Singer-Songwriter David Thomas Broughton Talks About Being Thrown Out of His Own Show Ahead of Jul 3-4 Gigs

Nobody puts on a show like David Thomas Broughton. From sampling heckles and immediately turning them into looped vocals for his performance, to having security kick him out of his own gigs, the Yorkshire-born, Seoul-based singer and guitarist pushes folk to a far-off fringe armed with little more than a guitar, loop pedals, and penchant for the absurd.

Ahead of his back-to-back July 3 gig at Mogu Space and July 4 show at Yue Space, the quirky troubadour tells us about how he developed his offbeat style.

Your website's bio says "David's organic approach to loops include all the glitches and mistakes ... building pieces to let them destroy themselves, before swiftly moving into the next." How did you realize this process worked for you, rather than a more conventional approach?
I stumbled upon it through various factors. First of which is through being an untrained musician. I continue to develop in confidence – so the process is partly me still learning what is possible, bound by my limited skill.

With basic components of rudimentary guitar playing and a love of singing, as well as a sense of exploration, I piece together what could be called sound collages, which are partly accidental. Over time I learn which different things work together, or at least to produce something that satisfies me. Even discord and abrasion has it's own satisfaction.

Where does that satisfaction come from?
Perhaps there is also an element of "testing" myself and an audience to see how much can be endured, while still striking a balance that can be appreciated and enjoyed. Right from the beginning I did not have the ability to play a song in a clean-cut professional singer-songwriter setting, addressing the audience, accepting applause, and chatting between songs. I was crushed by nerves. It started and continues to be one continuous piece, comprised of movements which take me and the audience on a "journey." There tends to be an emotional thread through the music and lyrics – I can't say whether it was intentional or not. The short answer is that it developed over time, but settled as being how I felt comfortable and how the audience came to accept me.

The Guardian mentioned that you once "looped a heckle into a musical refrain." How did that come about?
It was part of the anecdote from someone interviewed for the documentary that was made about me. I can recall the show but not any of those details. Nevertheless, a very early show – and many of these early shows – saw a lot of hostility from those who expected something more conventional, or at least someone who could tune a guitar! I pointed my sample mic toward the shouts and they mixed into the loop – for the rest of the piece the loop continued to repeat the words – which I can't recall at all. As I was busy on stage I didn't really see what happened with the audience. But I hear the people responsible became embarrassed and left the venue.

Is there anything you wouldn't do onstage to push the envelope?
I try things out to see whether I enjoy doing them and whether they are entertaining, or have some musical merit. I'm happy for audiences to see things fail as much as succeed, as I think I am ultimately trying to show honesty and raw humanity through songs and performance.

I do not do anything that would physically hurt or deeply offend an audience. I have strict limits on how people should behave toward one another – I sincerely hope that the audience understands the respect I have for them. I know people have interpreted some kind of contempt in the person that graces the stage, I think by a lack of engagement with the audience, that is something which developed out of a nervous disposition.

Are there other artists that you look up to, in terms of inventive off-the-wall performance styles?
I have a conflict of personalities in my shows – the singer/songwriter and the performer. I could feel I am competing with the songwriters I respect, but I cannot let myself feel that they are what I should be aiming for. Then there are artists like Lucas Abela who used to perform as 'Justice Yeldham' where he played a plate of glass with his mouth – it had contact microphones attached to it and he amplified the sounds he could create. Every show ended up with cuts to his face. It was a visceral experience both to watch and also listen to. And then I have often worried about the incorporation of humor – and where people may demote me to a lesser value of comedy songwriter. But to me it means more than that – it's part of the representation of the full spectrum of being human.

What have been some of the funniest or most memorable reactions to your performances?
People who feel the need to approach me often have taken something more meaningful from the show. But I tend to be miserable and focus on the negative – it is a bad habit – so I remember the review "I paid 10 pounds to see David Thomas Broughton, and now I want it back!" I guess that reviewer was not happy about spending most of the gig next to a personal attack alarm that I'd set off. And at the majority of shows it's not too long into it before someone walks out, a fault of theirs for expecting a 'folk' musician.

Early on I'd get upset when audience members laughed. It became apparent that there's going to be a whole range of reactions and of course they are laughing with me (I kid myself).

There's one time I accidentally kicked an empty beer can off the stage and it hit a guy's girlfriend in the face. Of course I was horrified – he sternly made me apologize to her! I also recall a time I was thrown out of my own show by security while my loop continued to play for 20 minutes until a shift change in security guard allowed me to continue the set!

Sometimes people seem to have had suggestions of some noise making devices I could use. Then I had someone refer to my performance as a series of "tricks" – as though I was a magician – so I sometimes parodied sleight of hand tricks really badly, like the old British comedian Tommy Cooper.

You manage yourself, handle your own publicity, and essentially work as a one-man operation. Does that add anything to your artistry?
It's a relatively new venture and it may not last, as I now realize where a team earns their percentage. I do think that more artists should understand everything that touring and performing entails around the shows, as it can only increase the respect you have for others across the music industry. I value humility as one of the highest qualities anyone should possess – you know, just like Donald Trump.

As for inspiration and motivation, I'm not sure it adds anything. Rather, it ensures you have the resolve to plough forward. I think some people could buckle under the weight of having to spend so much time on admin.

Anything else you'd like to add?
Not sure ... Just looking forward to bringing my evolving ideas back to China, I haven't had much time to practice over the last year of new fatherhood, so I have no idea what will happen.

David Thomas Broughton will perform at Mogu Space on July 3 (changed from the original venue of 69 Cafe, tickets available here for RMB 50) and Yue Space on July 4 (tickets here, RMB 80 at the door, RMB 60 in advance). You can read more about David Thomas Broughton via his website here.

More stories by this author here.
Email: kylemullin@truerun.com
Twitter: @MulKyle
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Photos: The Fix Magazine, Indiegogo, Sarah Dorman