Big Big Train – Woodcut: Gregory Spawton on Concept, Craft, and Finding the Light
There are albums you play, and albums you live with. Woodcut firmly belongs in the latter category.
Watch the interview on YouTube
Watch and read our review of Woodcut by Big Big Train
In this in-depth conversation for Now Spinning Magazine, I was joined by Gregory Spawton, founding member, songwriter and bassist of Big Big Train, to talk about what feels like a defining moment in the band’s long and remarkable journey.
Woodcut is the band’s first full-length conceptual album, and the second to feature vocalist and producer Alberto Bravin. But more than that, it represents a quiet confidence and a sense of renewal: a record that unfolds patiently, rewards repeated listening, and invites the listener to slow down and engage.
A Concept Born by Accident
One of the most fascinating revelations from the interview is just how unplanned the genesis of Woodcut really was. While on tour, Gregory and Alberto happened to visit a woodcut exhibition at the Munch Museum in Oslo — a moment that proved quietly life-changing.
Within an hour, the seed of an entire album was planted.
There was no outline, no story arc, no grand plan — just a title, an atmosphere, and the feeling that something meaningful was taking shape. From that spark emerged The Artist, a central character whose inner and outer struggles shape the album’s narrative.
As Gregory reflects, had they visited the museum on a different day, or skipped that floor entirely, Woodcut might never have existed at all.
Handing Over the Reins
A key shift on Woodcut is Alberto Bravin stepping into the producer’s chair — something that happened organically rather than by decree. For Gregory, this was a genuine relief.
After years of juggling songwriting and production responsibilities, letting go of the technical oversight allowed him to return fully to what he loves most: writing music and being in the band.
Watching Alberto and engineer Rob Aubrey at work in the studio, Gregory realised just how much energy that role demands — and how freeing it was to trust someone else with it. The result is an album that feels cohesive, intentional, and deeply focused.
Lyrics as Narrative
Unlike previous Big Big Train albums, Woodcut tells a complete narrative story, with lyrics written collaboratively by Gregory and Clare Lindley, marking a new and powerful creative partnership.
This wasn’t a case of adding words after the music was finished. Instead, lyrics, melody, and story evolved together — shaped by practical realities too, including what words feel like in the mouth of a singer.
Alberto’s involvement here was crucial, feeding back on phrasing and delivery so that every line could land naturally and emotionally. The aim was always clarity without over-explanation — allowing listeners space to interpret the story in their own way.
A Band Reforged
Gregory speaks candidly about the profound changes Big Big Train have experienced in recent years: the devastating loss of David Longdon, the departure of long-standing members, and the challenge of rebuilding from the ground up.
Out of that process has come an unusually close-knit unit. Clare Lindley, in particular, has become a central presence — not just as a violinist and vocalist, but as a songwriter and emotional anchor within the band.
Her contributions on Woodcut feel essential rather than ornamental, adding warmth, humanity, and subtle power throughout the album.
Sound, Structure, and Restraint
Although Woodcut runs to an epic 66 minutes, there’s no obligatory 20-minute “marathon track”. That decision was entirely deliberate.
At one point, a long piece did exist — but it was reshaped and redistributed to serve the narrative flow. The album works more like a continuous sequence, closer in spirit to something like The Ninth Wave than a collection of discrete songs.
Musically, there are moments of folk intimacy, progressive complexity, jazz-tinged instrumentals, and even flashes of darkness — but everything serves the story. Nothing feels indulgent.
Recording Together, the Old Way
In an age of remote file-sharing, Big Big Train have made a firm commitment: they will always record together in the same room.
It’s more expensive, more complicated, and more demanding — but for Gregory, it’s non-negotiable. The subtle changes, spontaneous rewrites, and shared discoveries that happen when musicians play together simply can’t be replicated by email attachments.
That collective energy is audible throughout Woodcut. You can hear the band listening to one another, shaping the music in real time.
Darkness to Light
Although Woodcut begins in shadow, it doesn’t end there.
Gregory reveals that the album originally had a far darker conclusion — but something didn’t feel right. Instead, he rewrote the final chapters to reflect a more grounded, human resolution: not happiness as fantasy, but acceptance.
Drawing on Epicurean philosophy, the ending finds the Artist coming to terms with life as it is — fragile, imperfect, but still meaningful. The result is an album that closes not with despair, but with calm optimism.
Beyond the Album
What truly sets Woodcut apart is how far the project extends beyond the music itself.
A companion book, Woodcut: The Making and the Meaning by Andy Stewart
Short films expanding the visual world of the album
Artwork created using traditional woodcut techniques
Together, they form a complete artistic ecosystem — a clear statement that this is music designed for active listening, not background consumption.
And yes… Gregory also confirmed that the band fully intend to perform Woodcut live in its entirety, with announcements expected later in 2026.
Phil Aston | Now Spinning Magazine
