Mark Knopfler does not reflect on his time as a rock sensation with any sense of regret. Embracing the dazzling and fast-paced world of the 1980s, he relished in his role as the frontman of Dire Straits, spiralling to popularity with chart toppers like Money for Nothing and Romeo and Juliet. However, after accruing a vast fanbase, selling 100 million records and performing a staggering 248 gigs in just a single year with their 1985 powerhouse Brothers in Arms, the allure started to wane. An exit from the rollercoaster ride of super stardom came as a relief for Knopfler, who didn’t see himself fit for the life of a megastar in the long run.
“Some can adjust to the magnitude of it all, however, I’m unsure if I ever truly did,” he remarks. For him, the transition of mere gigs into significant events was filled with altered energy.
Currently based in London, Knopfler presents an upbeat and curious persona. You pose a question and he reciprocates with an enlightening enquiry of his own. Bearing a striking contrast with the cocky guitar phenomenon from the Dire Straits’ Money for Nothing video, his current modest and articulately spoken demeanour tells a different story altogether.
Trading in a blistering guitar intro and backing vocals from Sting, the Money for Nothing track signifies the zenith of commercial success for both Knopfler and Dire Straits, also hinting at the start of the end. The nagging doubts began as he faced colossal crowds, wondering if they might have overindulged in success.
“When you’re constantly performing at mammoth festivals and overhyped gatherings, a certain element of authenticity is lost,” muses Knopfler. This loss prompted questions in his mind; perhaps he was overanalyzing or should have persevered and let the band reach unfathomable heights, similar to a country as gargantuan as Brazil.
Knowing as one of the former members of the band ‘Dire Straits’, which disbanded for the first time in 1987 and finally in 1995, Knopfler decided to concentrate on his individual career without any interest in reviving the old band. He was conspicuously absent as the only member of the Dire Straits when they were honoured at the Rock & Roll Hall of Fame in 2018.
His musical achievements since the band’s breakdown have not relied on past success, as he has dedicated his time releasing a spectrum of heartfelt and skillfully produced stand-alone albums. One Deep River, his 10th release, opts for a more introspective approach, creating an atmosphere more suggestive of Romeo and Juliet than a Money for Nothing vibe.
This latest recording was finished around the time of his 74th birthday, and it vividly portrays his formative years in Blyth, a small seaside town near Newcastle, as well as his experiences during his initial years in London. This was a time when he was merely another hopeful guitarist aiming to make a name in the music industry. According to Knopfler, his work has always had autobiographical aspects, but this time they seem more pronounced.
He identifies the autumn-themed track ‘Watch Me Gone’ as carrying a significant degree of his personal narrative, recalling his departure from home for the pursuit of recognition and success, stating, “I knew there was something. And I knew there was no choice.” This song echoes the essence of the album cover, depicting Knopfler crossing the iconic Tyne Bridge in Newcastle and taking his leave for London, symbolising his preparedness to embrace the vast city life.
His album also incorporate thread of folk music, prompted by his lifelong admiration for Irish music and culture. Throughout his teenage years, he was engrossed in the works of James Joyce and later found his ways crossing with Seamus Heaney. His admiration for Irish culture led him to create the mesmerising soundtrack for Cal, a social-realist drama filmed in Drogheda, directed by Pat O’Connor, and starred Helen Mirren and a young John Lynch in 1984.
I’ve had the pleasure of encountering Seamus Heaney a few times. He fancied my work and even sent me a copy of The Spirit Level. Rekindling my spirits, he told me. This deeply moved me. As I grew up, Irish literature became incredibly significant to me. From the moment I began reading adult literature, Irish books were a constant presence, involving works like Finnegans Wake, Ulysses and so on.
Irish writing, remarks Knopfler, has been an extraordinary asset to the world. I’ve explored Edna O’Brien’s works, amongst other Irish authors. Irish literature and music felt inherently woven into my personal world. I’ve immensely relished the tracks of Van Morrison and the traditional folk music he created. Indeed, The Chieftains have always been my favourite and I enjoyed working on their 1995 album, The Black Veil.
Thinking fondly of Rory Gallagher, the respected blues guitarist from Cork, who spent his career overlooked by the fame of Eric Clapton and Jimi Hendrix, despite being just as exceptional. Knopfler has been a long-time supporter of Gallagher recalling seeing him perform one of his renowned solos in North England in the late 1970s.
“I saw him in Leeds before Dire Straits was formed. I enjoyed watching Rory and was charmed,” comments Knopfler. He further recalls, “The blues captivated me entirely. That was my passion, more than any other music. I spent a good deal of my time with Steve Phillips, a well-known blues guitarist, and consumed a large amount of electric blues. Steve’s record collection introduced me to a lot of county blues.”
Drawn from their shared experiences, both Knopfler and Gallagher’s narratives tell the story of highly gifted individuals who found their place in the world far from the bright lights of the music industry. Gallagher never chased fame, and Knopfler shared this perspective. He did not feel threatened by the celebrities he would later encounter – including Bob Dylan, who he mentions, together with Van Morrison, in Watch Me Gone, crooning: “Well, maybe I’ll hit the road with Bob/ Or maybe hitch a ride with Van.”
Knopfler cherished his plans of touring with Dylan during his yearning days to escape northeastern England and carve a niche for himself. A few years later, this aspiration remarkably materialised when Dylan requested his contribution in producing his 1983 album, ‘Infidels’.
Although he esteemed Dylan, Knopfler was confident and not in any way overwhelmed by his persona. He had the courage to voice his opinions, a quality that the American musician admired. Knopfler reciprocated Dylan’s fondness for him, resulting in a mutual regard between the two.
Having fostered many bonds with other musicians throughout his career, it aided him immensely when he planned to rework his 1983 solo work ‘Going Home’ (from the Local Hero soundtrack) for the Teenage Cancer Trust charity.
The term ‘rework’ would be a trivialisation of the effort he put in. He brought together a star-studded ensemble of musicians to contribute to the song, featuring big names like Eric Clapton, Bruce Springsteen, Slash, Eric Clapton, Ronnie Wood, Pete Townshend, Peter Frampton, Sting, Brian May, Joan Jett, and David Gilmour. The percussion was taken care of by Ringo Starr and Zak, his son. The album was attributed to ‘Mark Knopfler’s Guitar Heroes’ and also featured the late Jeff Beck, who contributed his part shortly before his demise the previous year.
Townshend was the first to participate, possibly because of his involvement with the charity. Clapton joined in the following day, and in succession, everyone made their valuable contributions. When Gilmour, Beck, and several others submitted their parts, it immensely added to the track. Frampton made his contribution all the way from America. Lastly, the father-son duo of Ringo and Zak infused their special touch. The final result was a collaborative effort where everyone, including Sam Fender and Sting, contributed wholeheartedly.
The narrative of Dire Straits is emblematic of the fast-paced transition from obscurity to celebrity. The band was established by the Knopfler brothers along with their comrades John Illsley and David “Pick” Withers in 1977. In only a few months, their debut single, Sultans of Swing, fondly buoyed by BBC Radio London, propelled them into the spotlight. A successful recording contract materialised swiftly with the aforementioned track making a big impact in the Netherlands first, then moving across to North America and eventually reaching the UK. Even the Irish market embraced the track, pushing it to number six in their charts.
At the apex of their success, as money poured in, the band found itself dismissed as relics of the rock era, epitomised by Sultans of Ping, who jokingly adopted their name from Sultans of Swing. Yet, the band’s beginnings were far from illustrious. Sultans of Swing was inspired by a Dixieland group Mark Knopfler observed in a nearly empty pub in Deptford, South London. Rather than exuding the aura of rock’n’roll audacity, the song reflects a tale of failure.
Knopfler’s account of the Sultans of Swing describes an ordinary man in worn-out attire, whose image seemed more akin to a geography teacher than a rock star. Despite the notable dissonance between the attractively glamorous name and the profane appearance the band possessed, that was the inspiration. He recounts that he was often presented with this type of incongruous scenario.
Subsequently, the inspiration for the song Money for Nothing was similarly bestowed upon him, told from the viewpoint of two labourers remarking on the seemingly effortless lives of the rock stars they observed on a parade of television screens in an electrical store.
Knopfler shared with critic Bill Flanagan that the protagonist of ‘Money for Nothing’ is an employee from the hardware section of an appliance store which sells TVs, bespoke kitchens, fridges and microwaves. He penned the song while present in the store, inspired by the language used by the man working there which had an authentic ring to it. Contrary to some artists who tend to dislike their most successful hits, Knopfler holds a particular affection for ‘Money for Nothing’. He attributes his fondness to the comical character of the TV salesman who unknowingly provided the essence of the song through his speech, making Knopfler laugh as he jotted it down.
Although Dire Straits is in Knopfler’s rearview, he forever cherishes the accomplishments he achieved through the band. His dreams morphing into reality was a phenomenal experience that provided him and bandmate John Illsley with unforgettable moments. Far from shunning his past, Knopfler embraced his musical legacy until he hung up his touring boots in 2019, always fulfilling the expectations of his fans by performing their beloved Dire Straits tunes. He believes it his duty to deliver what the audience desires, and to fall short would be a betrayal of his commitment to his followers.
Playing a significant track like ‘Brothers and Arms’ is a consequential moment, Knopfler notes, as it brings to mind the reason people came to the concert in the first place. In playing the opening bars, he knows the band must give it their all and execute it to the best of their ability. He feels that they owe this to their fans, and that a song like this deserves full commitment and belief from the performers, rather than being cast aside.
Knopfler’s latest work ‘One Deep River,’ is set to be released by Mercury on Friday, April 12th.