Mike Scott seems like a friendly guy. However, I have never encountered a more spartan speaker; had I not known any better I would have believed this was a man entirely ill-at-ease with words, someone to whom language is more a practical tool than an imaginative one. In Scott’s defence, this turns out to be his 90th interview for The Waterboys’ new album Modern Blues; finding a fresh question was never going to be easy.

“I like writing where I’m at peace,” he considers. “I’m not a great person for writing on the road. If I rented a cottage in the west of Ireland I could write, and of course I’ve done that already in my life. But these days I prefer just to be at home and have some time to myself. I’m moving too fast on the road to write. Some people can, but it doesn’t really appeal to me.”

In 1988, The Waterboys’ seminal fourth album Fisherman’s Blues was released to great and enduring acclaim. Jump forward a quarter-century and we find ourselves with the equally engaging Modern Blues. While Scott has spoken in the past of Fisherman’s Blues being borne of his love of Irish culture and music, delving into the inspirations for this new album proves somewhat more elusive.

“It’s influenced more by American music.”

His discussion of lead single, the splendid ‘November Tale’, is equally direct.

“I thought it was important that it was a different sound to the usual Waterboys, so when people hear it they’ll know that something different has happened.”

It is something that every musician must contend with, the decision of how their sound will develop over the years. Scott’s own material has certainly developed new dimensions as his voice and talent have matured, though he himself finds this of little fascination.

“All of my songs do that,” he says simply.

But is this evolution a product of refinement through performance, or a more organic process that happens through the passage of time?

“It’s partly that, but it’s also just going into myself as a singer,” says Scott.

Given his appreciation of solitude when it comes to writing, it seems fitting that Scott is drawn to such introspection. His lyrics, littered with literary allusions and figures from popular culture, suggest a man who thinks very deeply about the motivations and implications behind his words. A standout from Modern Blues, ‘I Can See Elvis’, is such a song, detailing the King in rock’n’roll heaven, hanging with Hendrix, Charlie Parker, Plato and a host of others. Scott’s own idealised afterlife, though, is clearly that of the bibliophile.

“I would meet C.S. Lewis and Tolkien. Peter Caddy, who founded the Findhorn community. Dion Fortune, who was a mystical British writer. I’d meet all of them.”

Never having heard of Fortune, I am intrigued to what extent he has influenced Scott’s writing or philosophy, but again the singer is reluctant to explain in any detail.

“Fortune had a lot of books published.”

The suggestion here, perhaps, is that the ability to maintain a high creative output is the real endeavour, to produce as much art as possible in whatever time we are given. With this in mind, asking Scott about what inspires him to write seems promising, but once again his reply is short.

“I’m instinctive. If something feels right, that’s good.”

Mike Scott remains an enigmatic (though affable) man – but it seems after 25 years, he’s happy to let the music do the talking.

The Waterboys play Bluesfest 2015,Tyagarah Tea Tree Farm, Byron Bay along withZac Brown Band, Ben Harper & The Innocent Criminals, Alabama Shakes, Train and many more onThursday April 2 – Monday April 6. They are also appearing at the Concert Hall, Sydney Opera House on Thursday April 2 andModern Blues out now through Harlequin And Clown/Kobalt.

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