INTERVIEW: Passenger (UK), February 2011

I can honestly say that of every artist to completely explode on a global scale of the past few years, no-one has deserved it more than Mike Rosenberg. All the dude has ever had is a guitar and some dreams. Now he’s playing arenas. How many people get to say that? Like, make what you will of the guy’s music. It’s not for everyone – or, maybe, some people don’t like it because it is for everyone. Whatever the case, you’ve got to hand it to the guy for his goddamn hustle. I’ll always love Mike, and interviews like this are one of the many reasons why.

– DJY, October 2014


Mike Rosenberg doesn’t do interviews. This isn’t to imply that he is stuck up or pretentious or anything of the sort. Rather, when Rosenberg – better known to most as Passenger – is scheduled to do these “interview” things, he throws that idea out the window and engages you in conversation. None of this I’m-an-artist pedestal – Mike, an expat Brit who now spends most of his time in our fair country, is just an ordinary guy who just happens to make extraordinary music.

“I’ve been pretty busy, man,” he says when it comes to his work as Passenger. “Lot of touring last year -did shows with Boy & Bear and then my own tour, which was cool. I did Woodford [Folk Festival] in the new year, did some shows with Josh Pyke, lots of busking, writing, recording…just smashing it, man. It’s been good fun, though!”

Perhaps it’s this level of activity and productivity that has kept Passenger’s profile growing at an exponential rate. Additionally, perhaps it’s his warm and friendly nature that has seen him buddy up with some of Australian music’s biggest names on his second studio album, Flight of the Crow. Every single song is a collaboration with another act – from Philadelphia Grand Jury to Dead Letter Chorus, from Katie Noonan to Kate Miller-Heidke, Matt Corby, Lior, touring buddies Josh Pyke and Boy and Bear… it just goes on like this. Sure, he’s probably been asked a thousand times over but how exactly does one go about making such fast friends?

“Well, I paid a lot of people a lot of money, and I threatened to kidnap as well,” says Rosenberg, his tongue lodged firmly within cheek. “Really, though, dude, it was just one of those things. I knew Lior and Josh through mutual friends, I met Boy & Bear and Matt at a gig. This is the honest truth – it was a really fucking organic process. I haven’t got a label, I’m not signed to anyone, it wasn’t some big PR stunt where we came in with hundreds and thousands of dollars. It was literally just an idea that came about and just went from strength to strength. I was just lucky enough that people with such talent got involved and were so open to being involved with a project like that.”

Much has also been made of the context in which Flight was recorded, too – Rosenberg funded the entire recording process with money made from his extensive busking, something he still does every other week wherever he can. “The reason I did that was for the music – there was no other reason,” he comments. “I think people responded to that. If it had been from any other place, I don’t think it would have been as successful. It all took awhile, a few months or so. The upside of doing something like that, though, is that you’ve got no-one to tell you what songs go on or what should be on the cover or any of that kind of stuff. All that hard work is really paying for creative freedom – and, to me, that’s the most important thing.”

What advice does Rosenberg have for any young buskers who wish to follow in his footsteps and try the same thing? His answer is simple: “Fucking go for it, man!” He continues: “It can make you feel pretty weird, but it’s such a good way of improving -playing-wise, as well as learning to perform in front of people. You’ve got to develop a thick skin, you really do – but it’s so good for you. In music, there’s so many fucking knock-backs and set-backs, you get excited about something and then it falls through. In a really funny way, busking kind of hardens you up. It helps you to deal with that side of things.”

Only a matter of months after finishing his own headlining tour, Mike is back on the road once more this month for the One For The Road tour, co-headlining with his friend Ohad Rein – better known as Old Man River. “He was a guy that I had recommended to me when I was making Flight of the Crow,” recalls Mike on how he and Rein first met. “I’d heard his name thrown around a lot, and I’d heard his music and really liked it, but we’d never had a chance to hang out. It turned out that he has the same booking agent as me, so we met up a bunch of times and it seemed like a really good idea. He wanted to go out with just an acoustic guitar, and I said that was my kind of thing and it just went from there. Too easy!”

INTERVIEW: Jim Ward (USA), December 2008


Funny story about this one: I remember it was scheduled the same day as my orientation day at uni, but I was in no position to say no to interviewing Jim Ward. So, naturally, I got my lunch break and I did my interview at the Uni Bar out the front while a staff member looked on with confusion. Jim was a pensive, thoughtful interviewee; and ended up being a very lovely guy in his own right when I met him not too long after I did this interview at his show at the Annandale. That, fittingly enough, was my first ever Annandale show – I can’t believe I’ve been going to that sumbitch for nearly five years! I’ll always love Jim Ward, no matter what music he’s making. This experience simply solidified that love.

– DJY, July 2013


Jim Ward is no stranger to Australian shores. Each time he has come, however, he has brought something different along with him. Back in 2001, it was with genre-defying quintet At The Drive-In, holding down the rhythm section whilst the future Mars Volta leaders Cedric Bixler-Zavala and Omar Rodriguez-Lopez threw themselves across the stage.

A few years later, Ward was positioned up the front as his new band, Sparta, warmed up an audience in hot anticipation of Blink 182. Earlier this year, he returned without either band to perform solo and acoustically, as both the opening act for Incubus and one of the many artists featured at the 2008 Soundwave Festival.

Now, just over six months since that appearance, Jim Ward is set to play a number of low-key, intimate shows this month. This time, however, he will be showcasing tracks from his latest project, Sleepercar, and its album West Texas.

“This is definitely music I’ve wanted to make for a while,” he comments on the album’s rootsy, country vibe. “It’s stuff that I love, both in the singer-songwriter format and the band format as well. I’ve been working on it for quite a while, and it seemed like the right time to release it, with Sparta moving into a ‘vacation’ stage… it just seemed like something I wanted to do.”

The entire record is a notable change for Ward; not only as a guitarist (favouring a trusty old acoustic in favour of his Fender Esquire) but as a vocalist. His lower-range storytelling shows scarcely any resemblance to the high-octave scream of “Cut away! Cut away!” in the classic One Armed Scissor.

“It’s stretched my limits,” Ward confesses when asked whether the solo acoustic work has challenged him as a singer. He still remains positive that the challenge of creating entirely different music from his past has paid off. “It’s a good thing to be able to learn new stuff and better yourself,” he muses.

Despite having a new backing band in Sleepercar, with which he has toured with extensively this year, Ward’s visit to Australia is on his lonesome. He makes a point of his experiences of tours without a band, and what you take in as a result of solo touring and travelling.

When asked to comment on the life of the one man show, Ward describes it as “a whole new way of seeing things,” in a slightly weary tone (quite possibly the toll of his extensive tours). “It can get a little lonely at times, but it’s also good to explore your head and think about things… it’s a little selfish to do, but I think it’s an important thing to do sometimes, just to get everything together.”

Anyone who has followed Jim’s career to its full extent will note that he has evolved further and further in independence as a musician and songwriter, developing from a key band member to band leader, and subsequently as a solo musician. Each career step, one could argue that Ward has revealed more and more of his musical identity, his soul.

“Yeah, that’s fair to say,” he responds when presented with this thesis. “I think it’s given me a chance to find myself and explore other music, which you don’t normally get to do when you’re working with other people. Over the years, I’ve definitely found more comfort in making music. It’s definitely broadened my horizons.”

Ward’s work with other musicians, of course, has not come without in-band controversy. Huge creative differences were cited as the reason for ATDI’s demise; as Rodriguez-Lopez and Bixler-Zavala went on to form the Mars Volta. Even when the dust had settled on that one, another personal blow to the Sparta camp came when guitarist Paul Hinojos jumped ship… to join his former Drive-In bandmates in the Mars Volta. Despite such potential grudges still to be held, Ward emphasises that such conflicts of his past is water under the bridge.

“I still talk to them,” he states when questioned about his former bandmates. “They played in El Paso [city of Texas in which ATD-I was formed] the other day and I went to the show. Y’know, you grow up and you move on; but it’s still nice to be reminded where you come from.”

He’s certainly come a long way since releasing Hell Paso as a seventeen year old in At the Drive-In with his college funds. However, it seems very evident from the conversation that has just passed with an intelligent, thoughtful and humble man that his creative streak is far from running out. Ladies and gentlemen, please experience Jim Ward.