After releasing his singles “Lovin’ Carefully” and “Practice What You Preach,” Carleton student and singer-songwriter Andrew Waines has made his presence known on local charts. The Ottawa native came off a Grey Cup festival performance, released a cover of George Michael’s “Last Christmas” along with three other singles, and has bookings for Ottawa’s Bluesfest in July. Waines sat down with The Charlatan to give us an update on his career and what his goals are a musician.
The Charlatan (TC): Where did your love for music come from?
Andrew Waines (AW): I remember playing Guitar Hero and taking to that [well]. I tried piano but that didn’t work out, so I went with the guitar. I got a teacher in Kanata who took me under his wing and showed me the ropes in terms of how to be a guitar player. When you find something that you like, it’s so easy to go into. I started playing when I was 13 . . . without any lessons. I was progressing but I wanted to get someone who knows what they’re doing—tell me what’s right and what’s wrong. So, I did that for a couple of years, and then in Grade 10 I got the opportunity from my teacher to play for a country band, for Jordan McIntosh . . . We toured across Canada and [played] for a bunch of big country shows—Boots and Hearts, Dauphin. It was a good experience, and I knew it was what I wanted.
TC: What have you been up to?
AW: The Grey Cup festival was kind of the first bigger festival I’d gotten booked on my own. That came about with my just working on music, writing, releasing that original single, and filming in St. Lucia and doing press. After that, we released “Last Christmas,” which got on [local radio station] Magic 100. They played that a lot during the Christmas season, which was awesome! Following that, it wasn’t too far from when Bluesfest got announced. But that was crazy, seeing my name next to the Dave Matthews Band. Like I said, it’s super full circle for me so I’m honoured to be asked to play there because Bluesfest is the thing in Ottawa.
TC: How was the atmosphere [at the Grey Cup festival] different with the sport and the whole spectacle leading up to the game?
AW: Everyone was happy to have the festival there. It was a good time, with good vibes all around. There wasn’t really any sense of draining or anything . . . Maybe because it was cold people [didn’t] go out, but people were happy to be there. One of the players tried to throw a football at me while I was on stage. He was joking, but then he [tried] it like a couple times and I was like ‘Okay, he does actually want to throw it.’ But we were in the middle of a song . . . He didn’t end up doing it, but I should’ve threw my hands out.
TC: Fast-forward about a month and you release “Last Christmas.” Why George Michael, and did you incorporate any of his style into the song?
AW: A lot of [his style] was kept for that song. I produced the version that we used because I fell in love with that song: driving and picking up the Christmas tree, my parents have cassettes for all the songs . . . For me, I wanted to keep that energy, the same that he had. Naturally, I wanted to put some guitar into it, and do my own take that on what’s already there. So, I was preserving my energy and adding what I bring to the table. Even for the video, we shot it up North, Christmas lights are everywhere. It was really cold though—every take we’d run in . . . and not feel a thing.
TC: 2018 rolls around, and “Practice What You Preach” is released. Can you talk about the message? What kickstarted the idea?
AW: It came about a past relationship of mine. “Practice What You Preach” is really about a moment where people always tell you to reach for your dreams, but when push comes to shove, they’re not always there. So, during this relationship I was in, I was on tour with a country band, and I’d be playing shows. I wouldn’t have a lot of free time because generally I was busy, so she would tell me to keep going, and eventually tell me ‘Why are you doing this? It wouldn’t pan out.’ So far out of the two singles that I released, this one hits closest to home . . . it’s the single I’m most proud of so far.
TC: How did you go about getting a booking for Bluesfest?
AW: Bluesfest had reached out to us and offered us a spot, an hour slot, and said, ‘We’d love to have you.’ With the issues surrounding the crowds at Migos and other pop groups, I think they wanted more local talents come out. What they decided was to invite me and have me on and perform. It was very sudden—and that’s one of the coolest things, when an unexpected cool thing happens. It’s a sign of ‘you’re doing things right, so keep going . . . a pat on the back.’ I was super shocked and I was honored . . . It’s crazy to think that I’ll be on the same stage as Bryan Adams and Lady Antebellum. This will also be another full band performance.
TC: Give me one of your favourite blues artists. How do you connect to their music?
AW: Well for me, there’s two: Stevie Ray Vaughan, crazy force with a sound that hits you like a brick; and B.B King, a softer side, but every note means something. I’m a guitar player first, so that’s usually how I write my songs. The thing I like about Stevie Ray Vaughan is his force, and you can tell there’s emotion oozing out. It’s just crazy ‘shredding’ and all this stuff. On the opposite side there’s B.B KIng, who can shred, but chooses not to, because less is more you know? In music, it’s not about playing as many quick notes as you can, it’s about playing with the listener . . . I really try to incorporate both in my playing.
TC: What drives and motivates you as a musician? What are some goals you set for yourself as you head into 2019?
AW: My goals are to write more music, and get better at producing. The drive I get is purely through fans, and performing. Just being able to be at a position where I can perform at Bluesfest and have people come out . . . At the Grey Cup festival, these two girls came out and had my face on their shirts—the support was really endearing, and it was about that moment everything leads up to: the connection through the music, fans, and yourself.
Photo by Trevor Swann
