“Something that we try to do every album is change direction or not do the same thing twice,” Scott O’Donoghue explains. “So hopefully, there’s a contrast between all our albums, especially between this one and 'Hollywood'. It’s a massive change; this is a more organic sound and we gave the songs what they needed and didn’t try to make them anything they weren’t.”
As to suggestions the band were pushing too hard to nail a premeditated sound on the gold-selling 'Hollywood', O’Donoghue admits the atmosphere in the studio this time was a little more relaxed and spontaneous.
“We spoke about it and went for it just to see what would happen, and that’s just what came out,” he says. “So I think it’s more of a natural thing and when it’s more of a natural thing, it’s always going to sound better in the songs. The last album was forced a little bit. We tried to do something and we got to a point, but didn’t get all the way there with it. But on this album nothing has been forced; it’s been an even process and everyone’s given the songs what they need. All these songs feel good to play and everyone is enjoying themselves.”
With singer, Katy Steele, openly channelling a soulful approach to the band’s radio-friendly, pop balladry, opening salvo, 'Brother', is a clear standout.
“That was funny, we were having lunch one day and sitting around and Katy said she had this song, but didn’t think it was anything,” O’Donoghue explains. “And we started playing it and kicking our feet on the sand box and it pretty much hasn’t changed since then. Obviously, we’ve added other instruments, but the actual song didn’t change at all.”
Except for the addition of Paul Kelly and his harmonica!
“We toured with him a few years ago and Katy toured with him last year as a solo support, and so we got to know him and he’s a really nice guy,” O’Donoghue says. “He’s obviously got a great voice and is very talented. And we wanted harmonica on this song, but none of us could play it at the time. So we asked him to come in and do some and put some backing vocals on that track which sounds great.”
Exuding a greater self-confidence in 2009, Little Birdy eschewed a big name producer for 'Confetti', opting instead to produce the songs themselves with help from local engineer, Steve Schram (Silverchair).
“I think we have got more confidence,” O’Donoghue nods. “With the last album we thought about producing it ourselves, but we didn’t have the confidence to do it and that’s why we got John King (Beck, Beastie Boys) in. And with this one we thought, ‘if we don’t give it a go now, we never will’ and felt it was the right time.”
Having recorded 'Hollywood' in LA and dipped their collective toe in the US market a few years ago without tangible success, the band’s decision to focus 'Confetti’s' promotion squarely on their Australian audience comes after Little Birdy’s well-received appearance at Sydney’s Sound Relief concert in March.
“We haven’t done anything about overseas as such at the moment,” O’Donoghue shrugs. “It’s such a hard and expensive thing to do at the moment, so we’re just seeing how the album goes here. Unless you’re living over there in the States and touring and have a release over there with a good record label who’s supporting you, then it’s pretty much impossible unless you get really lucky.
“We may in the future, but at the moment it’s not on our schedule. I think other markets, like Europe and Japan, are more accessible. You can almost go over to the UK and play a show to ex-pats and make your costs back - that way you can do other shows.”
Copyright : MTV Australia
