10 Questions: Greg Holden on Creativity & Songwriting

"A great way to improve on your weaknesses is by working with others, especially if you can find someone whose strengths and weaknesses are different than yours."

Greg Holden is a songwriter/producer from Aberdeen, Scotland who possesses a rare talent for combining effortlessly singable melodies with truthful and raw lyrics. He is a storyteller: exposing the plight and strength of Sudanese refugees, LGBTQ sons facing rejection from their fathers, and people struggling to find the “American Dream” they had been promised. His songs often take you to difficult places that many songwriters don’t dare to go, but he always leaves his listeners with a sense of hope and universal connection. It’s no wonder that Greg has found success as a songwriter for other established artists as well. He co-wrote the timeless tune “Home” by Phillip Phillips, which was a major hit worldwide in 2012, and he continues to stretch himself creatively in producing his music and with his new duo, The Debut. 

We are honored to have Greg here to answer our questions about his writing process and outlook!

1. When you sit down to write a song, which elements tend to come first (melody, concept, title, lyrics, chords, beat, etc.)?

These days I lead with chords and melody, as I’m mostly writing within the pop realm. Those things (sometimes unfortunately) are generally the most important when it comes to pop, not always, but usually. I used to focus primarily on the lyrics, and let the melody come naturally later, but I found that limiting in terms of structure, as I’d tend to write the lyrics like a poem, and it’d often end up with the same phrasing. Concentrating on melody first offers me more freedom, and adds a unique quality to every song I write. 

2. How often do you write? Do you have a regular routine, or do you do it only when you’re feeling inspired?

I wish I could say that every day at 10am I walked into my studio and wrote a song, and many times I have tried to force myself into that kind of routine, to no avail. I think it depends on the kind of person you are. I rebel against rules and structure, even if it’s my own. It’s a blessing and a curse. I can only write when inspiration strikes, which could be once a week, once a month, or once every three years. This is why co-writing has helped me. Someone shows up at my studio at noon expecting to write a song, so I have no choice. Self-discipline is vitally important when it comes to songwriting, but unfortunately I don’t have a lot of that.

3. Do you have any practices that help you find inspiration and collect ideas?

I read a lot of books and watch a lot of documentaries. Although it’s rare that I would be “taking notes” for songs while absorbing them, I am aware that subconsciously at least, something is being recorded. Sometimes an idea will hit me and I’ll write it down in the notes in my phone, or record it using the voice notes app. You’ve just got to remember to go back and check your notes every now and again, otherwise things get lost.

4. Have you ever felt creatively blocked and what did/do you do to overcome it?

I always feel creatively blocked. These days it’s become more about overcoming those blocks on a daily basis, and for that I have no advice to offer besides what I offered in question two; write with others. In a co-write you have no choice but to just get on with it. Your writing partner will help overcome any blocks hopefully. It’s a common thing when your creative hobby becomes your day job. You can’t do it every day, and if you do you will burn out eventually. Try not to stress out about it, and don’t feel any pressure to write songs every day, or even week of your life.

5. Do you like to collaborate with other artists and in what capacity does collaboration work best for you?

I prefer to write for other artists, but with other songwriters. That is not to say I don’t write with other artists. I just find that with the typical “artist" in the room, I feel a lot of pressure to not take them in a certain direction, because I know how that feels, which in turn stifles me creatively. Call it crippling empathy. So I retreat inwards and the whole thing is a disaster. It’s a personal problem really, probably because I am still an artist myself.

6. Are there any non-musical things you do that affect your art?

Not directly no, but then everything you do in life affects the next. I try to stay as healthy as I can, whether through yoga or meditation. That helps keep a clear head, but isn’t always possible. As I mentioned before I am someone that lacks self-discipline, so it’s easy for me to rebel against myself. I think taking care of yourself is incredibly important if you want to be creative, but there are artists out there that have proven the opposite, so what do I know . . . 

7. How do you know when a song is done?

Some people labour over songs for months, even years. I am not one of those people. I like to finish them quickly and then move on. So for me the song is done when the verses have lyrics that feel good, the chorus a melody that is memorable (usually if you’re singing it the next morning, that’s a good sign), and the structure feels solid. I try not to overthink it, there are other songs to write. 

8. What do you think your strengths are as a songwriter and how do you play to those strengths?

I have been told I have a great filter for cheesiness. So these days my strengths are working with others and their ideas, and filtering out the crap. If something is cheesy, I have an extreme aversion to it, and so I am able to help edit other people’s ideas. I am also pretty good at telling a story, so I am able to use lyrics well in songs. 

9. What do you think your weaknesses are as a songwriter and how have you worked around them or worked to improve them?

I am lazy, I lean into bad habits and I always look for the easy way out. When I used to write alone I would finish a song in thirty minutes, an hour max. Now co-writing sessions can last six or seven hours. So I often find myself looking for an escape route, usually because I'm bored. I don’t write bridges if I can help it, and I barely change chords throughout a song. The problem is, I had a massive hit using those lazy tactics, and with that my habits were not only reinforced, but validated. Again, a great way to improve on your weaknesses is by working with others, especially if you can find someone whose strengths and weaknesses are different than yours. That way, you can complement each other.

10. What is one important lesson you have learned through your experiences as a songwriter?

That I am better than I tell myself.

11. BONUS Question: How are you finding your creativity in the time of COVID-19?

I've done a handful of Zoom/FaceTime sessions, but unfortunately I can't find a way to enjoy them, or feel inspired during them. Digital one-on-one is just too impersonal for my creative soul. So, I am finding other ways to stay inspired creatively. I bought an old vintage motorcycle and I’m devoting a lot of my energy into learning how to repair and rebuild it. I didn’t know anything about mechanics a month ago and so I’ve been learning endlessly, which in turn has gotten my creative juices flowing again. Without any set goals for music during this pandemic it’s been difficult to focus, but I’ve managed to write a few things here and there. I’ve been tying up a lot of loose ends on some production stuff too. No better time to do it I guess.

Favorite song to dance to: “Mr. Brightside” by The Killers
Favorite song to make out to: “Free Fallin’” by Tom Petty
Favorite song to cry to: "A Little Bit of Everything" by Dawes
Favorite song to work out to: “Where The Streets Have No Name” by U2
Favorite song to drive to: “Born To Run” by Bruce Springsteen

Follow Greg online:

instagram.com/gregholden
gregholdenonline.com

photo by Laurel Valdez.