BLANCO WHITE BLENDS MODERN, TRADITIONAL
Londoner has passion for Andean, flamenco music
In a sense, Josh Edwards is reversing the path of one of his heroes, 19th century Spanish writer José María Blanco White.
The London-born singer-songwriter, who records under the name Blanco White, first became smitten with the theologian and poet while living in Cádiz, Spain.
“He had a fascinating life,” explains Edwards, taking time off from intensive recording for his debut full-length album to answer a few questions.
“Born in Seville, he ended up living in a self-imposed exile in England taking on an English identity as Joseph Blanco White. It felt like that dual identity captured some of what I was trying to achieve musically, bringing together influences from the Spanish and English-speaking worlds.”
Mixing Andalusian and Latin American music with influences closer to home, Edwards has created something new and compelling with Blanco White.
Over the course of three EPS for the Yucatan label, he’s gone from a solo act to full band, Edwards moving between charango and guitar for his gorgeous and expansive music, with European critics taking note. Now he’s making his way over to North America, his first stop an appearance at the Edmonton Folk Music Festival.
Q Andean and flamenco music aren’t something that most kids growing up in London would necessarily pick up on. What was the appeal?
A Andean music was something I discovered as a kid, but flamenco was something I found much later whilst living in Cádiz in southern Spain in 2012. I think it was the instruments used in Andean music, especially the charango, ronroco and quena that drew me in, even at a young age. They sound unlike anything else, and I’ve always thought they have an innate mournful character.
The traditional rhythms in Andean music are also intriguing, and move in such a different way to the music from back home. It was the longer and more complex rhythms in flamenco music that captured me, too, and of course the guitar playing.
Q Were there any artists in particular that grabbed you? A Gustavo Santaolalla, Victor Jara and Violeta Parra have been influential on me, as well as flamenco greats like Camarón, Paco de Lucía and Diego el Cigala, but in both cases seeing local artists play live is the most inspiring thing of all.
Q You must have developed an interest in more mainstream Western music as well.
A As a teenager, Bob Dylan and Leonard Cohen were really my biggest songwriting heroes for their lyrical styles. But I’ve always listened to music from different parts of the world, and since I started Blanco White that interest has become more and more important to me.
It’s a very exciting time to be listening to and creating music because it feels like we have unprecedented access to music from every corner of the world for the first time. We’ve got streaming libraries to thank for that.
Q Flamenco guitar is not something you pick up lightly. Did you have to fight to not be overwhelmed by the skill it takes to play it?
A It was definitely a little demoralizing starting out and continues to be demoralizing today!
The pros are astonishingly good players, but that’s exactly what makes it so inspiring. It’s a lifelong passion and something I hope to keep chipping away at. The influence will always be there, and my hope has been to integrate it into a wider style of playing that is more personal to me, but one day I’d love to be good enough to accompany a flamenco singer in a traditional setting.