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Born in 1958 in Penny Lane, Liverpool, Ian Broudie’s first concert experience was seeing the Beatles at the Liverpool Empire when he was six years old. As a teenager, he was a member of the punk band Big In Japan with Holly Johnson and Bill Drummond (of the KLF). Broudie later became a successful producer, working with bands such as Echo and the Bunnymen, the Fall, Alison Moyet, Texas, and the Coral. In 1989, he began recording as the Lightning Seeds and has since released seven albums. His 1996 song “Three Lions” for the UEFA European Championship has topped the charts three times. Broudie has recently published his memoir titled “Tomorrow’s Here Today” and the Lightning Seeds will embark on their 35th anniversary tour next summer.
How did you find your place in the flamboyant post-punk scene in Liverpool, despite your songs typically being tender, melancholic, and heartfelt?
As a child, I stood out in my jumper and NHS glasses amidst the vibrant colors of Mathew Street in Liverpool. The area was wild and abandoned, but also full of energy. In 1976, Ken Campbell’s Illuminatus! trilogy premiered there, along with a plethora of music, theater, and art. It was like stepping into Alice’s Wonderland. Despite always feeling like an outsider, I found myself among fellow misfits, including larger-than-life personalities like Holly, Bill, and Pete Burns. Strangely enough, I fit right in.
What was the demeanor of the Beatles in 1964?
The only thing I can recall is the noise of the girls screaming, me crying, and covering my ears with my fingers.
After the initial success of the Lightning Seeds’ debut single, Pure, which reached the Top 30 in the US, you were approached to establish a record label in the US. You proposed signing Pulp and Oasis, but unfortunately, your suggestion was not taken. Looking back, how do you reflect on the era of Britpop?
I have come to understand that the music media fabricated a desirable world that people longed to be a part of. This was particularly evident during the Britpop era, just as it was in the punk rock scene – when I saw the Sex Pistols perform, they were decent but not as incredible as they were portrayed. However, this is acceptable. It’s similar to watching a Marvel movie and willingly suspending disbelief. You are aware that the characters cannot truly fly, but you still appreciate the entertainment.
What was your experience with Britpop?
Strange. It reminded me of the feeling I get when I’m on the train from Liverpool to London, passing by the motorway and watching the cars zoom by. I felt like I was observing Britpop from the outside rather than being a part of it. The other bands were on a completely different path.
How does it make you feel to reflect on your personal history, given that your paternal grandfather was a Latvian Jew who escaped Cossack persecution and unintentionally arrived in Liverpool, believing he was in New York? During the punk era, you experienced anti-Semitic harassment. Now, with your book being released during the ongoing conflict between Israel and Hamas, what are your thoughts?
I do not feel personally connected to the current situation because I identify myself as a resident of Liverpool. However, I empathize with how terrible the situation is, just like everyone else. It is very distressing to see the images. Similar to many other events in recent years, such as the consequences of Brexit, I believe we are living in a time where people have little control over anything, something I have never experienced before. Despite this, I feel fortunate to be a Liverpudlian because the Chinese community and Ukrainian taxi drivers also consider themselves to be a part of the community. Liverpool is a diverse and welcoming place that takes pride in its multiculturalism.
How do you feel about the concept of English nationalism, as seen in the Three Lions symbol representing a defining moment in England’s self-identity, as described by historians?
The Football Association (FA) has always had a dislike for the song “Three Lions” because it focuses on England’s losses. It highlights the concept of losing being a part of the experience of being a fan, which goes against the popular “lad culture” that was prevalent at the time. The line “football’s coming home” was originally used as a reference to the slogan for the European Championships, emphasizing the sport’s return to its birthplace rather than winning a trophy. Personally, I have had a complicated relationship with the song, but I have come to terms with it. However, the FA still does not approve of it and is attempting to replace it with “Sweet Caroline” as England’s official anthem.
The song was also not favored by the England football team.
No, it wasn’t about their lack of wins. It was a little uncomfortable showing it to them – we didn’t consider that beforehand [laughs]. But Terry Venables enjoyed it. I recall him tapping his keys along to the tune, grinning and saying, “It’s a catchy tune, Ian.”
Do you possess any unexpected heroes?
I enjoy watching Orson Welles’ interviews on YouTube. In one, he was questioned about whether he had ever been in a situation where a friend asked for a role in one of his films and if it had ever been successful. He answered, “Never.” However, he had done it many times and was asked why. He responded, “Because I prioritize people and friendship over art.” This is a valuable lesson to follow.
During the 2000s, you experienced a series of difficult events, including a divorce and the loss of four family members, including your parents, sister who battled a brain tumor, and brother who took his own life. Did anything provide support during this challenging time?
I used to believe that I had wasted my life pursuing music. Instead of living in the moment, I would obsess over the perfect drum sound. However, I eventually came to the realization that music is where I truly find happiness. Whether others approve or not, I love collaborating, playing with friends, and sharing my songs. Performing live also holds a special place in my heart because it allows me to connect with different groups of people in various locations each night. It brings new life to my songs in unique ways.
Your child, Riley, who inspired your 1992 chart-topper, The Life Of Riley, as a young child, is currently serving as your manager and fellow band member. This must hold a significant meaning for you.
It is. When I’m singing that song, and he’s next to me on the stage, it’s just something else. Every time.
Source: theguardian.com
