Steadman

An endorsement from a Beatle can only be matched by Steadman’s fabled story about their all-too humble beginnings.

We made our demos in a pig shed with equipment borrowed from the Bay City Rollers, says Simon Steadman, the singing/songwriting force behind the soulful, searing rock group. He’s not kidding. The three-month recording process responsible for unveiling one of pop’s most promising new bands was carved out in a mud-caked recording studio complete with eggshell cartons for soundproofing. It actually was the perfect place for what we needed to do,says Simon. We had got to know Eric Falkner of the Bay City Rollers from rehearsing next to his studio. He had constructed this makeshift studio for himself to fiddle around. When we told him we didn’t have much money to make our demo he offered us the space. The affable Simon smiles at the recollection. I like to think its one of the reasons our music still has a bit of an edge to it.

Appropriately enough, the band called the result of their efforts Loser Friendly, their debut self-made album that began in the UK, and became the perfect calling card for their first trek across these shores in 2000.

The jaunt was another do-it-yourself juggernaut cooked up by the resilient Simon and his band mates, drummer Russell Field, bassist David Walton, and lead guitarist James ‘G’ Board, who put their mark on American club audiences well before there was ever really a demand. We’ve always been kind of D.I.Y. about things, because of ‘Loser Friendly’ we were able to play CMJ and North by Northwest (festivals in New York and Portland, Oregon). Those shows were real breakthroughs for us.

The Steadman phenomenon actually began back in 1999 in Hastings, England. Simon who honed his singing and songwriting skills in various pubs, met drummer Russell Field and bassist Dave Walton during his musical travels and the nucleus of Steadman was formed. James ‘G’ Board joined the group in 2000, and the band began to perfect their much-touted live show.

Steadman recorded and released on the band’s own website the aforementioned Loser Friendly, a collection of songs recorded at their makeshift studio in Sussex, England. The band’s debut received praise from Britain’s biggest selling newspaper, The Sun, calling the disc The album of the week two weeks consecutively.

Looking to expand their horizons, and boasting a concert itinerary that has included shows in some of the smallest U.S. clubs, as well as Milwaukee’s huge Summerfest, the group built up a strong reputation and eventually landed a record deal with Elektra.

Their soon-to-be-released album, Revive, thrives on Simon’s stirring, soul drenched vocal turns and the muscular give-and-take of a scrappy rock band playing at the top of their game. Whether it’s straight-ahead love songs like Two Together, or the provocative flair of No Big Deal, Steadman blows a hole in the theory that ‘soul’ means ‘soft.’ There’s nothing soft or melancholy about this band, says Simon. I think that’s one of the things that should give us appeal with American fans. I know from our playing in the U.S. that fans in the states like to rock out.

With a sound that has been called a cross between CSNY and Jeff Buckley with a bit of The Beatles tossed in for good measure, Simon uses his own map to trace some of the group’s influences.

I’ve always liked Bill Withers, Stevie Wonder, Curtis Mayfield, those types of singers, of course. My mother was very musical. She owned a club in London and I remember as a boy being able to go there and see all these wonderful acts. It was a great experience for someone who wanted to be a singer. In fact, I did my first couple of shows there.

With a wave of interest now blooming in the U.S. about the group, Simon is philosophical about the prospect of commercial success. We’d love to be the biggest band in the world, but at the same time, we’ve liked the way we’ve progressed so far. Kind of making our own way. I kind of look at the future the same way I approach songwriting. I let the music dictate. When I write, I need the music to create the atmosphere, to set the vibe, and then the words seem to fall into place. As far as American audiences go, I think they’re ready to be uplifted. I want them to know Steadman’s applying for the job.