C Duncan has built a reputation for crafting intricate, dreamlike music that bridges classical composition with contemporary songwriting. With his latest album, It’s only a love song, he has embraced an even richer, more orchestral sound- a culmination of his work to date. We caught up with the Scottish musician ahead of his Independent venue week show in Sheffield to discuss the albums reception, his evolving creative process, and the unexpected joys of imperfection, and discovered a witty, interesting and self effacing musician, who’s at the top of his games right now.
For an artist, the gap between finishing an album and its release can be an odd limbo. By the time listeners hear it, the creator has often moved on, already envisioning the next project. This was certainly the case for C (or Chris) Duncan.
‘I’ve had these songs finished and mastered for about five or six months now’ he says. ‘It’s strange listening back, but I actually played it in the car today to try and memorize some of the lyrics. I’m terrible at that!’, he laughs
Despite the time that has passed since completing the record, the response has been overwhelmingly positive. ‘Much to my surprise, actually,’ he admits. ‘I’ve had so many lovely messages from people saying how much they love the album, and it’s been really nice.’
Duncan is particularly pleased with how the press has picked up on the record. ‘in the past, radio has been the main avenue for getting my music heard, but this time around, the press has played a much bigger role, especially in Europe. I didn’t expect it, but suddenly you find out you’re in Rolling Stone Germany or some other publication. It’s completely out of the blue!’.
Part of the album’s international reach may stem from Duncan’s long-standing relationship with Bella Union, the respected indie label known for its roster of lush, atmospheric artists.
‘I think being on Bella Union helps’, he reflects. ‘They have such a strong fanbase, and listeners trust what they put out. But beyond that, they’ve recently moved under a new parent company, Believe, which has offices across Europe. I think that’s had a big impact on press and exposure.’.
While his previous albums have found dedicated listeners across the UK, Duncan is excited about the prospect of performing more widely in Europe, where there seems to be a growing appetite for his music. ‘Germany, especially we’ve never really done much there beyond the odd festival. But now, with all this press coverage, we’ re looking into playing more shows over there.’
One of the defining characteristics of Duncan’s music is its orchestral richness, something he has been building toward for years.
‘i’ve always wanted to make something lush’, he explains. This album is the biggest I’ve done yet, in terms of sound. I listen to a lot of classical music and love the songwriting of Burt Bacharach, so I wanted to merge those influences – those close harmonies, sweeping strings, and slightly quirky melodic sequences.
He cites 60s and 70s French cinema as another influence on the album’s aesthetic. ‘I love the soundtracks from that era – there’s something so charming about them. They’re romantic, but there’s also this slightly surreal quality, which I find really inspiring’, he told us.
Music runs deep in Duncan’s family. Both of his parents are professional classical musicians, and while they took early retirement, they still perform regularly. Naturally, he enlisted their expertise for the new album.
‘For my last record, I played all the string parts myself – on just viola. But it wasn’t quite right. This time, I thought, let’s bring in the professionals’, he laughs. They came in and, of course, immediately had opinions on my arrangements – “Oh, you don’t need that”, or “That’s too high” But in the end, it worked beautifully.â€
Duncan’s collaborative spirit extends beyond family. Over the years, he has become more involved in producing music for other artists, which has given him greater confidence in his own abilities.‘I suppose I used to doubt my mixing and production skills. But now, after producing four out of five of my albums and even working with other artists, I trust my instincts a lot more’, he says.
Unlike many artists who seek out professional studios, Duncan has always gravitated toward recording at home. ‘I love working late into the night, in my own space’, he says. Apart from one album, I’ve recorded everything from home, and I think I’ll always do at least the heart of the process there’.
One of the most exciting projects on Duncan’s horizon is the construction of his own recording studio, a move that will transform the way he works. Based in his home- ”a Victorian terrace”, he’s currently converting the unused basement into a fully equipped workspace. ‘It’s underground, which is perfect – none of the neighbours can hear, and there’s no passing traffic’, he explains. ‘It’s in this little triangle that leads to nowhere, very Victorian, no through traffic or anything’.
For Duncan, having a dedicated studio isn’t just about convenience; it’s about enabling a new level of creative freedom. ‘Once it’s finished, all my stuff will be set up all the time’, he says, clearly excited about the prospect. ‘I won’t have to go through the process of setting up every time I want to record, I can just walk in and start working. This change, he believes, will allow him to work much faster. ‘I could be doing an album a month! – or recording someone else’s, if I’m not working on my own,’, he chuckles.
His current home in Helensburgh, just outside Glasgow, has played a big role in shaping the sound of It’s Only A Love Song’. ‘We moved into a house, and one of the first things we did was buy a baby grand piano at auction. I’d always wanted one, and my partner liked the idea, even though he doesn’t playThat piano, a slightly imperfect but characterful German instrument, became the foundation of the record. ‘You can hear it’s sometimes a little out of tune, a bit wonky. But I liked that. I could have re-recorded things, but the quirks give it personality’.
This embrace of imperfection marks a shift from his earlier work, which leaned more on digital polish. As he says, ‘With my first few albums, I was trying to make everything sound very natural, but through a lot of meticulous editing. Now, I’d rather things just sound real from the start’.
He acknowledges that this approach also made the recording process feel more organic. ‘When you let go of trying to make everything perfect, the music breathes more. There’s something more human about it.’
As for what’s next, Duncan already has new ideas brewing. ‘This record was about lushness, but the next one will be something different. I’m always evolving’, he says.
His growing experience as a producer has also opened up new creative avenues. He recently worked on an EP with Downton Abbey actor Michael C. Fox, as well as an album for Scottish harpist Gillian Fleetwood. ‘Working with other people has been great. It’s a different kind of challenge, and it’s given me more confidence in my own work’.
For now, though, Duncan is enjoying the moment, seeing his music reach new audiences, and relishing the quirks and imperfections that make his sound unique. ‘I used to obsess over getting everything just right’, he says. ‘But sometimes, the best moments come from the things you don’t fix’.
With that, C Duncan took to the stage in Sheffield – a place he’s always enjoyed coming to, and gave the audience a beautiful, engaging and memorable set of pop songs to take with them. And if there were imperfections, it didn’t sound like it to us.
