Charlie Turner is making waves in the UK’s alternative music scene with his genre-blending sound, introspective lyricism, and electrifying live performances. With a unique fusion of jazz, rock, and punk influences, Turner’s music captures the complexities of post-university life, creative self-discovery, and emotional depth. His latest single, ‘Mrs Other’, is a deeply personal reflection on growing older and coming to terms with shifting identities. In this exclusive interview with Urbanista Magazine, Turner opens up about the inspiration behind the track, his creative process, and what’s next on his musical journey.
Can you tell us about the inspiration behind your new single, ‘Mrs Other’, and how it reflects your experiences of growing older post-university?
There was a point after uni where I began to realise that the lifestyle I’d lived up to that point was beginning to slip away. No one owed me a living, and I was able to separate my life into periods involving different people. It was a sobering realisation.
And how did the initial riff evolve into the deeply introspective track we hear now?
It started as something I was able to play easily enough when idly picking up a guitar, and at various times of the day when I would do so it was one of the first things I’d play for a while. I think all guitarists must have their go-to riffs. So naturally when I sat down to write one day I gravitated towards this idea that came to me fluidly. I don’t really like it when I repeat things too much within a tune so sticking the other sections in came after.
Your music blends jazz, rock, and punk influences in a unique way. How do these genres shape your sound and storytelling?
I think the rock stuff shines through the focus on the guitar. I borrow a lot of voicings and syncopations from a band called Chon, and then the chord changes come from what I learnt about jazz when I was woodshedding in and around uni. And I think the punky elements are in the vocals. I’m not a technical singer at all and I like the post-punk delivery of people like Alex Turner or Puma Blue.
You mentioned that ‘Mrs Other’ emerged during a period of personal turmoil. How do you channel personal struggles into your creative process?
I keep a diary and that does a good job of helping me articulate things that are bothering me. It’s a useful place to look when you’re thinking about lyrics. The rest of it, the compositional side, is just intuitive really. I might listen to other music that fits my mood before writing and sometimes that can be a source of inspiration.
Your debut EP, Debut, and your single ‘HOIME’ have both received critical acclaim. How have these milestones influenced your growth as an artist?
It was really cool receiving the email saying that HOIME was getting BBC airplay. It was encouraging to find that the tune I didn’t think was the most commercial was recognised by a station like that. Definitely a vote of confidence. Releasing that EP as a whole has helped me understand what’s worked well and also not so well and it definitely informed how I approached this latest tune.
Collaboration has been a significant part of your journey, working with artists like Basile Petite and Conor Albert. What do you look for in collaborators, and how do they shape your music?
I think if you ask any artist or musician this question the most important thing is “are they a nice person?” Whether they’re fun to be around is number one: Basile and Conor are people I’ve spent loads of time with completely outside of any musical context, they’re great people. But the kind of music they play is important too. I make demos for all my tunes but when I work with these guys I’m adamant they put their stamp on whatever they write or record because they’re much better at what they do than I am.
Your live performances are known for their genre-bending, electrifying energy. How do you approach creating a setlist or crafting the live experience for your audience?
The main thing is to make sure we don’t play the tunes just as recorded. I don’t want someone who’s heard my music to come to a gig and just hear the same thing again, and vice versa, I don’t want someone at a gig to watch the performance, find me on Spotify and just hear the same thing. We add to all of the tunes, we bounce off each other and solo. While I don’t think my music can be precisely described as jazz, the live shows are where this label is more relevant. And regarding setlists, I’ve always found that the “trench” energy shape work best: start high, take them down and finish with something quick.
The London jazz scene is incredibly vibrant and diverse. How has being part of this community influenced your artistic identity?
Massively. London has the best scene in the UK, and I would probably say it has the coolest approach to jazz in the world. This London thing with breakbeat drums, sub bass and fast guitars or synths is just sick and very British. I like that it’s got a character to it because I don’t think local scenes are as much of a thing anymore with how easy it is to hear stuff from around the world. I also get to work with these guys. My drummer Lewis in particular has helped me write wicked stuff.
As a musician who blends reflective and aggressive tones, how do you strike a balance between emotional storytelling and musical experimentation?
I suppose you have to offer contrast within a tune, and dynamic range. Hardcore tunes don’t really offer much introspection, but on the other hand, I find people like Adele boring. Being able to transition between moments of energy and otherwise is a difficult skill I’m not sure I have fully down yet.
You’ve mentioned plans for more singles and a longer-form EP in 2025. Can you give us a sneak peek into what’s next for your music and how you’re evolving as an artist?
I’ve been sitting on a track I wrote with Conor for about three or four years now and I haven’t been able to release it because of it not quite matching thematically with the rest of what I’ve wanted to put out. I’ve written a couple of other tunes in its style with Basile that we actually just recorded and so I want to get the group of them out as an EP by the summer. Hopefully in the second half of the year, depending on how things are going I can put together a second vocal EP.
With ‘Mrs Other’ and your past releases, your work explores deeply personal themes. What do you hope listeners take away from your music on an emotional level?
In my experience, the most effective lyrics are those which aren’t specific or literal, which don’t put meaning on a plate for listeners, and which are supported by the experience of the music itself. Nai Palm from Hiatus Kaiyote does this incredibly, and so I’ve tried to follow her approach. I don’t want listeners to finish one of my tunes thinking “oh that was about x, cool”. Something elusive is much cooler.
