Your next tour of the UK is coming up soon. How do you prepare – musically as well as personally – for such a long stint on the road away from home?
I am in my studio everyday. Playing, writing, recording is a part of my daily life as an artist so I am always preparing, learning, or crafting something. I do rehearse with Jon Wood (lap steel/electric guitar, also recorded and helped produce Trouble & Mercy) for a few days prior to the tour but we like to have an element of spontaneity on our tours. I enjoy touring and performing so the long stints are fine with me. As for the physical aspect there's lots of Pilates, knee bends and dancercise.
Does touring the UK feel different than touring other parts of the world? Other than our fine British cuisine and perfect weather, what else do we offer the road-worn troubadour?
I definitely like the rural feel of your country, the history. And then there's London, a cultural mash up. I used to live in Finsbury Park with my sweetheart and there was nothing better than being within throwing distance of your fave pub, your local market, Indian food or a fish 'n' chip stand.
When I play I have always enjoyed the audience when I’ve toured in the UK, they seem to appreciate the value of a song. So they listen, they might drink six to eight pints in the night, but they listen.
Trouble & Mercy is your third album. In which direction do you see your songs going? Where do you see yourself getting better?
I am always searching for truths which is hard to find because there just aren't many left. I think my songs will always lean towards that. I'm more aware of what I am doing or trying to do as an artist, I’m constantly changing by the week, day and hour. Melodies, phrasing and saying something pertinent is where I am trying to better myself as a songwriter.
It’s been said that, in a complicated world, you find beauty in simplicity. But with your songs being so relatively sparse and simple, do they ever get “lonely”? Do you ever wish you could just hire a great big backing band and just play and produce the hell out of everything?
If the song needs to have a choir it'll have a choir. I use to think that was the only approach to recording. Then I started touring as a solo artist and would be gone for two to six months. Old songs got stripped down to their root and then new songs were crafted in that same way. I don't think I’ll ever produce the hell out of an album but the next album I’m working on will bring more musicians to the table. As for the "lonely" element to the songs, there was no way around that. They were born out of loneliness.
The fine Canadian band Great Lake Swimmers recently recorded an album in the Thousand Islands region. When we spoke to Tony Dekker, he told us that this great piece of Canadian nature served not only as an influence, but also as sort of an instrument as well. How much inspiration do you draw from the grandeur of the North American nature?
I grew up in the Canadian prairies, a huge ancient lakebed. The skies were endless as the horizon. Grain elevators were the skyscrapers and train tracks ran parallel to highways and rivers. My inspiration comes just as much from the land as it does from the people, maybe even more. We are all affected by the geography we were born into and the ruggedness of the Canadian landscape and weather will always be a part of me.
I’m very intrigued about your family’s history. Can you tell me about that and how you think it has affected you as an artist and songwriter?
I was born into a family and community of born again Christian Mennonites. The town I grew up in was a dry town. There was more guilt and gloom behind the pulpit than anything else. In a town of seven thousand there was probably a hundred and fifty churches. So what do you, you buy a small hall, fill it with friends and musicians, drink and shake your hips. That’s what my folks did and thank god they did. I'm sure they probably brought more salvation to that town than all the churches combined.
I grew up with a list of do's and do not's, with eternal fire and repentance. I'm still trying to shake some of that loose but you can't shake it all off some of that just sticks. So you take the good and write about the rest. Besides all that there was a never ending supply of religious bullshit there was also kindness. Neighbors helped each other, people didn’t go hungry or homeless. If someone needed help it was there.
When I was still a kid my folks moved our family out of there, I think deep down they didn't want us growing up the way they did. Just too much oppression.
You’ve toured with a lot of great artists over the years. I know this question might be difficult to answer, but when you’ve been around people like John Prine, Richard Thompson or Joe Ely, does the first song you write after that automatically turn out better than the last song you wrote before you met those people?
After seeing a great performer I’m always in my studio 'til all hours of the morning juggling melodies, chords and words. But it doesn’t necessarily mean I write a better song than before I met or heard someone. I enjoy the inspiration it brings but I am always trying to become 'better' in my craft regardless of whom I’m playing with. Saying all that I am always humbled and feel very lucky to have shared stages with some amazing performers.
There’s this sense of constant struggle in your songs, whether it’s for a better society, better life or better love. Where do these songs come from, and how close do you allow yourself to come when it comes to writing actual topical songs?
I think I’m always close to it, you have to be, if not where does the emotion come from. It has to be honest. But I am a selfish man, as close as I can be to it all I can also be just as far away.
My heart and mind are always at battle, they're not necessarily enemies they're just not in an agreement with each all the time but through their calamity songs seem to emerge. I’m not sure if this makes sense but I hope that answers your question.
Our reviewer said that Trouble & Mercy is yet another example of the fact that some of the best Americana comes from Canada. What are your own thoughts on this whole Americana-discussion? What does the term mean to you?
Terms, labels and categories are lost on me. There are two kinds of music, good and bad and it can come from anywhere across the globe. As for the songs I write or what we call Americana, its just music born from the soil.
Over the years, you’ve been involved with different projects for the homeless. Please tell me about that and how it inspires you as an artist? Is this where you find some of the inspirations for your songs?
For most of my life being with the homeless was the norm. It’s hard for me to explain the impact it had on me. I listened to thousands of peoples stories. They live inside me and always will. Working in many different shelters, detox centres and group homes there was a darkness but there was also a light and the light kept me there until I was running on reserves. As I worked my way up and started meeting with politicians, funding committees etc... I realized just how self centered and greedy our system is. I realized that governments will never bring change. That's up to the people.
I believe those years formed me and will always be a part of who I am and what I do. I don't work there anymore but I realize that art is my tool to fight injustice and to bring a goodness.
Cam Penner’s Trouble & Mercy is out now on Prairie Boy Records. We strongly urge you to find out about his coming tour of the UK at Campenner.com
