Hey Mat, thanks for taking the time to talk to us today. Could you tell us a little known fact about yourself?

I always find these questions tricky, but here’s a good one: one of my all‑time favourite artists once stayed at my student house and played a house concert. They were meant to stay for two nights but left after one because the house was absolutely freezing. The gig was great though, and I’m sure they’ve got a story of “that ice‑cold house in Newcastle” to tell forever.

You recently released your album, The Things We Need, which seemed like a real labour of love as you wrote, self-produced and mixed the entire record yourself. Which part of the process challenged you the most?

The album was a huge undertaking. When I got PRS funding in late 2022, I thought I was ready to write and record, but I quickly realised I was much earlier in my development than I’d assumed. Producing my own work was overwhelming – I didn’t know where to start. The only way through was taking tiny steps, over and over, until the record existed at all. I leaned heavily on friends who work full‑time in music, while I split my week between music and medicine, and without people like Ben Helm, Emma Robson, Joseph Lawrenson, Josh Ingledew and David Booth, this album simply wouldn’t have happened.

Speaking of challenges, you also trained as a doctor while making this album, so how did those experiences feed into each other creatively or emotionally?

I qualified as a doctor in 2017 and went straight into Foundation Training – the baptism of fire every new doctor goes through. I then spent a year on a respiratory ward, which is when the pandemic hit. It was incredibly tough. After that I started GP training in August 2020 and finished in February 2024. I’ve been in full‑time education or vocational training from 18 to 30, and I only started writing music at uni, so balancing the two has always been part of my life. The emotional and ethical weight of working in healthcare inevitably shapes how I see the world, and that bleeds into the album. The clearest example is the opening track, There’s Been a Death, which reflects how strained the NHS became during my training and especially during the worst of the pandemic. Watching an under‑resourced system buckle was heartbreaking, and the song is probably the most direct I’ve ever been about those in power failing to protect it.

How did certain techniques, such as opening tunings and layered harmonies, come to define the sound of this album?

I’ve played in open tunings for years – partly because I’m self‑taught and not heavy on theory, and partly because I grew up obsessed with Ben Howard and Bon Iver. Open tunings gave me colours and textures I couldn’t find in standard tuning and made songwriting feel more accessible. Working with Emma Robson on the backing vocals was a joy. I trusted her completely, and she created these beautiful, layered harmonies that feel like their own instrument in places. She added so much character to the record.

Many of the tracks feel like intimate think-pieces, touching on family, politics, conscience, and everyday humanity. How do you decide which personal moments or thoughts become songs?

Almost all my songs – even the ones no one hears – come from things I’ve seen, felt or wrestled with. Songwriting is how I process the difficult, sad or confusing parts of life. I probably should write more about the good bits too. I don’t consciously choose which moments become songs; I just end up writing about whatever’s happening around me. That feels like the most honest way for me to work.

You’ve cited Ben Howard, Bon Iver and Nathaniel Rateliff as early influences, but in what ways do you think your style has diverged from them?

I think it’s important to acknowledge your influences – and to have more than one. It’s the blend that helps you find your own voice. I love Ben Howard’s guitar playing and the way he writes hooks without drifting into pop. I love Bon Iver’s production and how his lyrics can be almost nonsensical yet still hit you emotionally. And I love Nathaniel Rateliff’s ability to create power and mood with more traditional songwriting tools. Little bits of each of them have shaped my own palette.

What’s next for you?

Depending on when this comes out, I’ll be announcing some spring and early‑summer UK dates, with more hopefully in the autumn. There are also a few live sessions from the album on the way, which I’m excited to share. But honestly, I might take a breather too. This album has taken up a huge amount of headspace over the last three‑and‑a‑half years, and I’d love a bit more time with my family and my two young daughters. Beyond that, it’s the ongoing challenge of trying to make an independent music career viable – getting out there, sharing these songs, and slowly building an audience. If anyone enjoys folk music blended with alternative influences, I’d love them to give the debut album a listen. Hopefully it’s the first of many.

Follow Mat Hunsley on Instagram.