Sometimes what’s not playing is as important as what is.” Another change is Lewis’ first recorded duet, on the spectral ‘Slumber’ featuring Lucy Rose, whom Lewis first heard at college and has been angling to work with ever since.The gorgeous melancholy there is touched on elsewhere in the likes of ‘Forever’ which is simultaneously Midnight’s poppiest song, but also one of its saddest.
Whilst hidden from the tracklisting it’s deeply revealing of an artist coming full circle, fulfilling his early promise while expanding his palette in ever more vibrant ways – something reflected in the striking album artwork commissioned from renowned Canadian painter Andrew Salgado, one of Lewis’ favourite artists.
It’s about being used, whether that’s at work or by a friend or a lover, the emotion is the same.” The two oldest tracks on the album are the dreamy ‘LA Song’ and the rootsy, Springsteen-referencing ‘When The Water Meets The Mountains’, both originally intended for Lewis’ debut, but since reinvented.
“The deluxe version of The Morning included a demo of ‘LA Song’, so you can hear how much it’s evolved,” says Lewis.
The first was ‘Deep The Water’ but in a matter of days, they had completed five songs, among them the album’s sweet, spine-tingling, strings-soaked highlight ‘Hello Hello’ and the epic ‘Little Light’ an emotionally-exposed love letter to Lewis’ girlfriend of five years.
“I’m loathe to use the word magical, but it really was,” laughs Lewis. ‘Deep The Water’ came flooding out of me on the first day and lifted this immense weight from my shoulders.