NICK WILSON | Shares ‘EVERYBODY BUT ME’ |His Beautiful Music Already Has Fans That Include DEMI LOVATO | We Talk Music & Mental Health

Nick Wilson’s ‘Enough To Know You’ was boosted by an ambitious and cinematic accompanying video, whilst also being added to key playlists including Spotify’s ‘Most Beautiful Songs In The World’ and Apple’s ‘Breaking Singer-Songwriter’. He now once again raises his game as he shares his brand new single ‘Everybody But Me’.

While his songs are often infused with the pain of lost love, ‘Everybody But Me’ comes from a more troubled place. “I know I should feel a little better about it but I don’t,” he sings, backed by a sparse piano arrangement that reveals the full power of the lyrics. The production gains in stature with a reverb-heavy beat, but his words become all the more intense.

Nick wrote ‘Everybody But Me’ with Matt Zara and Sam Klempner, and was also produced by Matt Zara.

He’s destined for a further wave of discovery to build upon countless New Music Friday playlists and 80 million career streams to date.

Although, still relatively early in his career, Nick has already worked with creative forces such as Martin Garrix, the Grammy-nominated Jonny Coffer (Beyoncé, Kodaline) plus Lewis Capaldi’s collaborators Nick Atkinson and Edd Holloway.

First off Nick, thank you for taking the time with us today, first question…

‘Everyone But Me’ has a similar lyrical message to Colour Me In – e.g., not recognising yourself, and asking for support when you need it. Why is this a recurring theme of your work?

I think there’s something so vulnerable and reassuring about admitting defeat or realising you’re not okay and being able to reach out and ask for help when you need it. I’ve definitely had to remind myself to not keep things pushed down and instead open up to others, and I think that’s something I just find refreshing to talk about!

Often when we are struggling with mental health, it’s hard to reach out for help. Why was it important to you to touch on this positive action in this song, especially at this time?

Yeah, I think that’s the main thing - it IS hard to reach out, especially when we’re at our lowest. But I think it is in hearing subject matters like this that we realise it is okay to do so, and that’s why I wanted to release this song, especially in the times we’re going through at the moment, being not only emotionally but physically restricted in some cases.

You worked with Sam Klempner and Matt Zara on '‘Everyone But Me’. They’ve worked with industry stars like Dua Lipa, James Arthur, and Jason Derulo. What was it like working with them, and how did they influence the song?

They are both good friends of mine, and so it was really really natural and easy to work with them both. We just spoke about everything we were all thinking about and going through and gravitated towards this idea. Sam came up with that original opening piano melody that kind of carries the song, and Matts production really solidified it.

You’ve said that ‘Everyone But Me’ is about comparing yourself to others and seeking their validation. Is there an aspect to this message around seeking validation for your work that is about your personal journey and growth?

Definitely, I don’t think I could write about something that hadn’t affected me personally at some point. Especially in music, it’s so so hard to tune out all the noise around other musicians or friends that are doing things. That’s something I struggle with all the time, but it’s also something I’m learning to not care about.

You’ve stated: It’s so easy to see what you think is other people at their happiest when you’re at your lowest, and it’s in that comparison that you end up feeling worse, lonely, and on your own. Comparing ourselves with others, especially via social media can be toxic for our mental health, but since lockdown, it’s become one of our only ways of interacting with other people. How did this contribute to your thinking around the comparison when writing the song?

It’s funny, we actually wrote the song last year before the notion of a lockdown even crossed our minds, but it has taken on a slightly new meaning since. It’s very true that it’s a lot harder to ignore social media or other people’s lives when we’re in lockdown, and I think that gave new life to that notion. There were a few moments at the beginning of lockdown when I actively had to stop using Instagram as much as it was overwhelming me.

It’s a common feeling to want to reach back out to previous exes or relationships when you’re not feeling yourself because you can define yourself by fitting into that familiar comfort of coupledom. Do you think there is an individual journey that needs to be taken to define oneself without relation to others?

I think at the end of the day, whatever makes you happy makes you happy. But there is definitely more worth in working on yourself without thinking about others, as at the end of the day, were the ones we spend the most time with. If you have to rely on others to make yourself happy then it’s not the most healthy way of thinking!

The lyrics “I don’t recognise me and it scares me”, are confronting, because they’re both easy to identify with, and melancholic. The uneasiness of not recognising yourself is palpable. How do you use your work to stay true to yourself and your own vision?

Such a good question. I think this is maybe the number one thing that trips me up, knowing what it is about myself that I can stay true to, and also knowing when to let go and evolve. In music particularly, it’s so important to at least know why you’re doing what you’re doing even if you don’t necessarily know what it is. For example with the genre, sometimes it’s valuable to know why you like that certain sound for your songs more so than what that style is exactly. That’s what will keep you grounded.

How has Covid-19 impacted your method of work? Are you having Zoom studio sessions?

Yeah, it definitely changed things! I’m getting back to more studio sessions now but there was a period when everything was over zoom. It was definitely weird getting used to it but actually I’ve written some of my favourite songs since so.

We hear echoes of OneRepublic and The Fray in your music. How has the songwriting tradition of edgy, emotion-led pop balladry influenced your body of work?

I absolutely LOVE the fray, one of my biggest influences growing up. I think I just attached to that super emotional and honest sentiment in their songs and that’s really the heart of what I try to do with mine. It definitely taught me the importance of speaking from the heart.

You started out covering songs – from Ariana Grande to Bon Iver to Coldplay. You often strip these songs back and slow them down, which can make the messages and intricacies of the lyrics and melodies more explicit. Can you talk us through your approach here?

Yeah, I love covering songs you wouldn’t necessarily expect. Because a lot of the time it is the lyricism that keeps us coming back whether we notice it or not, so rephrasing those songs and allowing the lyrics to speak, sometimes can make for beautiful results. Not saying that the lyrics don’t already speak through in the originals, but it is always interesting to hear them in different phrasing.

As a Falsetto vocalists on the mainstream circuit. Who are your influences and what dimension does this add to their and your own music?

I love falsetto, sometimes I have to actively contain it haha. I think Jeff Buckley is one of the all-time greatest falsetto singers, that’s definitely an influence. I think for me I just love the control and emotionality of falsetto voices.

Your body of work, though primarily acoustic, is filmic, and you’ve worked with Franklin and Marchetta on a few projects. Are you interested in film and cinematography, and how does it influence your work?

Definitely. I think second to music, the film is my next biggest passion. I think there’s something so appealing and really intrinsic to our nature as humans about visuals. Along with hearing, seeing things is one of the main senses, and so there’s no wonder they go hand in hand. I think having an interest in music in film really helps me to make my own songs that much more filmic, just through ambiance and dynamics and the way they flow, almost like scenes in a movie.

Did you miss creating visuals for your songs in lockdown? Are there any plans for a video to go with this song?

We actually shot the music video for the previous single Enough To Know You whilst things were locked down (with council approval of course), so actually it’s been nice not completely shutting off that side of things. There aren’t any plans right not for visuals to accompany this track but who knows!

You obviously have an appreciation for layered music; you’ve championed not only Justin Vernon of Bon Iver, but also the project of his percussionist Sean Carey. Does your history of producing your own music have something to do with this?

Possibly! I think producing my own music really helped me to understand layers and what parts make up a whole, and it definitely helped me to figure out what it was I loved about those other projects. I just love the ambience and weird textures and stuff so Bon Iver and even S Carey are perfect influences.