With the impending release of his debut single, Let It Go, Dave Barron stands poised to redefine boundaries within the contemporary music landscape. Hailing from Stafford, Barron’s introduction to the scene is marked not only by an innovative fusion of progressive rock and orchestral grandeur, but by a deeply personal narrative underscoring the tenacity required to carve an original path.
We sat down with Dave Barron for an exclusive chat, unpacking the vision behind Let It Go and the resolve it took to break new ground.
Let It Go” is your lead single—what story or moment sparked it, and what do you hope listeners feel the first time they press play?
“- A Essentially, the song is about fidelity. No matter how attractive women are that in various circumstances crop up as what can be asutensibly known as ‘a certainty, it’s about seeing past it to ensure you don’t ruin what you have. In my case I’ve been with my wife for a long time and she’s my soul mate so to ruin that would hurt Her and myself and the whole of our periphery. Once you realise this, you read meanings in the verses.”
You’re preparing a live act—what will the show look and feel like? Will you bring a live string section, or translate parts with synths and guitar textures?
“My band is now going out quite regularly and being very well recieved. I do plan to have a string quartet accompanying at some stage and I’ve made copntact with the players with this in mind. It’ll be down the line yet as the act is developing and the audience growing. We’ve recently added a keyboard player which has totally changed the sound and as you say the texture of the live sound. We used backing tracks before which wasn’t a prob. It meant the drummer had to play to a click but he does that anyway.
There’s also a limit to how many songs can take a string quartet so it’ll more than likely be for inly a couple of songs and in a venue which has a big enough stage!”
Collaboration-wise, who’s on your wish list—producers, arrangers, or instrumentalists—and what would you want each to bring to your sound?
“I worked with a chap called George Shilling on a track of mine called ‘into your heart’. That was good and he really know his stuff. He had some good ideas in terms of how to fit all the details in without it being too long. He’s worked with Oasis, Blur, the Soupdragons and even recorded Yazz’s hit in the 90’s. He also did a Cello session for me on another track. But..who would I like to workk with? Tough one. I always arange my own parts and I can take a song, deconstruct it and reassemble it in a completely different way. I know it’d be hard losing control of my music so it would have to be worth it but I reckon Rich Costey. I’ve got to say, I’m a bit archaic in my approach so having a contemporary producer could be exceedingly conducive.”
Coming from a challenging childhood with few family connections, what inner tools helped you persevere, and how do those tools show up in your art?
“I am simply tenacious. And very optimistic. I suppose music has probably been an outlet for some very tough circumstamces that I probably wouldn’t be able to express any other way. And you don’#t always express them conciously. When I found my mother’s maternal family and they met up, she asked her new uncle who was a FNuci and MIMecE what was the strongest quality he had. His answer was ”an incredible self belief”. I think that sums me up too. And maybe the music converys this too..Hard to say though really as I don’t see it objectively.”
You’re passionate about history, spirituality, and social justice. Where do those themes surface in your lyrics or visual concepts?
“I’d say just read the lyrics and see. One piece fo feedback I get quite a bit is that you can hear all the lyrics.I’m just about to get them onto mywebsite for my new album. I have songs about the divine feminine, what can be loosely called white witches, imperialism both modern and historical (it’s always the victors that record their biased stories that we believe to be factual) and abstract social comment in tracks such as ’emergency’. Ths also reccommends re connecting with nature as the antithesis to our woes as well as our abuse and destruction of it being the source of them. My visual concepts such as my album covers overarch the subject and I have thus far, taken two album tracks and combined them for the title which has then brought about an image the components of which also represent album tracks . My latest – ‘Liberty and Oblivion’ has the Egyptain Godess Maat at the top combining original empire builders with the track ‘divine feminine’. I suspect she translates to lIbra which is the statue of liberty. Free market Libertarianism is the cause of all todays inequities. The protaginists of this ideolgy are lying in ‘oblivion’ .another track, below her and have been judged as Maat does by weighing the heart against against a feather at death. If the heart outweighs the feather which is the case with the people in this picture, they are dragged down by a crocodile to their spiritual doom.”
Stream “Let It Go”: