The Subways: For All Those Who Could Not Breathe
There was a worldwide outcry at the death of George Floyd on the 25th of May, 2020. His murder at the hands of Minneapolis police officers became the symbol for others who had died or suffered under police brutality the world over. The wider message grew to include systemic racism with many speaking out about their experiences on what has become the norm outside of more obvious racist attacks. Artists of all forms showed their support at Black Lives Matter marches as well as participating in Blackout Tuesday on the 2nd of June. Some would even be inspired to send a message through their art. The Subways would do just that with their latest single ‘Fight’.
The Subways - Charlotte Cooper and Billy Lunn. Image Credit: Sarah Louise Bennett.
Welwyn Garden City band The Subways have put out four albums since 2005 – ‘Young For Eternity’, 2008’s ‘All Or Nothing’, ‘Money And Celebrity’ in 2011 and a self-titled record released in 2015. For most of their career, The Subways were a three-piece band consisting of Billy Lunn on vocals and guitar, Charlotte Cooper on bass guitar and vocals, with Josh Morgan on drums. The band have played Glastonbury, Reading and Leeds festivals, supported Foo Fighters and AC/DC in concert as well as playing U.S. talk shows ‘Late Show with David Letterman’ in 2006 and ‘Late Night with Conan O’Brien’ in 2008.
The Subways have mounted tours across the world including North America, Europe and Australia. In countries where English isn’t their nation’s first language, the band would re-write the third verse of their single ‘Rock & Roll Queen’ from Young For Eternity in the primary language of the country they were playing in. For the 15th anniversary of the single, The Subways re-recorded the song during lockdown (in isolation) and released twenty different versions, each featuring the third verse in a different language as performed in concert. These include renditions sung in Bulgarian, Romanian, Japanese, Greek and Hungarian.
The Subways - Billy Lunn, Charlotte Cooper and Josh Morgan. Image Credit: Steve Gullick.
The trio continued recording through the pandemic despite their half-played Young For Eternity 15th Anniversary tour being postponed. Their as yet unnamed fifth album was completed during lockdown, though The Subways would announce Josh Morgan’s amicable departure from the band in October, citing family reasons. Billy Lunn and Charlotte Cooper have made no formal announcements about a permanent replacement so far.
In December, The Subways would be forced to sell much of their recording equipment in order to buy out their studio contract, just one example of how the pandemic has affected the performing arts. They began a Crowdfunder, with Billy Lunn offering to record acoustic covers in exchange for support to buy back their equipment. Completing on the 13th of May, The Subways successfully raised just shy of £1500, with covers suggested from Nirvana and Britney Spears to Jimmy Eat World and The Vengaboys. In the middle of their fundraising campaign, they released their latest single ‘Fight’ with Alcopop! Records and Bodan Kuma, the first from their forthcoming fifth album.
‘Fight’ kicks off with a descending guitar riff from Billy Lunn, who’s vocal begins soon after with the rest of the band joining. For the first verse, Lunn and Cooper’s riff is intermittent, but the tone is thick and concrete. As ever, there’s more to Josh Morgan’s drumming than you’ll catch the first time around, with varied bass and snare drum rhythms, but enough regularity to support the song and avoid over-indulgence.
The song’s lyrical content and message are the most important part of Fight, driven home by the chorus: ‘If we want a future, then we must do what’s right. If we want to live, then we have to learn to fight. Are you ready, are you willing, are you sure? Are you steady as you stamp your feet upon the floor?’ Billy Lunn’s vocal is brimming with the kind of passion that could only come from someone who means every word they’re saying. Indeed, the entire lyric was penned following a Black Lives Matter march in the summer of 2020, of which Lunn has been a regular attendee of since 2016. In direct reference to George Floyd, the last verse reads: ‘And, now, we all stand up; join me, and take a knee; say each and every name; all those who could not breathe.’
The words too are the focus in the Ben Pollard-directed video for Fight, which doesn’t feature the band, but newspaper-style cuttings of the lyric compiled into a poster as well as photographs from previous Black Lives Matter marches. This is creatively explored over the duration of the song, with the final few seconds featuring the poster as a whole.
Lunn’s production layers his vocals in tight double-tracking with the band an unrelenting force during the choruses. A stroke of arrangement brilliance comes in the form of Charlotte Cooper’s harmonious vocal contributions in this song, which could’ve been a gamble in taking the edge away from Billy’s important lyrical narrative. I think the decision only serves to strengthen the track as Cooper’s contrasting vocal performances always have across The Subways catalogue. The entirety of Fight, not three minutes in length, neither scrimps on the content in the band’s musical performance, nor the message they’re sending:
‘If we want a future, we must all come together; if we want to live, we must all do much better.’
‘Fight’ Single Artwork by Rhi Lee.
Though Fight’s B-side doesn’t feature an additional song, it instead showcases parts of a discussion in ‘The Subways In Conversation With Nova Twins’. Over the course of six minutes, Billy Lunn and Charlotte Cooper speak with Amy Love and Georgia South of London band Nova Twins about the lack of diversity in the music industry. This includes the major issue of festivals booking the same acts and doing little to think outside the box, which Amy Love speaks about below.
“I think coming together is the way forward because, you know, we were speaking to Shingai (Shoniwa) from the Noisettes and, she was saying how there could only be one black woman. Didn’t matter what genre you were coming at it from, there could only be one. So she would have festivals where they’d be like ‘Oh sorry we’ve already got Janelle Monáe, sorry, so we can’t book you, you know’. It doesn’t apply to white male rock bands, because there can be plenty of them. I think especially with women in music, women coming together, not women against each other, women together are stronger. There doesn’t have to be one Nicki Minaj, Cardi B and Nicki can exist in the same world, but they don’t want that. Do you know what I mean? They try and put you up against each other, but it’s not about that.” - Amy Love (The Subways In Conversation With Nova Twins)
Billy Lunn showcasing the ‘Fight’ single and A4 zine. Image Credit: @thesubways.
If you were to purchase Fight as a seven-inch single, it will come packaged with a folded double-sided A4 zine entitled ‘Fight: Little Book Of Pointers For The Days Ahead’. Printed in a shade of green, the front cover is a reprint of the Fight poster as seen in the music video. When opened up, there are five numbered paragraphs advising on self-care in anticipation of engaging in activism, of which part of the fourth is included below:
‘GET ANGRY, but limit the verbalised anger projected out into the world, as it merely contributes to the cycle of negativity, which eventually makes us weary and cynical. I’ve been (very) guilty of regurgitating anger and frustration for YEARS. Yes, the anger we feel at the injustice in the world is valid and righteous, but only hope and love will save us. Anger must be channelled into its positive counterpart to really effect any likewise change.’ (Fight: Little Book Of Pointers For The Days Ahead)
I particularly resonated with this, as I’ve been just as guilty of shouting angrily into the abyss. Other points include looking after your body’s sleep cycle, proper nutrition, and understanding that you don’t need to burn yourself out and taking time for yourself shouldn’t be frowned upon. Turning over to the back page provides you with resources in helping marginalised communities. The topics covered are racial inequality, gender and sexual freedom, economic equality, international aid and immigration rights, women’s rights, children’s rights, and finally the subject of the environment and animal welfare. Each point has more than one resource, allowing the reader to gain better insight from multiple angles.
Finally, unfolding the zine reveals the full A4 spread highlighting ‘People Of Note’. These range from artists in director Ava Duvernay (Selma, 13th, When They See Us) and the Godmother of Rock and Roll Sister Rosetta Tharpe, to academics in Cornel West and Judith Butler, to someone closer to home in Marcus Rashford. The breadth of resources used and the range in the people of note help to build up a considerable picture in this zine, all in a double-sided piece of A4 paper.
The thought and time The Subways have put into Fight, not only as a single, but as a presentation to further elaborate on their message is one rarely seen in the music industry. In addition to this, find our Q&A with Billy Lunn below. We ask about Fight, the accompanying zine, music video, and their wider career including their forthcoming fifth album.
The Subways - Billy Lunn and Charlotte Cooper. Image Credit: Sarah Louise Bennett.
1. Last year saw the biggest surge of the Black Lives Matter movement in the public conscious, did 'Fight' come together quickly in the writing stage?
FIGHT came together as soon as I came home from the first of the Black Lives Matter marches I attended in London in the summer of 2020. I knew as soon as I got home that the song was swelling up inside me. I picked up my guitar, came out with the main riff, and then penned the lyrics in a single go. I refused to make any amendments. It was pure rage and disbelief tinged with so much love and hope for the future.
2. The seven-inch single also includes a zine with advice on how to be a better ally, whose idea was that?
The zine was the brainchild of the incredible Jack at Alcopop. We knew we wanted to do something extra to go alongside the single, given how expansive and entangled the discourse is, and just how constrained we are by the three-minute pop song. Jack proposed I put all I’ve learnt from my studies into a booklet, so that I can show people how I myself came to learn about the need for equality and the importance of fighting injustice as a white person. As well as being able to share with our fans all the incredible lessons I’ve learnt from people of colour and the Black community during the rise of the Black Lives Matter movement since 2013, I also found it very helpful for my own mind to actively delineate all the various sources, and to thank them for teaching me. Such sources include Ava Duvernay, Cornel West, and Judith Butler.
3. The guitar and bass sound so good on this track. What equipment are you both using?
Thank you! I worked really hard on making sure we captured the ferocity of the song’s origins, and that meant making sure everything was in working order and sonically pristine in the tracking stage. I built our studio (which we were forced out of in December, 2020) during my time at university (2016-19), and so I had a collection of outboard equipment and microphones to achieve this. Charlotte’s performances were, of course, incredible, so it was easy as producer to sculpt a sound that emphasised both the clarity and the growl of Charlotte’s bass sound. For my guitars, I used a variety of microphones positioned around my Blackstar amplifier to get a healthy mid-range and some depth with a roomier feel. All of these various noises coalesced into a cohesive whole through the desk of our mixing engineer, Ade Bushby!
4. The video for 'Fight' is superb, did you consider appearing in the video yourselves at all?
Thank you! Yes, Ben Pollard did an absolutely superb job on the video. We stipulated that we didn’t want to be a part of the video, because the message should instead be what people see, acknowledge, and understand. Neither Charlotte nor myself felt comfortable with the prospect of our images detracting from what we consider to be one of the most important issues of our time. Anyway, we’ve been seen and heard enough throughout our career! Haha. It’s time to shine the light elsewhere.
5. Outside of music you've been vocal about your sobriety on the band's Twitter account, do you have any words of advice to anyone struggling in maintaining their own?
Yes, as someone who has gone through the wringer where it concerns addiction following childhood trauma, I felt I’d be doing a disservice to other sufferers if I were to remain silent and merely present the shiny result of recovery. I only hope my story will serve as a semblance of hope to anyone else who may be going through a similar situation. The only advice I can offer is to seek help when and where you can. The opportunities for self-reflection and acknowledgement of your problem during addiction are slight, as the inclination to slink back into the abyss can be overwhelming. Please, reach out to anyone who you feel might be able to lend a hand where needed – and that includes myself!
6. You've had a Crowdfunder running to buy back all your studio gear. Recently you bought back the first piece of equipment you sold, what was it?
It was the Neve 88R! It was my primary unit for recording the snare drum, bass pre-DI signal, the guitar sound via condenser microphone, and lead vocals. I sold it to a friend, and he was almost apologetic as he took it from me at my studio. But I was merely thankful that he was willing to part with the money so we could pay our way out of our previous studio’s contract. Now that we’ve been able to buy it back, I am absolutely over the moon. I can now begin tracking lead vocals with what I consider to be our most essential microphone preamp! And I just want to take this opportunity to thank everyone who has given us even the smallest amount of cash through the Crowdfunder campaign. More than anything, it’s been so heartwarming to see the number of people who are willing to help us out without wanting anything in return. We truly do not deserve you!
7. What's been the most surprising acoustic cover you received in the Crowdfunder?
People requesting our own songs! I was honestly expecting much wilder requests. Say, one of ABBA’s lesser-known b-sides! But it’s really sweet how people have simply asked for a version of one of our songs. I’m genuinely open to playing some silly numbers, though! Keep them coming! Haha!
8. Last year you released re-recorded versions of 'Rock & Roll Queen' with the third verse in twenty different languages. Which was the most challenging to bring to life?
The Slavic languages are always the most difficult, because they have pronunciations that lie somewhere between consonant and vowel – but when you get it right, it sounds GORGEOUS! They took a lot of practice! But, luckily, I’ve sung Rock & Roll Queen in many of these languages beforehand, when on tour in those countries. It was just a case of remembering and reapplying.
9. You did get to play some of the 'Young For Eternity' anniversary tour, what were those shows like? How did it feel to revisit that material fifteen years later?
Without wanting to sound like I’m being romantically revisionist, it was utter bliss. We were having the time of our lives bringing back into existence all the songs from that album, in track order. The responses from the audiences each night was just… bliss! Nothing else can describe it. We’re now just eager to complete this tour, so that we can focus on getting our heads together to work out how to render our new album in a live setting. It’s very different from anything we’ve tried before.
10. I'm a huge Garbage fan and endlessly impressed with the work Butch Vig does. What was your favourite moment in the studio with him?
That moment when he swung round in his chair to tell me I’m using the exact same microphone, preamp, and compressor setting as Kurt Cobain used for Nevermind. The Neumann U67 going into the Neve 1073 and through the Urei 1176! It took me a couple of days to recover from that revelation. But, on the whole, the experience was something we never fail to recall with love-hearts in our eyes.
11. With Josh leaving the band, are The Subways a duo now? Or will the band become a trio with a new drummer in time?
For the mean time, whilst we’re not on tour, we’re a duo, yes. Charlotte and I are very comfortable operating as we currently are off the stage. But we do have someone waiting in the wings who will be joining us for the Young for Eternity tour. They are… outstanding. First rehearsal with them will be taking place next week!
12. 'Fight' is the first single from your next album. What can fans expect from your upcoming record?
Expect nothing at all like Fight on the rest of the album. Fight is a song unto itself, and the rest of the album will inspire both nods of recognition and looks of bemusement. Without wanting to raise the bar too high for ourselves too early, it’s easily the greatest thing we’ve ever made. The song for which Josh recorded his final drum parts is a three-minute blast of rock that made our manager cry with excitement. We are currently caught between a sense of accomplishment and a frustration that it’ll be a little while yet before anyone gets to hear it!
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References:
Cooper, C., Love, A., Lunn, B., South, G. (2021) The Subways In Conversation With Nova Twins, B-Side to The Subways’ ‘Fight’ single, Alcopop! Records
Fight: Little Book Of Pointers For The Days Ahead (2021) Available as part of The Subways’ ‘Fight’ seven-inch single, Alcopop! Records
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Learn more about the Black Lives Matter movement by visiting their official website.
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Visit The Subways official store to purchase a vinyl copy of ‘Fight’, each single comes with an A4 zine on allyship. You’ll also find previous recordings and other merchandise!
For more information about The Subways, including their upcoming tour celebrating 15 16 years of ‘Young For Eternity’, visit their
official website.
Follow The Subways across social media on Facebook, Instagram and Twitter @thesubways.
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