Frightened Rabbit is growing.
The Scottish rock band grew from a one-man project to a full-fledged band. It’s gaining its fanbase slowly. It has moved from indie labels to a major, and it’s critical admiration has grown as well.
“That sort of template is one that I admired,” lead singer Scott Hutchison told us when he called in from a tour stop in Aberdeen, Scotland.
It has taken Hutchison and his bandmates several years and four full-length albums, including this year’s “Pedestrian Verse,” to grow from a solo folk act singing about sad songs to an entire band writing about God, girls, hospitals, loneliness and even its history of writing breakup songs.
“Only an idiot would swim through the (stuff) I write,” Hutchison sings on “Oil Slick.”
Hutchison told us about the band’s tour, which brings it to Lincoln on Tuesday, as well as Frightened Rabbit’s progression, writing with the whole band and baring his heart in songs about relationships that went south.
Question: You’re gaining a lot of recognition and you’re now on a major label, but after several albums and lots of touring. What do you think about taking the long road to success?
Answer: Since I started out solo. It’s been a long, slow road. I don’t think I would trade it for any rocket to success. It’s a really healthy way of building a fanbase, but it’s not an easy way at all. I never really feel that a band’s first album should be it’s best, and our first album is by no means our best. I think we released our best album this time.
Q: On this album, the band wrote a lot of the music together rather than you doing it by yourself. Why did you go in that direction?
A: It was necessary. Myself, I had written in that mode on my own for long enough, and I had started to repeat myself. The songs were sounding like rehashed versions of other stuff, and the whole thing needed a shot in the arm.
There was a certain amount of trust, but one of the reasons that this record took a little bit longer was that we were still finding our feet. Once we found it, then it was a really productive time. I would never go back to that solitary way.
Q: Did you write the lyrics collectively, too?
A: Lyrically, it’s still my own project. They’re totally not allowed. (laughs)
Q: The songs took on a wider subject matter than your personal life. Why is that?
A: I had written about my own life for long enough, and I thought it was time to even see if I could write about something else.
Q: In the more personal songs, you don’t paint yourself as the victim in the songs, which I like.
A: I don’t want to listen to anyone doing that. There’s a fine line between writing a song about adult emotions and coming across like a teenager’s diary entry. If you cross it, it’s a (bad) song and it’s a (bad) sentiment.
There needs to be a self deprecation or a sense of humor within it. Otherwise, it’s self indulgent depression.
Q: You write songs that can be really sad and incredibly detailed about your personal and romantic life. How do you sing those in front of people? Does singing about it help you deal with the depressing stuff?
A: Yeah, yeah. That’s it! I always write after they’re done — seal that off in a bag and file it away. That’s what writing songs is for me. When I’m writing about my own life, I’m tidying up things that have happened. You can get perspective in that way, and you can also tell the whole story. Each song is to be a little slice of life.
Q: “Nitrous Gas” has some moments that reference writing other sad songs. Were you thinking of your older songs such as “Poke?”
A: I’ve become known — obviously — for writing miserable music. With that song, I thought, let’s try to write the most miserable song. That was me trying to do that. I did have my past pieces of writing in mind when I was writing that song. You’re right. I was definitely referencing weaving a story within itself — a cyclical thing.
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