Smoke Fairies is a British dream pop duo comprising Katherine Blamire and J… Read Full Bio ↴Smoke Fairies is a British dream pop duo comprising Katherine Blamire and Jessica Davies

The duo met at school in Sussex, UK during the late 1990s. They spent 2002 in New Orleans, LA, where they absorbed American blues music. When they returned to England they discovered British folk music at the Sidmouth Folk Week Festival while working as car park attendants. They later settled in Vancouver, Canada, for a year before returning to London, UK in 2006 to start performing.

Smoke Fairies’ outstanding album, the eponymously titled Smoke Fairies, shows the band in top form, combining their classic approach whilst exploring new forms of musical expression – but it is an album that they nearly didn’t make.

There was a moment after the release of Smoke Fairies' previous album (Blood Speaks, 2012) when Jessica Davies turned to musical partner Katherine Blamire and told her she was no longer sure whether Smoke Fairies should continue.

For Smoke Fairies the suggestion of not playing music together would potentially impact more than just their band – theirs was a friendship forged by music, by a shared ambition that had carried them from their schooldays and on to songwriting and performing together.

“We started considering what would we do if we didn’t do music,” recalls Davies, “and it was just a massive void.” Deciding that giving up on the band was “not an option,” Davies wrote a musical apology to Blamire that would become the stunning opening track of their new eponymously titled album, Smoke Fairies. “I just wanted to say sorry to her – sorry I scared you like that.”

In the years since Smoke Fairies first entered a recording studio, they have made critically-acclaimed albums, supported on tours with Bryan Ferry, Richard Hawley and Laura Marling, and had a single released on Jack White’s Third Man Records; but for all the perceived glamour of a musical career, they were still sharing a house in Peckham and waiting for something to happen while they worked temp jobs around London.

But with the question now raised, Smoke Fairies were able to really take stock and reassess what the band truly meant to them. “We realised that this is our life,” says Davies. “And we just have to see it as this wonderful thing, every gig we get to play and every record we get to make – we’re just incredibly grateful for that.”

More than this, it allowed them to think about the type of album they wanted to make. They had earned a reputation for impressive live performances, for harmonies and intricate guitar playing, but what they now craved was something simpler and more direct. Blamire talks of secretly listening to pop music on the bus, trying to figure out “why it was popular, why it was good.” Davies tells how her own personal yardstick had become “anything with a drumbeat that made me dance around the kitchen.”

Smoke Fairies yearned for movement and forward momentum. They wanted to make an album that wasn’t simply recorded live, but rather presented songs that were pored over, puzzled-out, polished and produced. “We wanted to feel that we had dissected everything back to its basic bones,” avers Davies, “and then for every song to kind of shimmer.”

In 2013 Blamire and Davies took themselves to a remote recording studio in Kent with producer Kristofer Harris. “It was on a very old industrial estate,” says Davies. “It was a really eccentric area – it used to be a council office, now there’s a bubble car garage, a tattoo parlour and a granite workshop. It just physically felt so distant from anything to do with the music industry.”

It was there that they set about crafting their latest album, Smoke Fairies, calling on their bandmates and old touring friends such as drummer Andy Newmark (Sly and the Family Stone, Roxy Music, John Lennon) to help out. “It felt very warm,” says Davies. “These people really came together to encourage us, as if we had retreated into a world of only ourselves and the people who mattered.”

The distance and sense of introspection also allowed for a shift in their songwriting techniques. “We used to do a lot of harmonies,” says Blamire. “But this album gave us the opportunity to actually be two voices, rather than two voices as one entity; two people talking to each other as distinct characters. They’re the messages that we send to each other.”

Their lyrical style, too, has changed: “We scrapped lyrics right from the start if they were too flowery,” asserts Davies. “Unless the lyric really got to the point and said something, it got cut.” Blamire agrees: “As songwriters, I feel we’re really starting to sum things up properly, to nail them down. For me, it was a testament to how long we’ve been together that we could just say to each other ‘that’s shit.’ There really was no ego on this record.”

The result is a remarkable set of songs, notable not only for their strength and robustness, but also a sense of experimentation. The sheer liberation Blamire and Davies felt at using synths for the first time is evident in tracks such as the irresistible “Your Own Silent Movie” and the beautifully compelling “Drinks and Dancing”. Davies and Blamire’s sublime voices still stand to the fore, and tracks like “Want It Forever” are lined with a deliciously bluesy skuzzy-ness. This may not be the sort of album you ever expected Smoke Fairies to make, but it is an extraordinary record – bracing, sensual and defiant – and one that promises an exciting musical future.

Blamire and Davies see the track “Hope Is Religion” as the song that best sums up their experiences of the past few years and their continued devotion to making music. “It’s one that we wrote together,” affirms Davies. “It’s about writing songs with someone, putting those ideas out into the open and sharing them with somebody; but it’s also about how with music you’re always hoping for more – that this will happen or that will happen. For us it felt as if music had become our religion, we believed in it without any evidence that we’d actually be able to make any money or be successful. I guess that sums up the situation we were in; but we realised we had no other option but to keep on believing.”

Morning Light
Smoke Fairies Lyrics

Jump to: Overall Meaning ↴ Line by Line Meaning ↴

In the morning light
I can see your head
Up against the window
Are we still friends?

And we rise without saying
A single word
And I look at you

Things are just getting good

It is summer now
Will I know you at all
Still be following you
When the snow starts to fall?

We're like a travelling show
We could be circus freaks
But it's not that funny
I fly home in two weeks

Oh will you bring me sorrow?

Where are we going?
In the silence I find
That I don't really know you
You will leave me behind

But we were both born
To be in the same time

And when I felt your touch
You made me feel alive

Overall Meaning

The opening of Smoke Fairies' song "Morning Light" is tinged with questions, doubts, and uncertainty. Through her words, we can envision someone observing a friend or a lover's head in the morning light. There is some level of companionship here, but it's unclear what kind. Then, we hear the singer say "Are we still friends?" This line could imply that something has changed between them—either that they were once closer, or that they may have had a falling out.

As the song continues, we find out that it's summertime. The singer wonders if they will still be following the person they are observing when winter arrives. The accompanying music of the song, which has an eerie, otherworldly quality, adds to the feeling of anxiety and unease. Smoke Fairies' imagery evokes a sense of sadness and isolation.

The second half of the song is infused with nostalgia and sentimentality. The singer feels like they and the person they are watching were meant to be born in the same time. Then, there's a moment of connection: "And when I felt your touch, you made me feel alive." Smoke Fairies' lyrics in "Morning Light" suggest the complexity of human relationships: how we can feel both close and distant from one another, how there's beauty and pain in being alive in the world.

Line by Line Meaning

In the morning light
At the start of another day

I can see your head
I see you, but not for who you are

Up against the window
Stuck or unsure of where to go next

Are we still friends?
Do we have a connection anymore?

And we rise without saying
We move forward without speaking

A single word
There's nothing left to say

And I look at you
I observe you, but not your emotions

Things are just getting good
Despite the distance, we had something special

It is summer now
The present moment

Will I know you at all
Will we remain the same people for each other?

Still be following you
Will we move in parallel or apart?