Elbow Talk To ClashMusic

As Chuck D once put it: 'the rhythm, the rebel'.

Way back when, percussion would be used to pass messages from town to town, turning communication into a tribal frenzy. A universal language, there is still something addictive about a tasty rhythm, something irresistible about a solid groove.

With a humanitarian crisis mounting in the African nation of Sudan a charity group turned to some of the world's finest drummers for a very special video. Sudan365 contacted Jamie Catto of Faithless fame who assembled a truly mouth watering cast.

Contributing to a new percussion only track were the likes of Radiohead's Phil Selway, Stuart Copeland of The Police and many more. Nestled in the centre was Richard Jupp from Elbow, still adjusting to his position amongst the musical elite.

With the new video gathering thousands upon thousands of hits, ClashMusic sat down with Richard Jupp to talk about how involvement in this inventive new campaign.

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How did you become involved with Sudan365?
Well it was a friend of mine, a guy called Ross Wynn-Jones who introduced me to the campaign. We actually went over to Rwanda a couple of times, and he later wrote a book about our experiences. He has been in contact with agencies in Sudan and has even been over a couple of times, witnessing the situation over there. He basically clued me up about what’s happening and how I could help. He introduced me to Jamie Catto from Faithless who was overseeing the drumming project. Linking musicians around the world. I promised that I would help them do it – they were filming all over the world, working with some really great drummers. It’s actually a really good thing that I’m very proud of. Especially since it was actually a fun thing to do, from my end!

How did the actual filming work?
It was a guy called Alex – together with Jamie – who helped bring it together. They travelled all over the world filming in different situations. I did mine in Salford! They went to Morocco, Spain all over the place. It was quite an effort. There was very little time between coming up with the concert and getting it off the ground. If you look at who’s on it – Phil Selway, Coldplay’s drummer, my mate Jonny Quinn from Snow Patrol, Caroline Corr. There’s a few. Then there’s guys from Egypt, Ghana – it’s quite an undertaking.

When you recorded the part were you given guidance on what to play?
I was given a 110 BPM rhythm, just a very simple 4/4 beat. We did that as it was based on the 4/4 beat. Then we did a take when we put our own interpretations into it. The timeline didn’t allow people to embellish too much but there are these little flashes, you know, when people go off on little tangents here and there. It was good from that angle, just taking a basic click track and building it up into that.

The track has an African lilt to it – are you familiar with that type of music?
To be honest not really. It’s always been something that I’ve enjoyed listening to it but I’ve never done my own interpretation of it. I enjoy the whole allure of the idea, because it’s using rhythm as a language, essentially. Rhythm was a language for over a thousand years, so it was amazing in that respect, that it would translate. If you go on YouTube it’s something that we can all relate to. So it was quite easy for my part, plus it had drummers doing their bit rather than singers taking all the glory! Essentially it’s an awareness campaign, it marks the end of the five year peace agreement. This year is the last year before things have to get sorted or the country will descend back into civil war. It could be horrific, on the scale of another Rwanda. The reason that the drums were chosen is that it is a universal language which everyone can relate to. It’s a genius idea!

Are you planning on doing more work for Sudan365 in the future?
I think if there’s anything that’s needed then absolutely. It was a fun little thing to do for a very serious cause. It’s not much to give and a lot to gain from it. If they asked me then definitely.

What was it like to have the drums as the centre of attention?
It was just nice to be able to sit in a room and play. That’s how I practice – I just play to a click and then go off in tangents here and there. It was lovely to be given that sort of cart blanche freedom, and it’s really nice to see how it all fits together. We’ve got everything from Egyptian, Sudanese rhythms to Spanish drums, the tabla is in there. It’s nice for people to be able to see and hear that. You can also upload your own stuff onto the Sudan365 website, just play along and upload it. From an awareness point of view, that just makes it more enjoyable.

There’s a stunning roll call of talent – have you got any heroes you want to work with?
Stuart Copeland! It was a thrill to be on the same track as him. All the guys on there are just amazing at what they do. Stuart Copeland is just incredible, one of my absolute heroes. So it’s an absolute honour to be working with them, to appear on the site and the press release as part of ‘the world’s most famous drummers’. I still can’t get my head around the fact that I’m in there.

Elbow have really come that far in recent times, though.
No, no I’m not there with Stuart Copeland!

Does the new found success still take a lot of getting used to?
It does, yeah. I mean I woke up this morning and went down to Tesco. I really don’t feel as if anything is different, and so do the rest of the lads. We’re in an incredible position. I mean we’re in the studio right now doing the next album. It’s amazing to be able to do this job.

Has success applied more pressure to the sessions?
Well we’ve just done exactly what we did last time. We’ve just gone in on our own and started creating. It’s not really got to that stage yet, we’re just sounding out ideas. It’s great to be back in the studio without people being on our back. I mean we did the bulk of the last album without a record label. So we know what pressure is, the only real pressure comes from ourselves, to create. Thankfully our record label are aware of that and respect that.

I’ve read that Elbow have a ritual where they retreat to Mull to work on new material. Is that true?
We did go to Mull, about this time last year. We had a break in touring so we went up there for a week. After everything that went on with the Mercury and all these accolades we couldn’t really get our heads round it in Manchester so we went off to a little place on Mull. It’s a tradition but it can be a stress, to be honest with you. It takes about ten hours to get up there with all the kit in the back – but it’s an amazing, amazing place. Right now we’re back home doing the school run and getting back to normality. As well as working day and night on the album whenever we can.

Are these little projects necessary in order to step away from the band and gain a sense of perspective?
I really don’t think it’s a case of that it’s more a case of these situations coming up and wanting to take them. With regards to the rest of the band if it’s something we want to do, then we do it. If we don’t, then we don’t. We don’t actually have to step back to gain a sense of objectivity on an Elbow record, we’re quite lucky in that we love what we do. That sounds so clichéd but we love what we do, and I’ve got some of the best mates in the world in this band. It does sound clichéd and a bit wank but it’s true. We love being Elbow! (Laughs)

A project like Sudan365 must put into perspective how lucky you are?
Incredibly so. When the idea was first brought up, I thought it was fantastic that drummers of any calibre can make a difference like this. It does put things massively into perspective. I read these press reports and the situation just sounds horrific, so hopefully we can continue with this over the next year and maybe things can be resolved.

You and Guy Garvey have done charity work before, is that something which is quite important to the group as a whole?
That project happened a while ago but it’s something we still talk a lot about. It’s not a case of wanting to put something back it’s more that we were very lucky, we were afforded a lot of opportunities throughout our career and it’s nice to help other people. It’s nice just to be there. That project was with kids in Greater Manchester and we were helping kids make music who might not otherwise have been exposed to that. It’s a great feeling to give that to kids from under-privileged areas who might not have an outlet. It gives them to see something different, that there’s a world out there. So they don’t have to throw bottles at old woman, and do all that crazy shit! Hopefully they can see that it’s possible to really make something of your life. It’s amazing to be able to do that.