Five minutes with Andrew Gower — The Gustaffson frontman is turning teenage poems into timeless tunes

You might know Andrew Gower as that bloke from Carnival Row or Outlander. The one with the face that’s made him TV’s go-to “slightly unhinged aristocrat” for the past decade. But there’s another Andy — the one who shows up at Manchester’s iconic Deaf Institute with a battered piano, spouting musical renditions of stories ripped from the pages of his teenage diaries. 

It could be said that Andy spent fifteen years leaving “Andy” in various BBC trailers while inhabiting other people’s lives. Now, as Gustaffson’s frontman, he’s finally put himself in the spotlight. The result is a debut album that feels like stumbling into a working men’s club where Sir Ben Kingsley is doing spoken word over Bear McCreary’s cinematic soundscapes.

“Most music these days is made to fit a quota,” he says, explaining why Gustaffson are choosing to make what he calls “a vintage record in an algorithmic world.” Working with Elbow’s Craig Potter at their legendary studios, they’re crafting something that looks backwards to move forwards — the kind of record that reminds you why people fell in love with music in the first place.

Amber Rawlings: Meeting Craig Potter on a film set feels like one of those perfect career-crossing moments. How different is collaborating on music versus acting?

Andrew Gower: A perfect storm meeting Craig on a film – it lends itself nicely to our ‘Black and White Movie’ album title. When I collaborate on a film/TV set as an actor, I’m usually in the headspace of the character, immersed in what is best for the role and even more so – the script. Serving the greater good of the script. I try to leave Andy in the trailer: with my phone and the real world. Music collaboration and especially Gustaffson is way more personal. My lyrics and stories are the foundation of every song. It’s our go-to reference ‘why did you write this Andy?’. I think the best songs are nuanced and written with universal truth. I do often make the comparison to Craig, that as a music producer, he’s basically Gustaffson’s equivalent of a director.

AR: Your lyrics draw from fifteen years of acting — do you find yourself writing characters into songs the same way you build them on screen?

AG: There’s definitely several songs on the album with characters I’ve met along the way or dramatised for a song of mine. You’ll get to meet: Bonnie, Clive, Sister Mary, Doctor Mo and Mr and Mrs Liver Fool. There’s plenty of protagonists and unsung heroes on the record that our audience will get to know. Also several iconic locations and buildings that in a way become their own lead characters. Screen and Theatre acting has given me a huge appreciation for good writing. How sometimes it’s the stuff you don’t say that can be incredibly powerful. The silence or lack of words. There’s nothing better than working with writers who treat every line with respect. No waste. I try to keep to this standard with my lyrics.

AR: Having Sir Ben Kingsley on your debut album is pretty major. How did that collaboration come about?

AG: There was a speech that I have quoted for years in which Sir Ben Kingsley compares acting to hunting and “finding your tribe”. It’s stuck with me. When I wrote the track ‘Closer’, I knew I wanted him and his speech to feature in the song. Luckily we share the same acting agency and my letter was given a thumbs up from Sir Ben and his team. He has a real weight to his words and is a true orator.

AR: Could you tell me a little bit more about the message behind “Flowers”?

AG: ‘Flowers’ is about the everyday gesture of buying someone flowers. Behind that gesture can be love, lust, guilt, grief and so many different emotions. Just like flowers, the emotion as to why you bought them – can grow stronger or wither away over time. It’s all about time. There’s a beautiful relationship between emotions and time that people have written about for years.

AR: And how has that message translated into the video?

AG: The video is set in what seems to be an ordinary everyday working men’s club (one very similar to which I grew up in). What happens in that club is extraordinary. A man dealing with regret. Out of all the emotions, I think it is the one that can stay with you forever and grow stronger and stronger. Just like a flower. It’s directed by Myriam Raja (Top Boy) and stars the incredible Jamie Harris (Carnival Row). With some beautiful choreography by Hamish and Jade Longley.

AR: Bear McCreary’s known for these epic soundscapes. How did that influence shape your album’s sound?

AG: We always knew that Bear would give ‘Flowers’ a real cinematic feel. So when he chose that track we gave him free reign to do what he does best. It fits perfectly into the world of the album and was always going to be one of our singles. You only get to make your first album once. So I wanted to give the audience everything I’ve ever imagined an album should be.

AR: The ‘On Broadway’ video seems to blur the lines between your music and acting worlds. Was that always the plan?

AG: I think it’s natural that having spent over the last ten years on sets and in theatres — this seeps into my writing. I feel like I’ve got a lot to say about that world. I definitely see an opportunity as a band to bridge the gap between music and TV and film. At the core of both formats is storytelling (when they are done well). In the future, we definitely want our songs to inspire TV writers and filmmakers. But most importantly we want audiences to go away feeling like they’ve witnessed some kind of theatre.

AR: You talk about making a “vintage record in a modern algorithmic world” — what does that mean to Gustaffson?

AG: Firstly, it should feel like you’re in the studio with the band. Whether that’s with an old battered piano; street sounds, brass or just the intimacy of vocals. We want the music to feel organic and with risk involved. A lot of music these days is made to fit a quota — because TikTok and radio LOVE songs under a certain time stamp. We all knew of this and understand the current music climate. However, we want to make a record that feels timeless. Built on storytelling, theatre and full of gritty northern truth. 

AR: Starting a band with your lifelong friend must be different from the usual industry relationships. How does that dynamic work?

AG: I was saying to Webbo (James Webster) just the other day how when he plays his guitar it’s like he can read my mind. I’ve known him since we were twelve. There’s a beautiful simplicity to our relationship. Based on music, football and a few low budget European holidays in our late teens/early twenties. At the core of our friendship, we just love to write music together. Sharing a lyric or a riff will never get old.

AR: You’ve gone from writing songs at fifteen to making an album with Elbow’s producer. What would teenage Andrew make of all this?

AG: He’d be thrilled and would probably write a song about being thrilled. The new ‘Thriller’. In 2014 I was with my friends the year Elbow headlined Glastonbury – marvelling at Garvey’s lyrics and the Elbow sound. To work with them at their iconic studios is pretty surreal. It’s also nice to know that some of my teenage lyrics and poems hold up and stand the test of time. One or two of those poems have landed on the album.

AR: What’s next?

AG: We have upcoming headline gigs in Manchester (15th November) at The Deaf Institute and in London (4th December) at Servant Jazz Quarters Dalston. We’ll be releasing our third single from the album in January 2025. The album will follow shortly after in March 2025. And there’ll be record store tours to support the release. Gustaffson will also be releasing an exclusive track with Everton football club on 29th November 2024. It’s called ‘Lights Under Goodison’ and pays homage to Everton’s last season at the iconic Goodison Park. As an unsigned band it’s an exciting journey to go on and we continue learning everyday. I also star as co-lead in brand new drama ELLIS on AcornTV in the US and C5 in the UK. Opposite the incredible Sharon D Clarke. It’s three two hour episodes and centres around the relationship of a new detective duo. A kind of hard-hitting drama that deals with complex cases of race, police corruption and internet crime — with the beautiful backdrop of the Peak District.