Courteeners have shared the title track of upcoming album ‘Pink Cactus Café’, with frontman Liam Fray telling us about the band’s newfound collaborative mindset.
The Manchester indie legends have today (September 12) shared the album’s dreamlike title track, after the feel-good ‘Solitude Of The Night Bus’ arrived in July. The album – which follows 2020’s soul-baring ‘More. Again. Forever.’ – is Courteeners’ most collaborative body of work to date, with contributions from the likes of DMA’s, Pixey, Brooke Combe and James and Ian Skelly of The Coral.
“It did take me somewhere else where I’ve never been with the band, in terms of my approach”, Fray told NME, describing the “psychedelic dream” vibe that underpins ‘Pink Cactus Café.’ “I do feel a lot of pressure, I was scared of failing so much that I forgot to enjoy it. Maybe this album is the embracing of what we do. Relaxed, but still meticulous in the approach.”
Where might you discover a ‘Pink Cactus Café’, then?’ “It’s the place where you feel – I don’t want to say safest – but the most you”, Fray told NME of the escapist metaphor. “External voices and pressures, you just fuck that off. What’s that saying? ‘Dance like no one’s watching.’
“It could be anything. A café in Marrakesh, the chippy in Cheetham Hill. A night on your own, saying ‘I’m gonna have a bit of ‘me’ time.’ Watching the match with your dad. Your own space, but you have to go and make it – it’s not going to fall on your lap. You have to seek it out.”
Check out our full interview below, where Fray spoke to NME about opening himself up to collaboration, the impact of last year’s ‘St. Jude’ 15th anniversary shows and if Courteeners could return to Heaton Park alongside Oasis next summer.
NME: Hello Liam. How did the new single come together?
Liam Fray: “I demoed it with Theo [Hutchcraft, Hurts] and Joe [Cross, touring bassist] up in Manchester, and it sounded like The Coral, you know? The natural thing was to then take it to James Skelly and get that Coral authority on it. They’re the kings of melody. It felt like a single straight away… I couldn’t wait to get to the chorus.”
Just like ‘Solitude Of The Night Bus’, there’s a whistled melody throughout…
“People are going to think it’s a whistle album! My late Uncle Pat – God rest his soul – was a big whistler. You just don’t hear a whistle anymore, right? That Peter Bjorn and John song [‘Young Folks’], I know it’s an old school indie hit, but it’s really fucking infectious.”
Can you name any real-world examples of your own ‘Pink Cactus Café?’
“Robin Sharma’s book The 5 AM Club – I belonged to that club for quite a few years, but not at the beginning of the day! It’s been getting up and out, being a bit more present – leave your phone and AirPods. I’ve started turning off my phone – that feels like going to the Pink Cactus Café, where I’m like, ‘this is fucking bliss.’
“I’ve done meditation for a long time. The birdsong in the park – fuck me, that is the drug. Fucking hell, what a reset. It’s very different to the birdsong at 4am, when you can’t sleep – it’s a lot more wholesome. Those are maybe not some things you’d usually associate with Courteeners.”
The album feels quite euphoric – the second track ‘Weekend Shy Of A Feeling’ really sets the tone…
“It’s got a bit of HAIM in there, the shuffle and the middle eight. But then it’s still very Manchester: ‘Take me out for a knockabout / Against the wall of the time hole‘. If a Mancunian joined HAIM, what would it sound like? Maybe that’s it! That chorus is so euphoric. That’s one song where it feels like, ‘If Courteeners can do that, the shackles are off.’ It really opens up another world. It was important to get it on early, and put a marker down.”
At the same time, ‘Bitten By Unseen Teeth’ feels like a nod to vintage Courteeners…
“It feels like ‘late 30’ Courteeners; more grown up. The others could just be pop songs, whereas that one feels closer to an old school Courteeners diary entry. It’s a bit more personal, which wasn’t in there as much this time. That’s the thing… not having to make it ‘the Liam Fray show’ – fuck that.
“Maybe that’s part of growing up, not being as self-absorbed and having people around you that help you get to that point. To be sat with people I really respect – James Skelly, Rich Turvey – felt like a really pivotal moment in my development as a musician. It’s almost like you’re giving more of the song to the band, or that producer or songwriter. It was so collaborative and communal.”
Did you offload much of that personal baggage on ‘More. Again. Forever.?’
“I think I did. That album was really cathartic, and maybe I didn’t realise that until it had come out and I was singing it.”
You mentioned that collaborative approach – was it enjoyable working with your long-time pals DMA’S on ‘The Beginning Of The End?’
“Tommy [O’Dell] has got the best voice ever: it soars. He was bringing my voice up on that song, they’re really cohesive together. I watched their Manchester gig the next day, and that brought it home… why has it taken me 16 years to reach out to people?
“A big shout out to Theo Hutchcraft too, he really made me feel 10 feet tall in the studio. You’re each other’s therapists in the studio, because you’re laying your heart out to each other, you know? You’re giving them lyrics, and they’re reading between the lines, supporting you in a different way. It was more than a record – it felt like a support network for each other. For anybody else who’s never done it, don’t be scared to reach out.”
Once that door was opened, did it help unlock the rest of the album?
“I was nervous, I’d never really done a writing session with somebody. Fear of falling, fear of failing – both, really. Having your peers say ‘this guy’s shit’ – but that’s the other thing it’s [taught me], don’t be scared about that. They’re in the same boat as you… all egos dropped off at the door. I can’t speak highly enough of Brooke Combe and Pixey – I would be in a room with them tomorrow if they asked. Brooke will be a star, she’s fucking unbelievable. Pixey’s vocals [on ‘First Name Terms’], I’m still getting that lift from them.
“It was all over the fucking place, [intially] over 20 songs with four producers. Liverpool, Manchester, Wales – I wrote a lot of it in New York, too. I’m quite scatty and all over the place, so that suits my character down to the ground. Looking back, that’s how we had to get to the end point, I guess.”
Did the nostalgia trip of 2023’s ‘St. Jude’ anniversary shows affect the forward-thinking flow of the album?
“Absolutely, it did [disrupt it]. People going nuts to your first record is pretty daunting when you’re trying to do album seven. Shit, are they gonna still like this? You have to really trust your instincts, trust your gut. If you can stay true to yourself, whatever the fuck that is, and be authentic, I think you’re gonna be OK.
“No one’s album is ever as popular as their debut – as we are seeing with Oasis – that’s what people remember you by. It was fucking cool to see a load of 16-year-olds in the crowd going bananas… ‘St. Jude’ is their record. Just because you weren’t there the first time, it can still mean as much. I saw Anaïs Gallagher saying something about that, she’s spot on. In this interview, I feel like I’ve aged 10 years, but in a really good way!”
Last year, you told NME you had two albums in the works – what’s the update with the second one?
“There are a few more songs [which] haven’t been touched, because I think they’re so good – and usually I’m a bit of a dabbler. It’s maybe not a part two to this, but I could almost see it as being the third chapter of the band. There could be three albums, I don’t know! I’m talking too much.
“In my mind, I’ve got a piano and drum machine album, and I’ve also got a Black Rebel [Motorcycle Club] album. Remember the Archie Bronson Outfit? There’s an album in that ‘Cherry Lips’ zone, waiting to be made. I’ve got these three or four moves that I want to do. I like the idea of making an album in a room with acoustics, tambourines and maracas – it’d be a bit campfire. ‘Tightrope’ by The Stone Roses is a good reference point for that. I think I’ve just told you about six records!”
Finally, were you in the know about the Oasis reunion?
“Not really. I didn’t know about the Blossoms advert, any of that – and I’m good pals with them. It was all kept very secretive. I always thought they would [reunite]… but when you hear it, you’re like, ‘Fucking hell, this is big.’ It made me feel young again. I’ve been in France for two weeks, and I was listening to ‘Definitely Maybe’ on the way back. I got off that train feeling 10 feet tall – that’s what Oasis does to you. I was quite emotional about it.
“Me, Campbell and Conan went to watch Oasis at the Reebok Stadium in 2000. I remember during ‘Cigarettes & Alcohol’, I said, ‘We’ll start a band, us three.’ We had our other friend Chris with us, but Chris didn’t make the cut, unfortunately. Even when they split up, those songs still remained in your life – they never went anywhere.”
Will you be heading to Heaton Park next summer – perhaps even making an appearance on the bill?
“100 per cent, I will be there. Supports and stuff, I don’t think any of that’s been talked about. Listen, they could ask whoever they want – it’s still going to be amazing.”
Courteeners’ new album ‘Pink Cactus Café’ is due out October 25 via Ignition Records. New single ‘Pink Cactus Café’ is out now. Check out their full UK tour dates below and visit here for tickets and information.
NOVEMBER
14 – OVO Hydro, Glasgow
15 – Co-op Live, Manchester
16 – O2 Academy Brixton, London
21 – First Direct Arena, Leeds
22 – Utilita Arena, Cardiff
23 – Utilita Arena, Birmingham
