“It was a long process,” Coleman admits of the recording. “It took two years to be remotely satisfied.” A hard process was made even harder as he was still writing material that he had to ignore to keep his music chronological, the songwriter more embarrassed about the constant promises the album would be out soon more than anything.
“I’ve been talking about it at shows for so long now. Actually thinking, ‘In a couple of months it’ll be done!’” Though he admits to not quite being refreshed just yet, he feels come touring completion of the album will feel “heaven-sent”.
Heaven-sent would suggest some celestial interference but ultimately it’s the result of hard work. Coleman has been playing in bands in Tasmania and Melbourne since he was 17, Australia’s musical capital a daunting prospect at first. “Certainly the first trip with the first band, playing these dingy bars in Collingwood – well it was such a different vibe to a small town, Hobart pub!” he admits, adding he’s far more comfortable now.
When I ask him what he feels is so captivating about his performances, as many a reviewer have dubbed them, Coleman is as humble as the proverbial pie. Missing my cue to talk himself up, he instead laughs it off. “I wouldn’t consider them captivating! I wouldn’t watch it!” (We implore you to ignore that comment.) So why the collective? They’re his songs, why not go solo? “I guess for one, it’s lonely (solo). I like collaborating as well, it’s an ever changing lineup so a personality comes in and polishes the turd in a different glitter,” he jokes.
His music is no turd though. Coleman grew up inspired by the great storytelling songwriters like Paul Kelly, with Kelly as well as guys like Paul Dempsey providing solace that one can sing with their natural accent. That accent is most present on the single Dandelion Flowers, and the aforementioned storytelling aspect of his writing none more present than on the magnificent Man in the New Sydney Hotel, a part fact, part fiction track Coleman wrote almost as a stream of consciousness poem. “Generally the ones that stick are the ones that let the pen do the work,” he says of the tracks he’s most proud of.
Another standout would have to be Go Home, a sweetly rising track that features The Choir of High Hopes Hobart, Coleman speaking glowingly about that group and having them on board.
“It was beautiful, it was such a great process. It was an overdub that just came in very late, we thought that the album was done then I saw them in concert, and it was a moving performance. I was struck with all these ideas thinking, ‘Could there be collaboration?’ And they were up for it, 30 people or so from all different walks of life, people who’ve lived on the street or have an intellectual disability or just people who sing to make themselves feel better, a great human collaboration, no ego on anyone’s part.”
His appreciation of no ego is perhaps important because he himself doesn’t seem to possess one, though this makes him no less ambitious as he’s already thinking about albums two and three before he’s even toured the current one. “It’ll be interesting to see how long it takes to get the next couple of albums out, then maybe I’ll be on par with where I’m actually at creatively now!”
BY GARRY WESTMORE
