Charlie Floyd Q&A: On Breakthroughs, Summer Anthems, and Bottling His Sound

2025 has been a landmark year for Newcastle’s Charlie Floyd. From a breakthrough run of festival shows to an upcoming slot supporting Robbie Williams on home turf, the indie-pop newcomer now caps off the season with the release of his debut EP 2000 and Something. Featuring fan favourites “Do It Again,” “Take It Or Leave It,” “2000,” and brand new track “Calls,” the four-track collection is Floyd’s boldest statement yet. We caught up with Charlie to talk about surreal milestones, the making of his sound, and what comes next.

You’re releasing 2000 and Something on the same day you support Robbie Williams—how does it feel to have those two milestone moments collide?

That feeling is really hard to put into words. I think surreal would be the closest I’d get to articulating that emotion. There’s been a lot of work through the year in both my writing and development as an artist, and preparation for the live performances which are super important to me. I haven’t really stopped working this year to reflect or appreciate anything that’s happened along the journey, so as soon as that performance is done and I can enjoy the release of my EP, I think there’ll be a lot of drinks on the go to celebrate.

‘Calls’ is already being tipped as a summer anthem. Can you talk us through the story behind that track and how it captures the EP’s mood?

This song is probably the most accurate and unapologetic representation of the Charlie Floyd sound & style. I’m especially glad this tune has resonated with people, because there was zero compromise made in the sonics of the track to tailor it toward a familiar sound. I usually put my mad production ideas and instrumental additions through a filter for the sake of a songs lyrical content, to better serve the emotional experience for the listener. However, with this song being about walking home under the influence in the early hours of the morning, there wasn’t much need to make it any more serious than it needed to be. The drums borrow a lot from my hip hop influences, basslines too, and the synths for that matter. Lyrically I think the song is fitting to the summer, I think most people could relate to the walks home when the sun is coming up. the hook and bridge were written in 2019 when I was 17 years old. The fact I have revisited it now I’m 23 and still feel the same way, is perhaps a case for the topic being quite a universal experience for younger folk, especially in Britain - this song allowed me to roundup what I feel was an alternate, fresh and unique EP, and an insight into my influences and style, as a songwriter and producer.

You’ve said this EP is the first time you’ve really “bottled your sound.” What key elements define that sound, and how did you refine them over the past year?

This is where I could get caught up and write pages worth of answers so I’ll try and contain it. With specifically ‘2000’ and ‘Calls’ being a true representation of what I’m about to say, as these two tracks were the first that I produced 100% solo, whereas ‘Do It Again’ and ‘Take It Or Leave It’ I worked with the legend that is Charlie Russell on, so there are elements of his style in those. I think I’ve spent half my life with headphones in, so bad that I’ve got tinnitus at 23 years of age. I love music, I live and breathe it - there has to be a definite balance 50/50 of songwriting and production for me to really love a song. I spent the first half of my life listening to indie and rock music, and the second half hip hop / alternative pop. As soon as I saw Steve Lacy using an Irig to record ‘Dark Red’ when I was 15, in 2017, I have just been on a warpath to produce my own music ever since. In terms of where my sound is at now and what defines it, each instrument and how they’re mixed borrows from a variety of genres.

Drums for example, I always have to have super dry and super prominent in the mix - I like a super thick HIFI low end kick, with every part of a kit being individually audible. This definitely comes from the hip hop world, songs like ‘Pride’ and ‘YAH’ by Kendrick Lamar and DAMN. in general are what I go for in a drum mix. Equally, Songs In The Key Of Life by Stevie Wonder is just ear candy for drums, I love the presence of drums in a track laying the foundation for a groove.

Bass is probably my favourite instrument to record, I again could write a book on which bass sounds I love in music, but the fact I play a Hofner on most of my tracks says enough about the fact Paul McCartney’s iconic bass sound through the Beatles is always my main inspiration (especially revolver onward). There’s nothing like the warmth and thickness of flat-wound strings on a Hofner, Tame Impala of course is another example of this sound I am always seeking to put across in my music.

Guitar wise, my good friend, and exceptional drummer Luc Hindmarch, made a point about the sound of my music to me the other day that I hadn’t even realised. With there being a real present low end in the bass and drums, I instinctively always use a bridge pickup on most my guitar tracking for a super bright sound that sits on top of the bass and drums. Without any intention from myself, Luc made a point that the sound is quite reminiscent of a lot of funk and disco mixes sonically, like ‘Family Affair’ for an example by Sly and The Family Stone. My natural preset for a bright guitar sound will no doubt be from my years of writing music and being a frontman in an indie band. I loved the Libertines growing up songs like ‘Vertigo’ capture that bright guitar tone with a bite, ‘Mind Mischief’ by Tame Impala too. And it would be daft to not cite ‘Is This It’ by The Strokes as a huge influence on the guitar mixes.

Vocally again I’ll return to The Beatles. I have an unhealthy obsession with slapback on my vocals. Probably more accurately John Lennon’s vocals on Beatles tracks and his solo work. Songs like ‘How Do You Sleep?’ And ‘Come Together’ are good examples of the slapback serving a somewhat psychedelic effect, or at least that’s how I perceive it. Where I’ve found comfort in singing in a higher register, slapback is another ear candy for me I love the pocket of space it put a higher pitch vocal in a mix.

Synthesisers and any additional instruments, orchestral / mellotron / keys are all a result of being a student of Tyler, The Creators work. Cherry Bomb, Flower Boy and Igor are all albums that are embedded in my musical DNA. I will likely never make anything that sounds remotely similar in a writing sense, but the principles and how they are utilised are inspired by Tyler. ‘Boredom’ ‘911 / Mr Lonely’ ‘Glitter’ off of Flower Boy rewired my music taste in 2017 when it came out. The whacky and sort of video game sousning synths over guitar is a sound I adore. Igor isn’t even worth trying to comprehend or emulate because it’s pure Genius, but I hope to use more synths in my music moving forward for the cinematic experience they can offer in a sonic sense.

This summer’s festival run seems to have been transformative—how have the live shows shaped your connection to these songs and your confidence as an artist?

There’s been an immense step up in my performances throughout this year, in terms of confidence and quality. I did a tour earlier this summer with The Rosadocs and played the shows as a one man band setup, using backing tracks, live guitar and live synth. Those dates were also my first using in ear monitors - standing up there alone really put me in the firing line for any areas that needed improvement. And as my first experience playing without the noise and presence of a full live band of instruments, it allowed me the space to focus on my vocal delivery. I’ve taken that experience into the festival season playing with a full band. After each festival I’ll sit on the bus with headphones in listening back to the performance to see where I can improve for the next, I’m super grateful to have had the chance to focus on vocal delivery and performance. There’s always a lot of time and effort put into playing the instruments, I feel like my vocal performance has finally caught up with the rest of the playing for these festival dates. In my opinion it’s the best it’s sounded as a full experience for listeners at this point.

With the momentum of a breakthrough year and growing buzz around your music, what do you see as the next step for Charlie Floyd after 2000 and Something?

All of the feedback and opinions I’ve heard from the music I’ve released this year has served as huge inspiration and confidence to move forward and develop my personal sound. A lot more doors have opened for me psychologically when I sit down to write new material. There’s a boundless feeling now that I’ve been exploring in the new material I have written, which is developing on the foundations I’ve set out with ‘2000 and Something’. I’m currently rounding up the final bits of a new set of songs for a second EP, which in my opinion, are more unique and honed in on a signature sound that I’ve been working toward my whole career.