The association between Howlin’ Steam Train and the industrial revolution is, however, looser than Boots’ observations on the significance of that historical era would indicate. “Our guitarist, Teddy, suggested the name,” Boots explains. “It shows the influence of Howlin’ Wolf on our music.”
Howlin’ Steam Train formed about five years ago when Boots and guitarist Teddy McLaughlin sat down and decided to put together a group based in the blues aesthetic in which the pair saw great inspiration. “We got together originally when I was living in Elwood,” Boots explains. “I was looking to start a band, and I spoke to my mate Teddy about playing guitar. And he said yes, but only if this friend of his, Leigh, could play bass.”
After a period “jamming in the bedroom – it took us a little while to get off the ground, and we had to learn how to play our instruments”, Howlin’ Steam Train played its first show at Grumpy’s Green in Smith Street. “I remember packing death before that show,” Boots laughs. “That was the first time I’d sung in front of more than four or five people, so it was pretty nerve wracking!”
At the root of Howlin’ Steam Train’s musical aesthetic lies the blues, a foundation that Boots believes the band can continue to indulge and explore. “For me, the blues is something I was raised on,” Boots says. “When I was growing up, my father was constantly playing blues records, so it was always right in my face.”
But while blues is historically located in the social hardships of the African-American population – a repressive existence with which middle-class Australians arguably can never truly empathise – Boots sees the blues as a starting point, and not an ends in itself. “For me, blues doesn’t really fit into categories – it’s just a sound that resonates with me,” he says. “Because we listened to a lot of grunge in the ’90s, plus Led Zeppelin and Pink Floyd, we tend to put a culmination of everything we’ve been listening to into our music.”
Howlin’ Steam Train has now released three EPs, including this year’s Green Jelly. “We’ve started writing for our first album, and I’ve been listening to a lot of funk, soul and hip hop, and Teddy’s been listening to funk and soul, so that’s starting to influence the music,” Boots says. “We put whatever spin we can onto the blues – which is great for us creatively.”
Having now been playing together for the best part of five years, Boots says Howlin’ Steam Train have developed the musical aptitude to explore different musical territory. “We’re able to do a lot more musically now because we’ve been playing for a while, and the styles of music that we’re able to play is affecting our sound,” Boots says. “So we can now go into new areas – we can mash blues, soul and funk. And that’s much more fun for us to play, because there’s more to play with. It’s important for us to make sure it stays interesting in the future.”
As for the band’s live experience, Boots says Howlin’ Steam Train aims to convey a sense of empathy and excitement. “One of our things is to try and connect with the audience,” Boots says. “We’re definitely not one of those rock star bands,” he laughs, “so we want everyone to be on a homely vibe – we just want to keep it real.”
In the immediate term, Howlin’ Steam Train will return to the Prince Public Bar for the launch of Watt’s On Presents, before returning to the studio to continue work on its debut long-playing record. “We really want to take some time with it,” Boots says. “Ideally, it’ll be released early next year, but we really want to make sure that we get it right, and go over it with a fine tooth comb. So there’s no real deadline – we don’t want to put pressure on ourselves to finish it by a particular date, and not end up with a record that we’re not happy with.”
That all said, Boots says he’s aware of the perils of over-engineering the record. “That’s definitely one of the pot holes that you can fall into,” Boots says. “We’re all conscious of that, so we have to make sure the music still sounds natural. If it’s all good, and it pops out, then that’s great. But if it’s not working, it’s not working.”
BY PATRICK EMERY
