Philip Sayce joins Eliza Lee for a deep conversation about creativity, authenticity, blues rock, and life as a modern touring musician. Philip talks about returning to the UK, recording his new live album, the influence of Jimi Hendrix, and why playing from the soul matters more than chasing perfection. We also dive into songwriting, social media pressure, artistic inspiration, and the importance of staying connected to what’s real.
From tone and touch to nature, horror movies, and the future of blues music, this is an honest and inspiring conversation with one of today’s most expressive guitar players.
Thank you so much for making a little bit of time to speak to me again. It's not even been that long since NAMM, I feel like, when I spoke to you last.
That's right. Yeah, that's that's such a such an intense event. Yeah. How was the rest of your NAMM experience?
It was great. I came home with my ego utterly decimated as I feel like any guitarist should. Just the incredible amount of talent there.
I can believe it.
You know, it's like all of the most amazing guitar players in the world in one place. So it was good, though. I came home like I need to practice, man. I like it. You know, it's it's good to reignite the fire, isn't it?
Absolutely. Lots of inspiration. Yeah, for sure.
So anyway, I'll just dive straight in. I don't want to keep you too long. And let's just quickly talk about you're coming to the UK soon, right? Next month. So what have you got planned for the show? What's that going to look like? Where are you looking forward to playing in the UK?
Yeah. Well, first of all, thanks for making time to chat with me today. I really appreciate it. And also to help get the word out about the tour. So, yeah, we are super excited to come back. It's been about a year and a half since we were last over. And, you know, it's really not something that we have the opportunity to do all the time. And I think in the way that the world is changing rapidly, it's certainly not something that myself or my band and crew take for granted. So, yeah. So we hope that we can make this an amazing tour and have the opportunity to come back. But, you know, really, in order to do that, people have to come to the shows. So if, you know, people don't come to the shows, then this may be our last time over. If they do come to the shows, then we'll have an opportunity to come back. So it's kind of like that. The world has changed a lot in the last number of years. And so we are really, really excited to come over and play and just grateful for the UK audiences. They've been so good to us. The last few tours have been a dream come true. So we're going to take it up a level.
Well, I'm glad. We're very happy to have you. I know what you mean, though. The barriers to international touring seem to grow and grow at the moment.
Yeah, it's crazy.
Yeah, I'm hoping that, I don't know, wishful thinking, but who knows, maybe things will start to get easier sometime. But no, I think like the UK does have such a strong blues scene. I guess it always, always has really. And I mean, that musical relationship between the UK and America is such a special one. And Canada as well, like just that side of the hemisphere, yeah. it's such a special relationship so it's really nice to have artists over. How do uk audiences shape up for you, how do they compare? You know it's always fun to hear like the perspectives of because touring's such a different experience no matter where you are right?
Yeah, it's, you know, it's a great question. And thanks for asking. You know, I feel like the UK audiences have always been really good to us. A number of years back when I was touring there regularly with the label I was working with at the time, you know, we started from the ground up. And And even from the first shows, you know, people were just really warm and sharing in their enthusiasm and and seemed to really give back. You know, if we were given 110 percent, it was a real warmth that we were receiving as well. And so we tried to I try to always make sure that that's a two way street and and really sharing from our hearts when we're playing, because it feels like the audiences have given so much to us. And in our last couple of tours, we It was on such a bigger level. It was so deeply inspiring. And really, as I said, a dream come true. So beautiful. And, you know, I also touring over there.
My first times over there were touring as part of Jeff Healy's band. And I remember just even at that time, the audiences, they just kind of they they're supportive. They go with you. And maybe that has something to do with. excuse me, the rich music that came out of the UK from the 1960s forward, 60s, 70s, that was certainly blues based, blues rock, and is certainly, I think, a part of the DNA of the music that comes out of Britain, even if it's, you know, it's completely different style. But I've always found that the UK is very rich in terms of having lots of different influences you know, influences in the fabric of the music that comes out of there from pop music to whether it's reggae music, whether we're talking about blues music, um, Yeah, it's it's very rich in the arts. And so, yeah, we feel that and we notice that. And so we definitely want to bring and will bring our absolute best.
Amazing. Well, it's one of the perks of being an island nation, right? You get all the influences from everywhere in the world. It's great. And also you've got a new live album as well and I think it'd be good to talk about that because I mean releasing a live album is kind of something I wish more artists did you know - I feel like it's maybe not as not as common as it once was maybe amongst guitar players but I've always I've always loved live albums they're a big part of my record collection. So what led you down the decision of right, I want to do a live album rather than a studio one at this time. And how did that look? It can't be an easy thing to to contemplate, right? Knowing that the show is going to be recorded forever…
You know, like. We're, you know, we were working on both at the same time. So in 2025, we decided to, you know, we did some, you know, a little bit of touring, but we stayed more local here in Los Angeles and did a residency at a venue here that's very well known residency. It's called the Baked Potato. And it's been there for decades and tons of cats go through there. And it's very intimate club, but the family that owns it are wonderful and just a really great community there. All the people that hang out there and the people that work there, everyone is, everyone is so chill. It's, it's a great vibe and it's certainly a privilege to perform there. And so after, I don't know, after a nut, we had played a few, a number of shows there over the course of a few months and, and Justin who owns the Baked Potato, he just kind of came up to me one night and said, Hey, here's a hard drive we've been recording your shows and i was like what and he goes yeah check this out man you might find something and so we went to the studio listen to the stuff we're like it was very very very well recorded multi-track um and uh so we just we didn't even know that it was really going to be an option until he was like yeah we got some stuff so we went in and listened and there were a few tracks that we felt yeah these are these are cool and um Ended up mixing those.
At the same time, we were working on a studio album here in Los Angeles. So going in and recording new original songs and just trying out new things and working on it. So both kind of came together. Yeah. And also as part of the live album, there was a show that was recorded in London and at the, at the garage, which was a really special night at the end of our tour. First time I've been back in a, in a number of years. And so we included a cover of a Hendrix song that's called Spanish castle magic that was recorded, um, at the garage in London. And it felt really important because London was really, I think, a big part of Hendrix's career and where he really was embraced and exploded in his career. And so it just felt very meaningful to, you know, tip of the hat, pay homage to the man. And, you know, and so it made sense to include it on there at the end. Also as a thank you to the UK for the support that they've shown us. extremely grateful for that. And yeah. And so both were kind of coming together. So we asked on social media, Hey, what, what does everyone want to hear? Do you want to hear a new studio album? Do you want the live album? And it was resounding live album, like 80% wanted to hear a new live album. I hadn't had one out for many years. And so, yeah, that's what we went with yeah that's that's cool
You probably have already but you'll need to visit Newcastle next time you're back in the UK, that's my locale, because that's where Hendrix first lived when he came to the UK and it's wild because the street he used to busk on is yeah just the sort of student-y street and it's really weird walking past there knowing that before anyone knew about him Jimi Hendrix was busking on that street so there's a good bit of heritage with Hendrix here as well so it's really cool to kind of trace that. Do you notice a difference then in I mean it seems like kind of an obvious question of course every guitar player you're playing is going to be represented somewhat differently with a studio album versus a live album and Do you feel that you have a particular preference or resonance or you feel that it's a more authentic representation of you on studio versus live? Do they feel like two very different things or is it just kind of one holistic thing?
Well yeah, thanks for asking. I mean the music is coming from the same place in both settings. The music's coming from the heart, from the soul. I'm reaching for something, I'm trying for things, I'm stretching, I'm going for it both in the studio and live. So the playing comes from the same place. The one thing about the live album coming at it is finding things that are perhaps thematic, things that are going to be listenable over and over. Whereas in the live setting, I'm trying to be really in that moment. And I'm, you know, even though a lot of things, you know, end up on YouTube or someone's phone, Instagram, whatever. I'm just fully in that moment. I'm not thinking about it in terms of, hey, I'm making a record right now. I'm, you know, it's like, I'm feeling, I'm feeling on fire today. Oh, I feel like I'm angry. Okay. Well, that's going to come out in the playing in that live show. Or, hey, I'm feeling extremely happy. I'm kind of feeling like, like I want to joke around. That's going to come out in the playing and in the performance and the live setting. Whereas in the studio, there's a joke that a producer that I've worked with, David Cole, who's amazing, he said one time, well, I can't mute it if you don't play it. So basically, like, I can't delete something unless you play it. So play whatever, but we're going to go for something that is going to have longevity, is going to be listenable over and over again. So in the studio, you can like try things. If you don't like it, you delete it. You know what I mean? So I think it's a little bit of a different approach. But at the same time, the music was always coming from here, always coming from here, you know, trying to connect to my higher power. Yeah, as much, you know, as much as the digital era comes with its downsides, I'm very grateful that we're no longer bound to however many reels of tape. we can afford and the studio has a lot of chance for experimentation.
It's interesting that you briefly mentioned social media and kind of asking people online what they wanted to hear. And I would love to get your take on kind of the role that the unique era in which we find ourselves with social media being a, for most of us, quite unavoidable part of being an artist now. It's kind of a main line of contact, I think, to audiences. What kind of role does social media play in your life as an artist? How do you manage your relationship with it?
Yeah, I'm glad you asked. I think it can be a great tool. for a professional musician. I think it would be a great tool for anybody who is you know, trying to get the word out about either something that they're creating about their business, about hopefully spreading something that is helpful to others. I do feel like it's an incredible distraction from what's really important. And to me, what's really important is what's going on inside of myself and, and growing and learning about myself. And one of the biggest things, I feel like traps of social media can be looking for external validation. And I think that's a really slippery slope. I think it's really dangerous to, having said that, hey, I asked, what do you want to hear, a live album or studio album? But that's not necessarily looking for validation like, oh, you know, please like me or please like this or, you know. And then the needing of that, becoming needy across, well, how come this video only got so many likes and this one got more likes? Oh, I guess, you know, and going into the internal spiral that I know everybody on social media deals with.
So for myself, I mean, I can't speak to anybody else, how they deal with social media, but for myself, it's limited. I know that it's something that's necessary to connect with people, to get the word out about the music I'm creating and what's important to me in my lifetime, perhaps how I can be helpful to others, to be of service. And at the same time, remembering not to look externally for validation, whether it be likes or dislikes, whatever. Like, it's none of my business what somebody else thinks of me, honestly. So we've come into this world now in a place where everybody's looking for, you know, their power to be built up based on how many views or likes they get. And honestly, that's not where I'm coming. Like that's, it's important as a business owner and somebody that, you know, I'm an independent artist. I have to do that to some extent. The most important thing is, does it feel good to me? Does it feel right? And in alignment for me, what I'm doing, what I'm creating. First and foremost. And if I start losing sight of that, the music will suffer. My wellbeing will suffer and my spirit will be smaller. And so I think it's really balancing it and holding it for what it is. It's a fucking tool. It's a tool to use to get the music out there, connect with people, hopefully put something good in the world, but it comes from in here first and foremost. And so that's always been very important to me. The people that I've known, uh, that I've worked with that I've been mentors to me never looked for external validation.
They knew who they were. They knew what they were doing and constantly learning and growing and exploring and not allowing, you know, whatever day of the week it was and what somebody said to them to change who they were. So more people would like them. And that's really the most important thing to me. Keep that music authentic. Yeah. I think you, you definitely need, Thick skin in the current era of socials as well. And it's definitely something I find that it's sort of this pressure to like be your own voyeur all the time. And, you know, everybody wants the BTS and it's all you always have to think about sort of. There's a certain pressure on musicians now thinking about how they're being perceived and what typically previously are these kind of private, sacred, introverted moments, whether that's, you know, the trends that you see of, oh, the process of writing this song where you never really would see that before. You know, you would, I don't know, watch an interview like this and get to hear about it after the fact. So, yeah, it's always a question I like to ask. And it's interesting.
Most artists typically have the same, the same perspective of a bit of a necessary evil. But in terms of your writing process, segueing into that, how do you go about writing a song? Is it the same? Does it depend on the mood? Do you have any fun tricks you like to use for writer's block?
Well, you know what, for in terms of like when you feel stuck on something, it's OK. I mean, it's a part of life, you know, and just put it down. Come back to it tomorrow. If you know, as opposed to just kind of spinning out on it and getting frustrated and then, you know, turning on myself and, you know, get now. OK, fine. I'm not really feeling this right now. Guess what? I'll come back to it tomorrow or the next day or next week or next month or next year. I'll work on a different idea instead right now if that one's not coming. And I think all of these things are a work in progress. And I think really trying my best to hold on to some compassion for myself and just If it's not, you know, if I'm not feeling it, like writing a song in the moment, just leave it. I don't have to do it. You know, just leave it. There's lots of other ideas floating around, right? Oh, there's another one. Let's go down that road then. If that feels like it's, you know, more exciting or, or more malleable in the moment, something I can play with. And I think the main thing though, is to, to constant, I mean, I'm also, you know, sometimes it's a challenge and sometimes it's a challenge to finish something. It's a labor of love. And so sometimes you got to really dig in, you got to work hard for it. And when you get it past the finish line, it's like, wow, that was f***ing hard. But you know what? I'm so proud that I got that past the finish line. Could I have done it differently? Maybe, maybe not. I don't know, but I'm moving on to the next song, you know? And I think that's just the thing to keep the forward momentum going. And to honor what I'm feeling at any given time.
That's really the most important thing in writing for me is, is to honor what's going on for me. So if I want to write an uptempo song and I'm feeling like kind of wound up and like, just let the feelings pour into that. Try to, try to, try to illustrate in song what I'm feeling. And that's really the most important thing. And there's no right or wrong way to do it, you know? And again, it's, it's also sometimes it's, it's for me, I have to get something out of myself. To feel better in that way. I think there are those songs that just fall out of your brain on a random Wednesday morning and then there's some that like miraculously take about four years to finish and you never know which way it's going to go. And yeah, each method has its credence, I suppose.
Okay, I'm going to do just some slightly, I say quick fire, please give me as long winded an answer as you feel moved to give. All right. I love a yapper. So just, you know, firstly, what was the last thing you listened to? What music are you excited about listening to right now? Is there anything at the moment that's really doing it for you?
Okay. So the last things, two things we listened to last night, we had some friends over and we were talking about some classical composers. We listened to Tchaikovsky last night, which was interesting and beautiful, miraculous. And we also listened to Gregory Isaacs, who's an incredible reggae artist. So that's who we listened to. That's who comes to mind. Maybe Louis Armstrong had a little bit of that, of his music on as well. Yeah. sorry and then the next sorry I got all caught up in in the beauty of their music what was the other part?
No don't worry! By the way I really think that you need to get into Rachmaninoff's piano preludes if you were into the Tchaikovsky i think those would rock your world. The other question..it was just sort of music that's coming out right now that you're excited about i feel like we're seeing a lot of different things at the moment. You know the whole microtonal trend don't know if that's happening in LA it's certainly happening here with Angine de Poitrine you know and all the microtonal stuff that's kicking off is there anything just new that you're into right now.
You know what I saw someone performing the other day there was an article on NPR a video I was blown away Welsh guitarist I think that their name was Gwenifer oh my gosh I'm spacing on her last name acoustic guitarist And she's just starting to blow up.
I feel like I know who you mean. And I can't quite recall either.
You're going to have to help me. Anyway, she was awesome. I watched this video. She was playing at NPR. And I just sat there and watched it. I had goosebumps. She's fantastic. Welsh, Gwenifer and the last name.
Raymond. Raymond. Is that what it was? Gwenifer Raymond.
I think so. Yeah. So big shout out to that. I mean, their playing is amazing. It was amazing. Everything I love about a musician, it was like, oh, yeah. Like one of the best things I've seen in a while. Nice. Well, I'll have to go and watch some more of her as well.
Do you have any guilty pleasure songs? I know that's a bit of a... Loaded question because whenever somebody asked me that I'm like, I don't feel guilt. But do you know what the first song that comes to mind?
I love this song. It's called When You're Gone by Bryan Adams with Mel C from Spice Girls. Okay. This is like, I cannot get enough of this song.
That's a deep cut. I don't think I've ever heard of that. It's such a weird combination.
Oh yeah. Listen to that song a couple of times and it will be in your head for the, I think maybe for the rest of your life. I really admire Brian Adams as an artist, writer, a singer, unbelievable singer and his longevity and his just continued creativity. But this particular song that he did with and brought Mel C in as a as the duet I can't get enough of this song it's so good
Right that's one on the to listen to list - as well now another one is I know for a lot of artists we talk a lot about which musicians inspire you and what riffs do you like but I feel like you know all artists draw a degree of inspiration from other art other media as well right? Movies, TV, painting, literature, whatever it is. Do you have any touch points like that musically that aren't necessarily a musical reference or inspiration, but another artistic inspiration from a different kind of medium that feeds into what you do?
Yeah, I love that question. And, you know, honestly, living in Southern California, you know, I'm looking right now at a tree that is completely purple. And it is like, it is, it is so beautiful. And there's like, you know, hummingbirds everywhere. There's palm trees, cacti here. The sun is shining. It is like, it is so beautiful. And a lot of times, you know, yesterday, it was my wife, we're at the ocean, just looking at the ocean. Like that is inspiration for me. And just having a moment to breathe and look at the, there's the fabulous beauty surrounding that. you know, us here also, Hey, in the UK, you could be driving, you get to Scotland, your mind is blown by how beautiful, you know, like just taking in some of what, what the planet is showing us every day is, is can be huge inspiration. Sometimes I watch a lot of horror movies, which is the total opposite of what I'm talking about.
What's your favourite? Do you like classic hammer horror?
Oh, you know, know my favourite of all time I don't know what is my favourite but I kind of like a lot of like weird 80s and 90s horror movies like kind of campy but I mean I don't have a favourite you know what I'm gonna say one of my favourites is Silver Bullet by Stephen King it's a werewolf movie it's so but it's Yeah. I just, I just, yeah. It's like everything that Stranger Things, you know, Stranger Things is like this modern version of the town that's, that happens in Silver Bullet. You know, it's like, yeah.
Yeah, I think it's The Wicker Man for me, all the way. Best film of all time.
Wow, yeah. That one's great.
70s horror man, so good. And you know what, it's funny, you speak about sort of being inspired by nature and the beauty and things. I can't help but feel that that's why the UK kind of invented goth music, because it's really miserable here a lot of the time. Like when it's just overcast. I was having this conversation with my bandmates a while ago. We just recorded in Spain and it was so gloriously sunny and we were making this really depressing record. Well, not depressing, but we like goth things. So it was all a bit dark. And we were like, you know what? These songs felt more apt when we were writing them opposite a graveyard in Leeds. This is a bit like, it's all a bit positive.
So yeah, I think it definitely comes across. I mean, it must be so great though, living in, sort of living in the in the states the thing is you know the blues heritage I mean it's the birthplace of the blues and it's it's amazing being somewhere that has like the sheer level of musical heritage that the states has you know and you still feel it when you're there I mean it totally makes sense that you draw inspiration from the place you find yourself in as well.
Yeah, certainly, certainly. And I think really, you know, some of the most beautiful places I've ever seen are in the UK as well. So and I think, you know, just kind of being present in the moment where I am, whether that be somewhere in the UK. And as you said, if it's raining, you know, or it's cold and damp and, you know, that informs the art and that doesn't make it any more or any less. It's it's an expression coming from your heart and it's what you mean by. then you're really getting tapped in. I think that's really the most important part of it. You know, whether the sun is shining or it's raining, you know, I think it's, it's about, it's about letting out what's inside your heart.
Yeah, for sure. I mean, also quick, this is quite quick fire and it's difficult because this is like asking you to choose between your children I'm sure but do you have a favourite song off the latest record or even from the live set? From, from the live album, a favourite song on there?
Boy. Um, well there's, uh, I'm going to say really quickly, there was a performance of a song called peace machine on there that we recorded, during a very, very anxious and stressful time in Los Angeles in 2025. For various reasons. And it was a very heartfelt performance with my band. I think we were all screaming from our insides with what was happening. And I think everybody in the room felt that way. And I think it was... an opportunity to send a prayer out the song's called peace machine so ultimately a prayer for connection and understanding and compassion you know there's been such a such an effort to eradicate compassion and uh and understanding and that song was all about you know really like you know we really need each other and and the best example we played a show the other night in San Francisco and a general somebody in the middle of the show was a full full house somebody passed out in the show and went down on the ground and somebody ran up to the stage and we stopped the show and it was like, Oh shit, call nine one, one, get the paramedics here.
Oh man. Paramedics came after quite a long time, but they got there. But the whole room was, got together and got around this guy to help him. And like there was a retired fire chief there. He was holding his hand. Another person performed CPR on him that didn't know him. And we've just, everybody in the room was talking about it after like all this distraction all the time and separation and But when it comes down to it, we need one another. We need one another and we operate best when we have compassion and kindness towards one another. So anyway, I just wanted to share that. I think that that was really what that song encompassed. Peace Machine was very healing and a great outlet for me and the band.
I think, you know, I think that having an experience like that where your audience is so there to help each other though. It's also a reflection of kind of the community that you're fostering through your music and the way you play it, right? Because it's something that I've definitely seen a lot of. There are some bands that I like to go and see because I know that everyone in that crowd is just going to be a really, really nice person. And I know the environment's going to be comfortable because that's the atmosphere that the band foster and the community they've built around the music. So, you know, I think that, I think it ultimately reflects on you as an artist in the best possible way, because those are the kind of people that you're drawing to your shows. You know, I've been in crowds where maybe the vibe isn't amazing because, I don't know, the community is just not, there with the art. So I think that you can definitely take that as a very good reflection on your career as an artist.
Well, thank you. And, you know, I don't, you know, take credit for anybody else's, you know, headspace and where they're at. And also, if, you know, if an audience is aggressive and like, like that's cool too, if they're being real, but it's like when some, when it becomes destructive, like we can be aggressive together and whether someone's, you know, if you're moshing or you're like, you know, crashing it like if it's aggressive but everybody's in on it together that's really powerful but it's it's different you know when it's more of a you know we're not looking for destruction we're looking for connection.
For sure I mean look I've been to shows where I've been kicked in the head and I'm like ‘that was awesome!’ and you know similarly you you know you go to other ones where you just want to chill out and it's your vibe. Anyway, like I said, I won't keep you too much longer. So as a kind of capping off, what's next? Like after the tour, are you working on new music at the moment? Are you planning ahead to the future? Anything going on that you're excited about?
Yeah, thanks for asking. Yeah. And right after this, I'm hopping on a call with someone in Cardiff at Half Past. So yeah, so I'll be a minute or two late, but it's okay. But I'm excited to chat with you today. And Yeah, what's next is we are going to finish the studio album after the UK tour. So the UK tour is like our focus. We have a show in Dallas, Texas at the Dallas International Guitar Festival in about a week from now. And then we're playing in Los Angeles. Then we come over to the UK. Then I'll be home in the summer working on the new studio album. Then we're going to be over in Germany, Switzerland, and the Netherlands in October. So we've got some things cooking. And then hopefully the new studio album early in the new year.
Cool. Amazing. Well, I hope that that all goes well. Very smoothly. I'm excited to hear the new stuff. And I hope you have a great and plain sailing time when you come to the UK!
Thank you so much. hank you for having me. Have an awesome weekend.
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