Paul Dempsey and Bernard Fanning are no strangers to creating magic, both as solo artists and in their previous collaborations
With their new project, Fanning Dempsey National Park, the two musicians have crafted a fresh and exciting sound that resonates with fans old and new. As they embark on this new journey together, Paul and Bernard bring a wealth of experience, creativity, and a dash of humour to the table.
In our chat, they open up about their process, the unexpected places it took them, and the importance of having fun along the way. From legendary studios to spontaneous songwriting sessions, their adventure in making The Deluge is as compelling as the music itself.
Let’s dive into their story and see what went on behind the scenes of this remarkable collaboration.
Happy: You both have impressive track records, creating the soundtrack to many of our lives. Did you have any fears going into this project?
Paul: If there was any fear, we would have stopped. We would have just said, “No, we shouldn’t do this.” Initially, there was some uncertainty, like, “Let’s just give it a crack, throw a few ideas back and forth, and see what happens.” But if it felt good, we’d keep going.
Bernard: It was mainly about having fun at the start. Fun was the prime motivator. Then synthesizers came in, and they edged out the fun.
Paul: Now it’s all business, no fun.
Bernard: It’s all about the money now.
Paul: Total professionals.
Happy: So was it fun throughout the entire process?
Bernard: Yes, that’s what I mean. It was fun from the beginning because we were sending each other songs, which neither of us had done before—writing remotely, getting someone else to finish your idea or contribute to it. It was a really interesting process. And even through the recording, we had a great bunch of people around us who were cool and calm. There were a few tech issues at the start, but we didn’t let that get to us.
Paul: Everyone else was freaking out, but a defining principle of this project was “no freaking out.” Even when there were reasons to, we stayed cool. We were there to have fun, and we’d figure it out. When we kept our cool, everyone else relaxed too. Because what’s the point of getting uptight?
Bernard: It wasn’t fun for our bank account.
Happy: So you recorded in some pretty legendary places?
Bernard: We were lucky. We ended up at a studio called 2200 Studio’s in Sausalito, near San Francisco, which used to be called The Record Plant. Fleetwood Mac made Rumours there, Metallica recorded there, and artists like Prince, Rick James, and Sly and the Family Stone have all worked there. The place had an incredible atmosphere, and the room sounded amazing, especially for the drums. Everyone, including our band, felt honoured and privileged to be there.
Paul: We also finished the record at Bernard’s studio, Brooklet Recording, near Byron Bay, which he and Nick DiDia set up recently.
Bernard: Yeah, about a year and a half ago. While looking for inspiration, I found a list of the ten most beautiful recording studios in the world, including Abbey Road and Electric Ladyland. One of them was Ocean Sound in Norway. Paul and I were both going to be in the UK, so we decided to go there. We hadn’t been in a room together much because of COVID, so we thought, “Let’s have an adventure, enjoy the process, and make some music.”
Paul: We spent a week at Ocean Sound, and it was incredible. We made sure there was a bit of a road trip on the way there and back, to soak it all in, talk about the music, listen to records, and throw ideas around.
Happy: Sounds like the perfect environment for creativity. How do you balance that with the demands of life and family?
Bernard: It’s different now because we both have kids who are entering their teens. You can’t work as much as you used to. I appreciate these opportunities more now. As you get older, you realize how lucky you are to do this. It’s incredible to create for a living.
Rapid Fire: Artists on Artists
Bernard: Paul, what was the first concert you ever went to?
Paul: My mom was a professional singer, so my first live music experiences were with her and her sister performing Gaelic folk music. The first concert I paid to see was Nirvana opening for the Violent Femmes at Fisherman’s Wharf on the Gold Coast.
Paul: What about you?
Bernard: My first ever concert was Duran Duran at Festival Hall in Brisbane in 1982. The first ticket I bought was for David Bowie’s Serious Moonlight tour at Lang Park.
Paul: Bernard, what’s the most outrageous fan request you’ve ever received?
Bernard: Someone once asked me to donate my, let’s say, “reproductive capacity” at a concert. That’s pretty outrageous, right?
Paul: Yeah, that’s a big ask!
Bernard: At the very least, it’s presumptuous.
Paul: What’s the most unexpected record in your collection?
Paul: There’s a lot of death metal and grindcore, but that’s expected. Maybe Belinda Carlisle’s greatest hits? She’s unreal.
Bernard: She is! What about you?
Bernard: I’ve still got the original copy of ABBA’s Arrival that my parents gave us for Christmas in 1978. And Venus and Mars by Paul McCartney.
Paul: Give me three adjectives to describe your songwriting process.
Paul: Bodacious, ambitious, dexterous.
Bernard: Isn’t dexterous about using both hands?
Paul: Maybe, but it’s also about being flexible. I often use both hands on the piano, so it fits.
Bernard: What about you?
Paul: Cryptic, obsessive, slow. Ridiculously, painfully slow.
Bernard: What’s your go-to karaoke song?
Paul: I’ve only done karaoke once, and it was Aces High by Iron Maiden.
Bernard: Wow, what an amazing choice! I’ve never done karaoke.
Paul: We’re going to change that.
Bernard: I think my friends are just like, “Fuck that guy.”
Paul: You don’t like fun, do you?
Bernard: I’m dead inside.
Paul: Most life-changing musical discovery?
Bernard: Sam Cooke, Live at the Harlem Square Club. A friend gave me the tape when I was 16, and it got me into soul music.
Paul: I thought you might say working with me, but that’s alright. We can talk about it later.
Paul: What’s your craziest backstage experience?
Paul: David Bowie once walked into my backstage room, sat on the couch, and settled in for a chat. That’s pretty surreal.
Bernard: That’s wild! Mine was at a Big Day Out. Courtney Love had a meltdown and started throwing chairs. Marilyn Manson joined in, and then Darren from Powderfinger tried to join in, but Courtney stopped him, saying, “What are you doing, man?”
Paul: What’s a hidden talent you possess besides music?
Bernard: I’m an extraordinarily proficient golfer until I get to the green.
Paul: Long game is good, then?
Bernard: Fantastic long game. Just don’t ask me to putt.
Paul: What’s the synth sound you can’t resist right now?
Paul: I recently got an OB-8 synthesizer, and every sound it makes is irresistible. I also got the Deckard’s Dream, modeled off the Yamaha CS-80. Everything sounds unreal on it.
Bernard: I’d go with the Oberheim too, especially the sound from Jump. Put that sound behind any chorus, and it just makes it better.
Paul: What’s the one song you wish you had written?
Bernard: Anything by Taylor Swift, so I could distribute the funds to other artists. No, seriously, Something by The Beatles. It’s one of the most beautifully written and realized recordings.
Paul: For me, it’s hard to narrow down to one, but right now, I’d say Nightswimming by R.E.M. It’s simple, beautiful, and yearns.
Bernard: Or maybe Shaddap You Face by Joe Dolce, because it’s timeless.
Fanning Dempsey National Park’s debut album, The Deluge, is out now.
