After years as perhaps the quieter musical force behind Reverend and the Makers, Ed Cosens is finding his own voice, and there seems to be no stopping him. With collaborative EP ‘Songs With Friends’, a new solo album on the horizon and performances at The Glasshouse in Gateshead and The Loading Bay in North Shields, Joanna Long caught up with the Sheffield musician to discuss confidence, creativity and finding his place in music.
You’ve spent much of your career working alongside other musicians. Do you feel audiences are now getting to know a different side of Ed Cosens?
Absolutely. In Reverend and the Makers, I was heavily involved in writing the music, but the lyrics tended to be Jon’s stories. I reached a point where I needed to tell my own. People knew me as the quiet music guy in the background, but I think they’re now beginning to understand who I am as a songwriter. My songs are personal, particularly my second album, which explored mental health more deeply. I’ve received amazing messages from people saying a song resonated with them. That connection is incredibly important.
You’ve spoken about finding the confidence to step out as a solo artist. What was holding you back?
I’ve always naturally been someone who sits back and observes, letting more exuberant characters take the spotlight, so it took time to find my voice and musical direction. Eventually, I thought, if I’m going to do this, I need to actually do it. It was scary, but it wasn’t a disaster, so I kept going.
Your latest EP, ‘Songs With Friends’, features some incredible collaborations. How did it come together?
I’ve spent the last few years travelling and writing with some amazing songwriters, including Beth Nielsen Chapman. James Walsh and I were writing together and discovered our shared love of the Everly Brothers. We recorded ourselves playing ‘Let It Be Me’ for Instagram, thought it sounded great, and that sparked the idea. As I travelled and met people, I’d suggest recording a cover. It all happened very naturally.
Taking familiar songs and reinterpreting them must be quite exposing. How do you balance respecting the originals with making them your own?
It’s about what feels natural. Working with Beth on the Neil Young cover, we wanted to respect the original while adding our own spin. With Daisy Chute on the Simon & Garfunkel song, we changed the ending slightly because it worked for us. Nothing felt forced.
You’ve got several creative projects underway. Does moving between them offer freedom, or can it become frustrating?
Both. The music industry means you have to do different things to sustain a career. I couldn’t just sit back and be a singer-songwriter, but it does keep things interesting. If I’m not feeling particularly creative with my own songs, I might be producing someone else’s EP or working on the musical with Joe Carnall. Sometimes you want to be doing one thing while you’re busy with another, but that’s the nature of it.
You’re musical director for ‘How Could I Forget?’, exploring family and living with Alzheimer’s. Has that changed how you think about music and memory?
I’ve always understood music’s ability to connect people, but learning more about dementia has been fascinating. Joe was partly inspired by a documentary about Glen Campbell, who could struggle to recognise his daughter and yet still play music perfectly. It’s a heartbreaking topic, but those moments when music allows you to see the person underneath are incredibly uplifting.
You’re returning to The Glasshouse in December, but North Shields is first?
Yes, I’m supporting The Wandering Hearts at The Glasshouse again. They’re amazing musicians and lovely people. I’m also doing an acoustic headline show at The Loading Bay on Friday 20th November, supported by The Quiet Fire. They’re brilliant and definitely worth checking out.
And we here there’s another album coming?
We’ve almost finished recording. It’s more Americana and soul-based, with some folk influences, and should be out next year. I feel I’ve finally reached where I wanted to get to artistically. I genuinely think it’s probably the best work I’ve done in my career.
Finally, you’ve played guitars upside down. Have you had any other unusual musical discoveries?
We once strummed the strings inside a grand piano with a plectrum rather than playing the keys. It produced this wonderful, resonant, harp-like sound. I love that sort of studio creativity: finding something completely different.
Ed Cosens headlines The Loading Bay, North Shields, on Friday 20th November and supports The Wandering Hearts at The Glasshouse in Gateshead on Sunday 6th December. Find out more about his releases and North East dates at edcosens.com.
