Declan McKenna, a rising musician, hails from Cheshunt, Hertfordshire, not a place he deems particularly extraordinary. This small town serves primarily as a commuter’s stop for London in recent years. For a time, it housed the offices of Tesco, much to McKenna’s dismay, though that hardly adds to its appeal as the headquarters have since relocated. He lights up slightly as he acknowledges a shared past with Victoria Beckham. Jokingly, he notes that according to their alma mater’s Wikipedia page, he and Beckham are the only noteworthy students. Cheshunt also had a connection to Cliff Richard, another musician who called the town home, even though it was much before McKenna’s time.
Regardless of the fact that the town had become virtually devoid of venues for aspiring musicians in the 2010s, McKenna found his love for music with the encouragement of his substantial family, being the last born among six siblings. He explains, with a clear hint in his name, that he hails from a distinct Irish background from both sides. His heritage holds importance to him – his paternal grandmother being from Cavan and the rest from Cork. Both his parents were part of Irish families that had settled in the UK. He considers his nationality valuable and even muses about his eligibility to play football for Ireland and the increasing necessity of obtaining his Irish passport post-Brexit.
With his remarkable mullet and large glasses, McKenna is presently based in the vibrant city of Brighton, gaining popularity in the UK music scene. His connections to Ireland go beyond his lineage; he speaks about his ex-roommate and former band member, Josh McClorey, with a hint of undisclosed tales. He has also built a rapport with Dublin-based singer CMAT. McKenna wholeheartedly embraced his Irish roots, having recently shot a music video for his number “Nothing Works” at Imperial Bar in Cavan Town, an event he exclaimed was a “wonderful experience”.
A glimpse into the Garda Armed Support Unit reveals horrifying sights such as shootings, murders, and stabbings, something no one should ever witness. Meanwhile, Irish author Patrick Freyne sheds light on some reasons being Irish hasn’t always been easy, mentioning the popular shows Murder, She Wrote and Batman as examples.
In the music world, the third album from McKenna titled What Happened to the Beach? marks a significant shift for the indie pop-rock singer. His first appearances came during his teenage years with songs such as Brazil and Paracetamol. Brazil was a critique on corporations’ corrupt practices, including Fifa, while Paracetamol drew its inspiration from the tragic suicide of a transgender girl in America.
McKenna, who won the Glastonbury’s emerging talent competition at 16, became recognised as a “socially conscious teenage prodigy.” He quickly brushed off the idea that his upbringing influenced his musical career, correcting the common misbelief that his father was a part of their local politics. His father in fact worked as a community care officer for Broxbourne Council.
McKenna clarifies, indicating a more personal, and not political, influence. His frustration began during his school years, where he witnessed bigotry and had heated discussions about social injustices. His experiences in school, his exposure to various community elements, his Catholic upbringing, and his access to the internet all drew his attention to the many instances of unfairness in society.
His eloquence belied his young age, leading to his frustration over the fact that his views were often overlooked. A prime example of this was the Brexit vote where many including McKenna, not old enough to vote, watched in frustration as their futures were being decided without their input. It took a toll on his early 20s when the Brexit was delayed by three years. This growing dissatisfaction was the driving force behind his songwriting for a significant period.
With his adeptness in navigating larger issues through his songwriting, he’s often been labelled as the ‘voice of a generation’. Yet, he dismisses this notion with a chuckle. He only intended, he says, to offer a viewpoint and possibly highlight some issues but never to become a spokesperson. Moreover, people are rarely fond of the unique attribute that delineates them, he mused, laughing.
His recent work, ‘What Happened to the Beach?’ has taken a turn to more personal subjects, manifesting a relaxed approach to life. He indicates that his previous writing was heavily influenced by external factors like being part of a large music label, resulting in an unnatural production style for him. Now, he’s returned to the more intimate bedroom-style recording, which offers a different vibe.
His lyrics have also undergone a transformation, deviating from the seriousness that marked his former pieces. Now, his new tracks like the exuberant ‘Phantom Buzz’ and the easy-going psychpop ‘Mezzanine’ reflect his intent to take a more enjoyable approach to his work. He believes in the diversity of human experience rather than being confined to projecting outward statements his early works consisted of.
Among the new influences shaping his latest tunes are a host of New Zealand bands he’s been listening to, from Connan Mockasin to Unknown Mortal Orchestra, as well as the British space-pop artist LA Priest. Combining influences from iconic bands, The Beatles and Tame Impala, he’s created a uniquely potent psychpop concoction.
He shares, the understated yet unpredictable ambiance of his influencers is what draws him good. He cites bands such as Gorillaz as significant to his journey as their unique production approaches inspired him. Their style of combining diverse elements into a holistic creation that strays from the traditional band method intrigued him. He admires their artistry in combining both the organic and digital, resulting in a sound that’s pieced together detail by detail using laptops but not losing its human touch.
His experience recording in Los Angeles altered his working dynamic, allowing him more freedom in both time and space. The lyrics of his opening song, ‘Wobble’, effectively encapsulate this shift: “Life’s significantly transforming / I used to weep in solitude all evening / Now I might under the sunlight.” It reflects his desire to create an album that feels right to him.
Working in LA was a beneficial experience; the leisurely atmosphere and expansive spaces granted him flexibility. His recording sessions weren’t constrained within tight deadlines, but allowed him and his team to leisurely generate ideas, which kept their work lively. The majority of his recording was done in the living room of the producer, Luca Gialuca Buccelatti.
McKenna found the brighter surroundings transformative, allowing him to relax and dedicate more time to pursuing an idea. This experience with a significantly different working environment from his previous records was an eye-opener.
There’s a fresh wave of innovation and vibrancy that renders this album as a transition to a new phase. Making this record instilled in him greater confidence in his creative abilities. McKenna conveys that while he enjoys variety in his creative process, he’s gained a newfound sense of self-assuredness that he plans to carry forward.
In the first week of April, Declan McKenna will have performances in two different cities. He will be seen in concert at the Ulster Hall in Belfast on the first day of April, Monday. Following on from this, he will showcase his talent in Dublin, and will hold two performances at the 3Olympia Theatre on both the second day, Tuesday, and the third day, Wednesday, of the same month.