What was life like for you before you got into music?
It’s pretty well documented that I had a career as a surveyor for a lot of years. It paid the bills but it never brought me any real fulfilment. When I got made redundant, I took it as life’s way of telling me to change lanes. I released Early Morning Rain in 2022 — and we’ve just kept building from there.
What’s the live music scene like in Sheffield right now? Anyone we should be looking out for (bar you, of course)?
The scene in Sheffield’s always had a real energy about it. Floodhounds are a great band and always good to bump into. There’s also a guy from Doncaster called Gerard Frain — he’s got this proper Harrison vibe about him that I love.
It seems like being a social media curator has become another part of being a musician. How do you feel about that?
It’s just part of the job now. You can either fight it or get on board. For me, I’ve had to adapt quickly. Since last week it’s literally become a full-time job — but I’d already built it into my daily routine, knowing how important it was going to be.
What’s your view on the music industry today?
It’s changed. You can either get on board with it or you can be left behind.
Where do you feel you currently sit within the industry?
I think I started out in a certain lane, but it took a bit of time and the right guidance to figure out where I actually needed to land. The upcoming record really marks that shift and sets the direction for what’s next.
What’s the biggest thing you’ve learned recently as your music’s grown?
If you’re not on board with TikTok, or you’re unwilling to adapt, you’re basically setting yourself a losing battle.
What was your best experience on stage?
Humber Street Sesh — we’ve played it two years running and it’s honestly been incredible. I lived in East Yorkshire for a while, and the people in Hull just adopted me as one of their own. I’ve got so much love for them. A close second would be Yellow Arch — playing those songs live after recording them there was really special.
What was your worst experience on stage?
Too many to mention! I’m terrible with organisation and gear. I’m always tripping over leads or getting tangled in in-ears. Chaos follows me.
Tell us something about you that might surprise people.
You’ll never catch me with a pint.
I hear you have new music. What can you tell us about it?
Yeah — the new project is called Boy Who Fell to Earth, and it’s probably the most personal thing I’ve ever put out. A lot of my earlier releases had this big, glossy, almost widescreen energy to them. This EP turns the lens inward. It’s about connection, loss, hope — and all the space in between.
The title track’s a really special one — I actually wrote it years ago about my son, but I waited until the timing felt right to record it properly. The whole record sits somewhere between the real and the cosmic. It’s cinematic, but it’s raw. It’s me laid bare.
What was the recording process like?
We recorded everything at Yellow Arch Studios in Sheffield, which just felt right. There’s a proper soul to that place — a lot of people I admire have made music there.
It was probably the smoothest actual studio experience I’ve ever had, but getting there was a journey. I’d spent years throwing everything at songs — big guitars, big synths — and Colin Elliot, who produced the record, basically said: “These songs need to breathe.” It was hard to hear at first, but it changed everything.
I had to let go of control, trust the process, and strip things back. Once we did that, the songs just came alive. It was one of those rare times in the studio where everything felt exactly how it should.
What was the biggest learning curve in writing the new tunes?
Learning to give the songs space. I’ve always written with a lot of intensity — I want everything to hit hard — but this time I had to let the emotion breathe.
There’s a real power in simplicity, and that was a huge lesson for me. Also just trusting instinct: not over-producing, not second-guessing, just letting the songs be what they are. That’s what makes this record feel so honest to me
What was the biggest learning curve in writing the new tunes?
Letting the songs breathe. Giving them the space they needed was something I’d struggled with before, but it’s made all the difference.
Would you change anything now it’s finished?
Absolutely nothing. I’m so pleased with where it’s landed.
Anything else you want to share with the world?
Somewhere in the Middle is out now, you wonderful people
Currently in the middle of his autumn UK run, Scherdel’s shows are expected to sell out following the track’s explosion. Fans can catch him live at:
- 01 Nov – Liverpool, Jacaranda
- 08 Nov – Hull, Adelphi
- 22 Nov – Doncaster, Corn Exchange
- 29 Nov – London, Dingwalls 2
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