Charlie Winston

Hello there. My name is Charlie Winston. To kick off 2009 I have launched my first official solo album and single in France. The response has been remarkable, an explosion, a musical firework that has had the local people shaking their Gallic hips in delight.
My debut single, 'Like A Hobo', shot to number one on the iTunes chart within 48 hours. To follow that, my album, 'Hobo', hit the top spot within one week. In recent days I have been interviewed more times than I can recall... television shows, radio shows, websites, magazines and newspapers. Although this may look like an overnight success, in fact, it is the result of a wonderful 30 year apprenticeship. So, without further ado, let me begin at the end; a very good place to start...
Making my first 'big step' in France, instead of my native Britain, happened organically. The independent record label, Atmosphériques unlocked the French door, welcoming me in with open arms and legs. Driven by the creative force of founder Marc Thonon, they propelled me with passion and creative guile. An early EP of mine had first fallen into their hands in late 2007. They approached me with an absolute conviction - that they could help me make it big in France, and that then the rest of the world would follow. They are proving true to their word.
Previous to this Franglais rendezvous, I had been given the unique opportunity to develop my craft thanks to the legendary Peter Gabriel. He signed me to his record company, Real World Productions, in the summer of 2007. I also had the pleasure of joining him on tour throughout Europe.
The previous year, Peter had signed me to his publishing label Real World Works, the platform from which I recorded my self-produced album 'Make Way'. This was sold online, and to my fans on tour. Originally, our plan was to make two independent albums like this, before cherry picking the best songs for an official release. I was about to record the second one when Atmospheriques came onto the scene. Mr Gabriel knew that a big launch in France made sense. My live shows in Paris were drawing crowds, my debut album, 'Hobo', had been partly recorded in the city. These people were hungry for what I had to offer.
My love for France has blossomed in certain memorable stages. One occasion sits warmly in my mind, and also marks a key point in the development of my career.
It was the summer of 2006, I had decided to go travelling through France, Italy and Spain for three months. My journey began in Paris, just as Brazil were playing France in the World Cup, the excitement was incredible that night. By complete chance, I stumbled upon an old friend and future bandmate, Medi ('& the Medicine Show'). We had first met six years previously, also in France, at a gig in Nice.
In the game France stormed to victory. The place went crazy. Some friends of Medi's were playing in the corner and I was asked to sing a song. I took out my guitar and performed 'Like A Hobo'. It got an overwhelming response from the whole bar.
From that night, I was welcomed into the local community of musicians and songwriters. Medi and I have since created a foreign exchange of talent; we have both worked hard to weave the Paris and London music scenes together.
Also, consequently, my music fell deep into the heart of an illustrious music manager on the Parisian scene, Camille H. Despite the fact that she was not in a position to fully manage me, she booked me into venues and also took a box of my 'Going Hobo' EPs. She also made the promise that she would feed my music to some good labels. Ultimately, that is exactly how my songs wandered into the Atmosphériques office.
Whilst in my time machine, I must stop off at another pivotal moment that occurred close to that time. I had been invited to perform at a 'Tourdates' new music showcase by the horse whisperer Justin Stoneman. He knew that I was looking for a manager and he introduced me to his friend, Adham Hunt. I was immediately impressed by his approach. His enthusiasm, and belief in my music, ultimately sealed the deal; I had secured a manager.
Adham has proved a vital component of my success to date, not only as a friend, but as a steady force who has helped steer me through the murky waters of the music industry.
Tracing back along the timeline, I should draw attention to my time as a singing dog. To be more precise, starring in a Volkswagen television advert; where I became a dog who unleashed a mightily impressive rendition of the classic Spencer Davis Group song 'I'm a Man'. The advert become a global smash and is also now a YouTube classic. This was my first and only role as a dog. Although one day I would like to play The Littlest Hobo.
Let's pull you back further in time... As I mentioned, Peter Gabriel has played a major role in my career. Naturally, many people ask how we first became acquainted. In 2003 I was at Real World Studios, playing bass guitar for my brother's (Tom Baxter) debut solo album, 'Feather & Stone'. Peter was rehearsing there at the time for his 'Growing Up Tour' and introduced himself to us. One day, in the communal dining room I happened to get talking to Mel, Peter's daughter. We had an immediate connection and felt like we had been friends for years.
The following summer, Mel invited my then girlfriend and I on holiday with her family in Sardinia. It was there that I got to know Peter, I spent some real quality time with him and his three year old son, Issac.
Although I had a new EP that I was anxious to give him, I decided not to put any pressure on him during that initial period as we were getting to know each other. I decided to wait until he knew me as a person first, before introducing him to my music. It turned out to be the right choice.
Two months later, Mel told me that Peter was going to be in London, attending a special award ceremony in his honour. She also commented that he had no babysitter for the big night. Knowing that I had a good friendship with the kid I immediately offered my services. So, whilst Peter was downstairs in the Grosvenor House Hotel, celebrating with two thousand people, I was upstairs in the Penthouse suite, playing pirates with his little son. At the end of the evening I finally gave Peter my EP.
I really didn't expect anything major to come from him having my CD. I was just happy to have built up a rapport with Peter, something that was really valuable to me. However, some months later, as I was on the tarmac boarding a flight on route to the SXSW festival in America, I got a surprise call from Peter. "I really like these songs you've given me", he said. "Some of it reminds me of stuff I was doing in Genesis". I couldn't really have received a better comment from him.
Peeling back the years like this may seem very random and without structure. Ironically, however, the last five years of my life have gone very much to plan...
Being in a long term relationship at the time, with a woman five years older, the notion of children had started to be talked about. However, I knew I had big things to achieve before that was to become a reality. One of those things was to be a recording artist, making albums and touring with my own music. I realised that I had to make a proper career plan and channel my skills in one direction.
At twenty-six, I made a five year plan, with the ultimate aim of having an official record release within that time span.
And at 30, as you can see, it's all gone pretty much to plan. I have achieved all the goals I set for myself along the way, and I can safely say that it hasn't come without a lot of hard work - and by not expecting too much too soon.
Needless to say, the first twenty five years of my life were not so ruthlessly structured. Stepping backwards from my 25 years... I had started performing my own live sets in London. Many of these were organised by the fantastic Raison D'etre Collective - who gave me a wonderful platform to develop my song writing and performance skills. I was working on defining myself as an artist in my own right. I'd played bass in Tom's band for many years and I was used to standing in the shadows, but I knew that it was all working towards one goal - eventually taking center stage with my own music.
There were many people in that world who saw me a just a musician in my brother's band, but had little clue as to how I was stretching my musical abilities way beyond that. Writing music for theatre was a large part of my development during those years. I wrote for numerous theatre companies in London, including The Almeida, Sadler's Wells, The Gate, The London Bubble, The Unicorn and many more. Writing music for theatre productions was a fantastic training ground for me. I learned to write to a brief with a deadline. This became an invaluable discipline, and a very important part of my 'process'. A little pressure can produce a lot.
As well as writing for the theatre, I was writing and playing music for short films, dance productions, the occasional TV advert, producing and recording records with various artists. I was also singing, or playing, with many different bands on either bass, piano, or percussion. I wrote for brass and strings, including the London Symphonietta, as well as some arrangements for the BBC Concert Orchestra. I was the lead singer in an eight piece reggae band, which brought out my strength as a front man. I had formed several bands; some very theatrical, others, more as 'writing experiments'. In short, I was doing as much as possibly could.
I made an important step in finding my voice as a songwriter by learning to play the guitar. It usually surprises people to learn that I did not start playing the instrument until my early twenties. It was a key step for me because, having dedicated my energies on the piano up until leaving Brunel University (where I had studied Music until I was eighteen), I realised that I got too caught up in the 'technicalities' of music when I was actually writing it. I had become engrossed in the world of Jazz and Minimalism. The guitar helped me focus on the beauty and simplicity of songwriting and storytelling once again - the precise things that had drawn me into writing in the first place when I was in my teens. Learning it was made easier by the fact that I knew the bass, which was an inevitable twist of fate. I had left college penniless and pianoless, and had been sleeping in the same bed as my brother in a shitty apartment in Clapham. I had no choice but to play with a random beaten up bass that I had just found 'lying around'. The discovery led to the idea that we should form the band, 'Baxter'. It lasted exactly three years so I regard it as my degree course - An Introduction To The Real World Of Music
It is funny, now, to think that the bigger dream I had in my school years was to go to London and become an actor. You could say I was rather keen to get out of Suffolk when school cut me loose at sixteen. There were no acting courses in London that would take me at that age, hence, I did music instead.
Stepping back into the time machine, this time on hyper speed... I wrote my first songs when I was around twelve years old. I had started learning piano at the age of ten. 'Great Balls of Fire' was the first song that I ever played, taught to me by my brother. I had started playing the drums two years prior to that, as a bouncing eight year old - that was until my brother, Jo, took over that year and used my kit for gigs with Tom at school and village halls.
My parents were folk musicians and had always surrounded our family with music. They owned and operated the King's Head Hotel in Bungay where there was a constant stream of entertainment to enjoy. My sister Vashti (who is also a singer-songwriter), my brothers, and I, interacted with musicians, theatre performers, comedians and all kinds of entertainers from a young age.
These experiences had a huge impact on my outlook in life and gave me a big love for the performing arts.
And finally... I popped out of the womb in sunny Cornwall, on the South coast of England.
I am afraid that is probably where this particular tale should end. My memory starts to get hazy at this point.
However, just between you and me... I have a sneaking suspicion that the most exciting Charlie Winston chapters are just about to be written.
(Biography supplied by artist management, written by Justin Stoneman.)
Photograph by Steph Dry)