You can tell how much Lewis Watson has changed by his hair. Gone is the heavy, forward-swept fringe that was his trademark in his teens, when he was signed on the strength of a single, self-released EP and wrote much of his acclaimed debut album, 2014’s The Morning. In its place are long locks he recently dyed from dark to white – not to shock, but in part to signal a new start.
“I’ve always wanted white hair,” says Lewis. “So I thought, why not? I’m finally in a position to make my own decisions, and not just about my music. The biggest change I’ve made is taking control of my career. Everything I do, everything you see comes from me.”
Midnight, the Oxford singer’s sensational second album, is testament to that change. Written and recorded entirely under his own stream, with friends as collaborators it’s a sonic leap on from his largely acoustic debut – bigger, bolder, beautifully textured and more experimental, but still as brutally honest and achingly intimate as his bewitching early EPs.
“It’s an evolution from my first album,” says Lewis. “It’s grander, heavier and more electronic. I still like acoustic music – and there are some quieter songs on there – but I also love Death Cab For Cutie, Bombay Bicycle Club and Bon Iver. It is a big change, but it’s still me. Maybe me with added spice.”