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- Hi Tarragon, welcome to VENTS! How have you been?
Hi there. Great to be with you, and I’m well, thank you.
- In many ways, “Blueprint” seems to capture fragile, electric feeling of first love—what inspired the story behind the song, and how much of it is drawn from personal experience?
It’s strange, that song was one of the very first songs I ever wrote, but even today it still echoes so clearly in me. I held onto it for years, sensing that its meaning would shift with time, growing deeper, more fitting, and more honest as I grew older. I wrote it at sixteen, trying to imagine love before I had truly lived it, sketching out what it might look and feel like, and capturing those first fragile emotions that arrive in the early moments of something just beginning.
- Sonically, the track does a great job blending acoustic warmth with shimmering electronics. How did you approach building that balance between organic and electronic elements?
Ever since a tender age, I’ve been drawn to orchestral music, especially the way some of the music blends traditional instrumentation. I grew up listening to artists like The Beach Boysand Nick Drake, and I’ve always carried that influence into how I create my music. I love to use those kinds of techniques to shape something that can be heard a little differently. I love electronic sounds just as much, and I enjoy exploring the space between the two, particularly blending them to create something that has its own identity and sense of freedom. That’s what I’m always trying to search for when crafting my music.
- You’ve once again received support from BBC Introducing—how important has that platform been in helping you grow your audience?
It’s incredibly important. As an independent artist and someone who finds self-promotion quite challenging and stressful, it can be difficult to get the music out into the world organically, reach new audiences, and build real momentum. Platforms like BBC Introducing provide the perfect space to share both new and existing work. We’re also living in a time where music is consumed at such a high volume that breaking through the noise can feel overwhelming. Having that kind of support can make a difference for any artist trying to be heard.
- The rhythm on “Blueprint” really stands out, especially with Julien Barbagallo involved. What did he bring to the track that elevated it?
I’ve always had a fascination with his style of playing and the way he hits the drums. There’s something really precious about the way he plays. I wanted to blend 808s and Linn machines with an acoustic kit for that track, as I didn’t want it to feel too robotic and static, and I knew Blueprint needed to have a certain characteristic and swing to it. Julien was the man to take the rhythmic energy of the song to another level, and he did that effortlessly.
- Your upcoming album Home At Cofa’s seems deeply rooted in themes such as identity and belonging. What does “home” mean to you at this point in your life?
Home is everything to me. My mum always used to say, “Whatever you do, son, don’t ever forget your roots,” and that’s something I’ve carried with me into every part of my life. I measure so much against where I come from, and I don’t think that will ever change. Being born and raised in a multifaceted city like Coventry has shaped me in ways that are both challenging and deeply rewarding. It’s a place full of contrasts, and growing up there has given me a perspective I rely on constantly. At this point in my life, that sense of home feels just as important as ever, if not more so. It keeps me grounded, gives me clarity, and reminds me of who I am, no matter where I go or what I’m doing.
- You’ve taken on multiple real-world jobs while creating this record—from Deliveroo cycling to working with Royal Mail. How did those experiences shape your songwriting?
As someone who naturally finds social environments quite overwhelming, it felt important to step beyond my comfort zone in order to find new sources of inspiration while writing Home At Cofa’s. Taking on those jobs played a significant role in that process. They shifted the way I see and hear the world. I notice things now that I might once have missed, and I’m genuinely grateful I made that decision. One memory that stays with me most is working on the front line during the global pandemic. It was an unsettling, often frightening time, but it left a deep imprint on me. That experience shaped several of the stories on the record, particularly the song ‘Reel Lives’. In many ways, it truly felt as though we were reeling in people’s lives during that period of life!
- There’s a strong narrative thread across the singles, from the early excitement of “Blueprint” to the deeper emotional layers of “Tucked In Despair.” Was the album always conceived as a story?
Not at first. I wrote ‘Blueprint’and ‘Tucked In Despair’at different points in my life, without any real intention of them being connected. But over time, their meanings began to align, almost naturally, as if they were always part of the same conversation. The album, at its core, reflects my experience of growing up with autism in my hometown of Coventry. It explores the idea of belonging, or sometimes, the lack of it, and the struggle of trying to fit into a place that can feel slightly misshapen around you. It’s about navigating the everyday, searching for clarity, and slowly piecing together an understanding of what life is meant to be.
- You’ve collaborated with an impressive range of musicians and producers, including Juan Ariza and mastering legend Greg Calbi. How did those collaborations influence the final sound?
I’ve been fortunate to collaborate closely with Juan for around six years now. Interestingly, we’ve never actually spoken over the phone or even had a FaceTime call; there’s just a natural connection and understanding between us that’s always been there from the start. He brings a real sense of identity and trust to the tracks, which I value deeply.
Greg is someone I grew up admiring. I remember I used to listen to my dad’s records in the loft at home, and whilst listening, I’d flick through the credits on the vinyl, and Greg’s name would always appear time and time again, of course I didn’t really know what mastering was at that time in my life, but I found it interesting that his name would always pop up. He approaches his mastering with great care and intelligence; he doesn’t over-compress or push audio too far. He’s a brilliant engineer, and the same can be said for his assistant, Steve Fallone, who works alongside him; they’re both equally as good as one another!
- The title Home At Cofa’s ties back to Coventry’s history—how important was it for you to root this project in a specific place and cultural identity?
I wanted this project to feel rooted in collaboration and a sense of family, something that reflects not only my own perspective but the people, conversations, and shared experiences that have shaped me. A lot of that comes from growing up in Coventry, drawing on the stories, memories, and everyday moments that stayed with me over time. In many ways, it feels like a natural continuation of my debut album, I’ve Just Seen A Scene, which I released back in 2022. That record captured a certain point in my life, whereas Home At Cofa’s builds on it and looks a little deeper. It’s less about observation and more about understanding by revisiting those early experiences and seeing them through a more mature lens. I suppose at its core, Home At Cofa’s is a reflection of everything I absorbed growing up in Coventry, as well as everything I’ve come to learn since. It carries the weight of those formative years, but also the clarity that comes with time, bringing together past and present in a way that feels more honest and fully realised.
- Looking ahead, what do you hope listeners take away from “Blueprint” and the full album when they experience it for the first time?
I hope the music can transcend the listener to a certain time/era in their life, and something they can relate to and hold on to. The songs can mean anything to anyone, and that’s the true beauty of art, in my opinion. At the same time, I love that the songs don’t belong solely to me once they’re out in the world. They can take on entirely different meanings depending on who’s listening, and that, to me, is the real beauty of art.
