Trying to track down Jack Peñate over recent weeks has been quite a challenge. Seemingly more in demand than a pair of skinny jeans in Kate Moss’ Topshop collection, this week alone (it’s Friday when we finally meet each other) the twenty-two year old has been in and out of the studio recording horn sections, before flying to America for a week on Monday “to do some more recording for one more song.” It’s a schedule that’s tiring to read, let alone, tiring to have to live. To top it all off, he’s had two hours sleep in the last twenty four hours – the twenty two that he was awake, however, did include a competition winners gig, which he admits was a bit “industry,” and a chance encounter with Keira Knightley and Sienna Miller – cinemas new best friends – at an after show party. The latter – as he smiles his wide, infectious grin – was clearly the highlight.
Emerging from the crowds of a busy London Street, Peñate certainly stands out. Dressed in his trademark, just-short-of-the-right-length jeans, colourful socks and a hoody, you can see why he’s currently in a category of his own – somewhere between cool and refreshingly un-cool. As he enters the café where I’m waiting alongside his PR man, like a gentleman he removes his trucker hat, ‘adjusts’ his hair and orders a frappuccino. If he’s tired, he doesn’t show it.
“I should be finishing my degree if life had planned…” suddenly he cuts the sentence short – something he does a lot in his eagerness to start a new one - and continues. “Actually, I didn’t wanna do my degree but if life had carried on I’d be now finishing my finals or something. A year ago I’d probably be doing the same type of thing but just on my own. I’d gig non stop. I was always playing, but I was just playing a lot in London. I’d be just playing gigs and actually having time to see friends and stuff like that which is, um, like a gem when I get to see people, which is sad, but it’s great that I get to do something that I love. It’s changed a lot but all for the best.”
Peñate has been everywhere of late – and that’s not just because of his tour schedule, which has seen him play over seventy sold out dates in as many days. His last single, ‘Spit At Stars,’ and first with XL Recordings, whose other artists include The White Stripes and Dizzee Rascal, was playlisted on national and regional radio stations a like, thanks largely to its infectious buoyancy and upbeat pop credentials – something that’s rife in all of Peñate’s songs. Just in the last few months alone he’s been dubbed a London Troubadour along with the likes of fellow Londoner’s and close friends, Lily Allen and Jamie T; 2007’s must see starlet, and; not to mention, the best, as-yet-undiscovered, Patrick Swayze look-alike (he roars with laughter at the now rather frustrating comparisons).
It’s all a long way from the youngster who first became “quite obsessed” with music at the age of eleven - which is when he also picked up the guitar. “That’s all I did really was listen to music and play guitar. I started writing songs when I was about thirteen and for years they were horrible, terrible songs…not that they are any better now,” he adds bashfully, “but I just had to learn my trade.” Although he was the only member of his family to have an instrumental interest in music, he attributes his musical household for his passion. While his mother and father brought him the classics – Dylan, Neil Young and Joni Mitchell –his brother and sister provided a more eclectic mix ranging from drum and bass to Whitney Houston. He admits fondly, “I was really lucky I always had music in my house. Every room had its own taste.”
Peñate’s first taste of performance, however, didn’t come till he was seventeen when he rather unknowingly became a member of a band which borrowed his name, and, the room in his house where they practised. Jack’s Basement, as they were called, was made up of Joel Porter (now bassist in Peñate’s band) and Felix White (guitarist in The Maccabees) who the singer describes avidly as his “best friends.” Peñate explains: “I was obviously writing songs and stuff and one day Felix came into school and said, ‘We’re now a band,’ and I was like, what? Felix said, ‘Yeah we’ve got a gig next week.’ I was like, what? We didn’t have a name, we’d never practised and we couldn’t really play instruments that well. He (Felix) was like, ‘Fuck it – lets do it.’” And so they did - badly. “We rehearsed and played this amazingly funny gig,” he divulges, with a huge smile. “We played at the Clapham Contact…no, the Clapham Christian Youth Contact Centre and we had to postpone the gig by half an hour because the ballet lesson (Peñate, incidentally, is now roaring with laugher, whilst trying to convince me this is all true) that forced eight year olds had overrun a little.”
While Peñate reveals, thankfully, that the band did eventually take things more seriously, deep down, even the other members of Jack’s Basement knew that he always had an ambition to be a solo-artist. His tone suddenly changes. “For me, it’s just I’ve always wanted to be a solo artist. My heroes were all solo artists. Growing up I was obsessed with Nick Drake first, and then Jeff Buckley and Neil Young. All these people are like people that I idolised. I suppose you could ask the question of any solo artist, ‘why do you do it?’ But I just did, it felt right.”
There’s a great sense of confidence about Peñate, not just with the belief that he has in his music, but also with the trust that he has in himself. From performing solo acoustic shows across London in front of audiences who would have a “coffee and fucking croissant or whatever with a candle” at their table when he was still in his late teens to releasing his first, self manufactured, limited edition seven inch vinyl, ‘Second, Minute or Hour,’ with individual Polaroid’s of himself, which he had hand numbered at a loss. “I just wanted people to fucking treasure it and that seemed the best way to do it,” he confesses. “If I was fourteen and it had my own Polaroid in it, I’d just be so excited by it.”
The same bold imagination transcends into his music. Take last single, ‘Spit At Stars,’ as an example. The song’s inspiration comes from a piece of Jack Carol dialogue. “He was talking about people all sitting there spitting at stars and I was like…it just grabbed me as an image. I mean – what an image. That idea, obviously, of the unobtainable. I just loved it.” Peñate’s lyrical inspiration, it seems, can come from anything – even a ruler. “There’s this song called ‘Made Of Codes’ which is very image based. I got a ruler in my hand and I’d realised I’d been looking at it for like twenty minutes, really close and the lyrics of that are, ‘The small divides, along the sides of rulers are amazing / The closer you look, the more it took your eyes off reality.’ I mean, it’s something that’s actually really boring, I was just looking at a ruler, but for me I was just spell bound.”
Comparisons can be – and have been - drawn to his fellow London compatriots, the Allen’s, Nash’s, Adele’s and T’s, to name but a few, who all take their lyrical content from the same earthy sources. All friends of Peñate, he admits that they were all recently put in their place by the underground anthem, ‘LDN Is A Victim,’ which immortalised him and his ‘public school rock and roll crew.’ Not that he’s bothered. “I’m kind of like flattered that there is something going on that can be put into a song,” he admits, ironically. “I don’t know why people took it badly, it’s a complement I think. I think you’ve just got to have a sense of humour about it. I’m proud that I can play my kids something and I can be look, see, a legacy.”
Penate’s true legacy, he’ll hope, will come from his debut album, which is released in the summer. Recorded mainly over a three week period, and boasting all the artistic and organised chaos of his preceding singles, the singer has worked with Jim Abyss – a producer who’s more known for his work with the Arctic Monkeys, UNKLE and DJ Shadow. Hardly indie-pop connoisseurs like Peñate then? “That’s what allured (pronounced alooored in Peñate’s native twang) me. That’s what made it really exciting for me. You want people to have other influences; you want people to have other ideas in the studio. It’s not like people are gonna put my album on and it’s going to be like trance – it’s pretty much the songs but I just hope there’s a vibe that he’s given to it that’s brought things out and made me more exciting.”
People who have seen Peñate’s lavish live performance would argue that he couldn’t get more exciting. His exuberant onstage, near ankle twisting dancing, which he admits grew from him being “unbelievably nervous” prior to going on stage, has become one of peoples main attractions to him. “All I really wanna do is make it an experience and a show you know,” he says sincerely before adding with future ambition. “I think we can take it to the next limit. Again, what I do, people seem to think it’s a bit odd now, but if you think about it people…have you been watching that rock documentary?” He suddenly asks, in reference to a current series on the seven ages of rock. He continues: “Fucking hell. I dance and people are like oh my god. Back in those days people are dressing up in like massive bulbous things, people were crazy back then. I mean, I wanna bring that back, shows like that and Jimi Hendrix burning his guitar I’m like fuck, know one is doing anything to make it that iconic or legendary. I think a lot of people are scared of looking silly where as, as you can probably tell I have no fucking care what so ever, I just go for it. I just want it to be reactionary.”
And that’s Jack Peñate. Captivatingly silly on stage, infectiously catchy on record and someone with an imagination almost as wide as his constant smile. He’s been touted as 2007’s next big thing, but, with his ambitions, you should probably add 2008, 2009, 2010 and so forth to that statement as well.
Live photo by: Linda Chasteau