come out to LA and I was driving around and doing all this stuff and I was in Colombo the whole time and it really became a symbol of my freedom and just having this amazing moment of my life. So although that song is particularly about a car, it really is more about the period of time and that’s why I decided to call the album Colombo.
After a three-year break, you returned with new music. How did you approach the writing and recording process for this album differently compared to your previous works?
Well, I wrote it on guitar and then the last two albums I wrote on piano. So that was definitely a difference. I think I just felt less fear, I felt less inhibited by myself in some way.
Your single 'We Were Never Really Friends' was received with critical acclaim. Could you take us through the creative process behind this song and how it evolved into the rock sing-along with a guitar solo?
Finn and I were just messing around on the piano kind of writing a song that went around different keys because it starts in A and then it goes to E and then the chorus is D and there’s a bit in the bridge where it’s like in B - yeah it was kind of like a harmonic transience. It was about falling in love with your friends.
With 'Columbo' being your most 'honest' expression of music to date, what challenges and rewards did you experience while exploring new musical forms and expressing your authenticity?
I’ve always tried to be authentic and I’ve always tried to be honest. You think that would be easy, but it’s not, it’s actually the hardest thing to do. As an artist, it’s really difficult to find your own voice and find your own pathway and not get sucked into the gaping chasms that have been left by other people in the past. I think I feel that with this album, it’s the first time I’ve really just been able to say what I wanted to say and say it freely and not really been worried about how it sounds and just being confident that because I’m making it, it will sound like me.
Your vocals in 'The Show Must Go On' have a beautiful ebb and flow before the song reaches its crescendoing chorus. How do you maintain such control and emotion in your singing?
Well, I actually wrote that melody on the guitar. It started as a chord sequence, and it was like the inner moving of the chords and I made that into the melody. But I’ve always considered myself a singer. I always just sing the words with the right melody. My greatest vocal inspiration is Chet Baker and he was a trumpet player. When you listen to Chet sing, he just sounds like a trumpet, and I love the way that he’s not trying to be a singer and he doesn’t overblow anything. So, I guess that’s how.
You're known for weaving the autobiographical with the observational in your songwriting. Could you give us some insight into how you strike that balance and how it reflects your growth as an artist?
Well, my great hero as a songwriter is Randy Newman and he very much wrote a kind of observational comedy, stand-up comedy, and he exists as a character in his songs. So I’ve taken a bit of that from him. And then obviously, it’s always going to be a bit autobiographical because it is impossible to escape the perspective of oneself as a human being.
The release of 'Columbo' follows your album 'To Let A Good Thing Die' from 2020. How has your music evolved between these two albums, and what themes have remained constant throughout your artistic journey?
I just write about what I feel I can, what I feel I have a right to speak about. You know, I’m aware of my position in society and my privilege. So, I write about love, and I write about death and I write about grief and I write about mental health. I write about things that I experience and that affect me and that I think I have a voice to speak on.
As a singer-songwriter, your lyrics often carry significant emotional weight. How do you ensure that your words connect with your audience and evoke powerful emotions?
I don’t, I’m never sure. But I just try my best to be as literal as possible. My friend Jimmy Napes who is a great songwriter once told me - if you're afraid to say it, it’s probably the right line - and I think he’s right.
With the release of your album 'Columbo.' Looking back at the creative process, is there a specific song that you found particularly challenging or rewarding to write and record?
Yeah, it was 18. It was about a personal loss. A family member that I lost a long time ago to suicide. And that’s an event that affected me profoundly and I wasn’t really comfortable writing about it until now - even though it happened when I was about 16. So yeah, that one.
What are the highs and the lows of your career so far? How were you able to rise up to the challenges?
The lows are probably dealing with your own bullshit. Like when you become an artist, there’s definitely an identity split. There's Bruno Major the person and then there's Bruno Major the artist and it’s kind of like balancing and remembering which one of those you are and not drinking any kool aid. The highs are just getting to do what you were meant to do. I feel like I was born to do this and I am doing it and it’s so validating, every day I wake up and I know I’m doing the right thing. I’m on the right path and I feel so privileged to have been given the opportunity to do it every day.
If you were a book, what book would you be and why?
I would be the children’s book GoodNight Moon because I feel like my music is quite horrific and I get a lot of messages from people saying they put their kids to bed with my music and also I am obsessed with planets and I wrote my first album about them called A Song For Every Moon. So I’m going to go with GoodNight Moon
