We reviewed Sean Griffin’s single “Be My Girl” a few months back, a track that hinted at something more stripped and more personal sitting just beneath the surface. Now, with his debut solo album People Are Mad out in the world, that shift comes fully into focus.
After decades fronting The Ruffians and building a loyal following the hard way, Griffin steps into this chapter on his own terms, bringing with him the weight of experience, a few scars, and no real interest in polishing any of it for the sake of appearances.
We caught up with him around the release to talk about the long road to this record, breaking away from old creative dynamics, and what it actually takes to keep going when most would have packed it in years ago. And here’s how it went down.
1. You’ve built a body of work that people connect with in different ways. At this stage, how do you define yourself as an artist?
At this stage, I define myself as a survivor. Someone who has endured almost thirty years of making and playing music, and leading a band. I’ve outlasted many pubs, clubs, and marriages. I am grateful to have this new chapter as a solo artist, and I’m very happy with this record. I feel, in many ways, it is the best thing I have done.
2. This new release feels like a defining moment. What changed in you creatively to make this project possible?
What changed in me that made this possible is the fact that I could no longer put this record off. One of my former bandmates would always drag his heels with new songs, and after quite a long while, I had enough. I needed these songs to see the light of day in a way that was artistically satisfying. It has been very freeing being able to forge ahead without being encumbered by someone always pumping the brakes. We only have so much time available on this earth. Make the record.
3. Every project has a core energy or mood. What drives this one? Is there an uncomfortable truth that sits at the centre of this record?
The main truth to this record is that it is just absolutely amazing. There isn’t a dud on the album. At the heart of it, this album is a collection of stories and characters. Each song is its own little world and environment for the characters to live in. I hope they will resonate with people, and that they will be able to identify with the songs in a way that is meaningful to them. Sure, I wish I could have done it sooner, but here we are. There aren’t any gimmicks, just actual people playing live together and it being recorded. So please, play it loud.
4. There’s ongoing debate about whether artists in the entertainment industry should remain apolitical or use their platforms to speak out. How do you approach that question in your own career?
I believe in free speech and expression. With that comes consequences. Not everyone will like what is being said, and it is up to the individual to decide for themselves if it is a hill they are willing to die on. Personally, I find one-on-one conversations yield more than using any platform. I appreciate dialogue if it is respectful. I would always rather be convinced than coerced.
When people come out to a show, however, they mostly just want to have a good time and blow off some steam, unless it is for a specific event or cause. I want them to be able to do that and leave happy. There is enough anger and division. I want people to be entertained. Politics is show business for ugly people, and I am already in show business. I still do like a good rebel song though. So there is that.
5. The industry often rewards consistency over evolution. How do you approach growth as an artist while staying true to what people first connected with?
I approach growth as a natural process of life. We try things, and hopefully people will come along for the ride. There is a common thread to the past because some of the elements are still there, mainly my voice and writing. I think there is a bit of something for everyone on this record, and some new things too. And the consistency comes from the kids drinking the milk every week.
6. Which part of this project feels most rooted in where you are from, and which part feels like a departure?
The part of this project that feels most rooted in where I’m from are songs like “Molly”, “JFK”, and “Gypsy Girl”. Songs that feel like a departure are “Youth Is Wasted On The Young”, “Nothing”, and “Wrong Child”. The way I write, sing, and play are the same, but working with a producer and new musicians was definitely new and exciting.
7. When you step back and listen to it as a fan rather than the creator, what stands out to you?
When I step back and just listen as a fan, what stands out to me the most is how absolutely deadly this album is. The musicians on this record are amazing. The production, arrangements, engineering, mixing, and mastering are all top shelf. It is one of the top five greatest albums of all time. Haha. You should buy a spare because your best friend might “borrow” it. I’m just grateful there are 1,000 of them sitting in the kitchen, and also that this fella must have a really beautiful wife to have let him make this record.
8. What does power look like in your career right now, and who controls it?
At this point in my career, I would have to say my youngest daughter seems to rule the roost. She can be a bit of a tyrant, but she is adorable. And the label boss is something else. The things she had me do, from domestic servitude to bedroom debauchery, are unparalleled. The things you have to do to make a record. I’m going to be working it off for quite a while.
Seriously, this is a challenging moment for being a musician, but when hasn’t it been? We all have agency and choices as to what to do. It is easy to own your master recordings and produce your own work. We can choose to develop our own voice on our own terms, and if there is a market for it, we can find our audience.
There are a lot of new opportunities and also a lot of noise. Everyone is competing in this attention economy, but at the same time we can find other ways to make work outside of it too. If we take it to a more human scale, were we ever meant to play outside of the regional area we could walk in? The idea of being a modern troubadour becomes more appealing with each passing day.
It can be frustrating with DSPs and the rates they pay out, but at the same time, someone can click a button and choose to support an artist directly, instantly, from anywhere in the world. It is a lot to cut through. There are endless debates about support of the arts, whether voluntary or through “public” support, but at the end of the day, what will make someone want to spend money on something they see value in is down to the individual.
9. If you could dismantle one myth about yourself or your genre, what would it be?
For a country that doesn’t believe in therapy, these are awfully penetrating questions. I would like to dispel the myth that I take myself too seriously, and also that you can enjoy my music not just while drunk.
10. Music is often said to be a healing thing. When the final track fades out, and if someone plays this record on their best day or their worst day, what should it offer them?
The answer to all their problems, naturally. This is the elixir you have been waiting for. Come get it.
Séan’s new album is available on Seangriffin.rocks and on all streaming platforms and in certain shops. See website for all details.
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