Marc Fennell: Mr Fanning, lovely to chat to you.
Bernard Fanning: How are you sir?
Bernard Fanning: How are you sir?
I'm good. So, where in the world do you feel most creative?
Most creative?
Most creative?
Yeah?
In a room.
In a room.
Good.
Yes, in a room. So, not outside.
Yes, in a room. So, not outside.
So, not outside. We're not writing things outside.
In a place where I don't think there's anybody listening.
In a place where I don't think there's anybody listening.
Oh, why is that important?
It just gives you a freedom to try anything, to do anything, I reckon.
It just gives you a freedom to try anything, to do anything, I reckon.
“I've realised I have a really good capacity to stick at… what I’m not so good at, is working out when something should be abandoned.”
I guess what I was curious about is, what do you reckon is the best thing you've learnt about yourself since you started making music by yourself?
It's a good question, actually. I would say that I've realised I have a really good capacity to stick at it and just to keep patiently working at something until it's done. What I realised I'm not that good at is quickly working out when something should be abandoned.
It's a good question, actually. I would say that I've realised I have a really good capacity to stick at it and just to keep patiently working at something until it's done. What I realised I'm not that good at is quickly working out when something should be abandoned.
Oh right, that's really interesting. So you just stick with it forever and…
Yeah, I mean part of the thing is that you need to think, you need to have the idea when you're writing something that it's the best song you've ever written. I guess people have that when they're painting or when they're writing film. Whatever they're doing, it has to be a new frontier sort of feeling, I guess, all the time. And sometimes you just have to realise, that's actually not a new frontier, it's just a crap frontier.
Yeah, I mean part of the thing is that you need to think, you need to have the idea when you're writing something that it's the best song you've ever written. I guess people have that when they're painting or when they're writing film. Whatever they're doing, it has to be a new frontier sort of feeling, I guess, all the time. And sometimes you just have to realise, that's actually not a new frontier, it's just a crap frontier.
With that in mind, has there ever been a song that you have persisted with and it's even made its way onto an album and you're like, probably shouldn't have.
There are heaps of them but I'm not telling you.
There are heaps of them but I'm not telling you.
I wanted to ask you about a song you did with Rob Hirst, it was a song called ‘America’. I've read that that is about your experiences of trying to break into America. Is that true?
It was more talking about, I guess, when Powderfinger went to America and how equally overwhelmed and underwhelmed we were by the place.
It was more talking about, I guess, when Powderfinger went to America and how equally overwhelmed and underwhelmed we were by the place.
What were your expectations of America? What did you imagine would happen when you got there?
I expected it to be better.
I expected it to be better.
So that begs the further question...
But can I qualify that please.
But can I qualify that please.
Go for it, yeah.
I would like to make the distinction and say that I don't think America is a crap place. I think the US is an incredible place and has been responsible for some of the most incredible things that have happened in history obviously. And we had a ball when we were there. But, growing up seeing American culture and being exposed to it and it being like a Shangri-La, I mean, my experience going there was hilarious.
I would like to make the distinction and say that I don't think America is a crap place. I think the US is an incredible place and has been responsible for some of the most incredible things that have happened in history obviously. And we had a ball when we were there. But, growing up seeing American culture and being exposed to it and it being like a Shangri-La, I mean, my experience going there was hilarious.
How is it hilarious? I want to know more.
Well because we went to Los Angeles and LA's hilarious.
Well because we went to Los Angeles and LA's hilarious.
It is a weird city, isn't it?
It's ridiculous. It's such a ridiculous place.
It's ridiculous. It's such a ridiculous place.
It feels, sort of, highly confected; like it's slightly made up.
Well, and Hollywood itself, this place that announces itself as glamorous and prestigious and you go there and it's mostly homeless people. It's just bizarre.
Well, and Hollywood itself, this place that announces itself as glamorous and prestigious and you go there and it's mostly homeless people. It's just bizarre.
“Hollywood itself, this place that announces itself as glamorous and prestigious and you go there and it's mostly homeless people. It's just bizarre.”
I know you've talked a lot about the ending of Powderfinger ad nauseam so I get that but the part I didn't realise until now is that it happened after your wife had had open heart surgery. What is that moment like when you realise your wife's recovering from open heart surgery and you are on the other side of the world having to play with a band. What is that mental process like?
It's awful. It was a terrible time. I mean, it was something that I was obligated to but I realised that I never wanted that to be the case again where I wasn't really in control of being able to do that, being able to say, ‘no I can't do it’. I was forced to leave my wife in hospital. It was awful.
It's awful. It was a terrible time. I mean, it was something that I was obligated to but I realised that I never wanted that to be the case again where I wasn't really in control of being able to do that, being able to say, ‘no I can't do it’. I was forced to leave my wife in hospital. It was awful.
I feel like the audience understood.
I don't think the audience had any idea.
I don't think the audience had any idea.
Do you wish they did?
No, I mean, no I don't think it's necessary to share stuff like that. I also think it's not that important for people to understand the machinations of how bands work or what actors are like.
No, I mean, no I don't think it's necessary to share stuff like that. I also think it's not that important for people to understand the machinations of how bands work or what actors are like.
I think people think it's a soap opera, right? I think the internal machinations, particularly a famous band that is ending; everyone looks for a reason why.
Yeah but that's what they want. They want conflict. They want the conflict in the band. It overrates its importance, for starters, and it demeans it to a certain extent because it takes the value out of the music. It turns it into a soap opera.
Yeah but that's what they want. They want conflict. They want the conflict in the band. It overrates its importance, for starters, and it demeans it to a certain extent because it takes the value out of the music. It turns it into a soap opera.
So you've written so many songs that mean so much to so many people. There's songs that have been played at weddings and funerals and I'm curious, is there a moment which you have to relinquish control over a song where it ceases to be yours and it starts to belong to listeners?
Yeah absolutely. That's what I liked about music. When I was growing up was investing myself in a song and I would make myself the author of a song and apply my own meaning to it.
Yeah absolutely. That's what I liked about music. When I was growing up was investing myself in a song and I would make myself the author of a song and apply my own meaning to it.
Are you ever surprised at how misunderstood songs can be? Because I was always struck by the way people use 'My Happiness'.
I'm constantly surprised by the way people use 'My Happiness'
I'm constantly surprised by the way people use 'My Happiness'
So would that qualify as the most misunderstood song you've ever been involved in?I guess so because it's one of the best known. A lot of people use it at their weddings which I guess there's a lot of people that just hear 'my happiness' but that's the reality you've got to face, I think, as well as a songwriter. Is that sometimes that's all…most of the time that's all the song is to people, is just something to whistle and tap their feet to. It's only a really small percentage of people where it's the life and death. For them, what a song is about and how much it means to them, they're the people you're going after. They're the people that you want to love your music. That's the way it was for me as well when I was listening to David Bowie or KISS or Led Zeppelin or whatever when I was growing up. It meant everything.
Bernard Fanning, what an absolute pleasure you are to talk to. Thanks so much for your time.
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