From busking on the streets of Bury to performing at Madison Square Garden, the meteoric rise of Elliot James Reay has been quite unbelievable. We catch up with the talented young singer, who is introducing vintage rock to a whole new generation of fans.

When Vintage Rock met the amiable Elliot James Reay a year ago, the official video of his debut single, I Think They Call This Love, had amassed a mind-blowing 9.8 million views on YouTube, and it has since notched up 84 million. The track has registered 200 million streams across all platforms and helped Reay build a loyal fan base of more than 6 million followers.

Now aged 24, he’s released a debut six-track EP, All This To Say I Love You, and supported Benson Boone on a UK, Europe and North America arena tour. “It’s been a pretty wild year, to be fair,” he humbly admits. “One I’m never, ever gonna forget…”

Can we start with a recap to remind readers how you first got started?

It all started when I picked up my first instrument, a ukulele, when I was seven. I’ve got a good ear and, as a kid, I’d just practise and mimic songs over and over again. I would busk on the streets in Bury and that’s where I tested out my material. There was a market where the older demographic would go, and I’d sing songs by Elvis, Roy Orbison and Tom Jones – the older stuff my parents and a couple of family members had introduced me to – for three hours. I’d occasionally throw in more recent songs for good measure, like Ed Sheeran or One Direction, but decided I wanted to focus on the music I loved singing. The money I made through busking showed that other people enjoyed it too, and that just spurred me on to keep going.

Your parents’ music taste helped shape you. What has been their reaction to everything that’s happened?

They’re as overwhelmed by everything as I am, really. Like any job, it can be very stressful, but it’s incredibly rewarding. Having them with me at shows helped them understand it all. I was never forced to do anything, but they’ve always supported me in every way they could.

So, from busking on the streets to now – millions of internet followers and signed to Interscope Records/Island EMI – how did it all come about?

For me, as it is for any artist today, your internet presence is key. I think TikTok has cemented itself as the main platform to show the world who you are. It can be very explosive, and the only way to keep that momentum is to nurture it. Everything I’ve achieved has been via TikTok. I debuted my songs independently through TikTok, my management subsequently found me on TikTok, and that’s how I ended up signing the record deal.

You’ve released your debut EP, All This To Say I Love You and one of the new songs, Daydreaming, really evokes the sound of Roy Orbison. Was that intentional?

Definitely, the song’s heavily influenced by Roy Orbison. I wanted the vocals to feel grandiose, like his, and to carry an emotion that I don’t hear in many artists today. I’m a massive fan of The Ink Spots, and I wanted the intro to be inspired by them, so it’s not just a Roy Orbison rip-off. I wanted people to feel what the words are saying. When I heard it back for the first time, I remember thinking, “Wow, I didn’t know I could do that.” Ultimately, I want people to be able to escape any troubles or problems they’re experiencing in their day-to-day life when they hear my music. For me, the music of the 50s and 60s are the fundamentals of all great music. There are people out there who want hopelessly romantic songs evocative of a bygone era. I love it, and I hope they do too.

Sweetness and I Can’t Stay Away have a Ricky Nelson or Billy Fury teen idol quality. Do comparisons like that frustrate you, or do you welcome them?

To me, those kinds of comments are compliments. It’s an honour to be put up against those greats. Some people, for a long time, thought I Think They Call This Love was an Elvis track. To have people confuse my song with Elvis is wild, because to me, it’s not even close.

Talking of reactions, you’ve gone from busking to playing Madison Square Garden and London’s O2 Arena… How did the shows go down?

Yeah, it’s been craaazy, and I still can’t believe it. I went from playing a handful of headline club shows up and down the UK to opening for Benson Boone in front of a 20,000-strong arena in Minneapolis. In America, the audience seemed like a good mix of people – both young and old – and it went down so well. The old-school country and rock’n’roll scenes are stronger than ever over there, so I wasn’t worried about America at all. When the tour got to the UK, that’s when I thought things were going to get interesting. The audiences here were a lot younger – but again, we went down really well. I don’t think they really saw it as old-era music, it was just something new and different. I remember being really nervous when I played Gorilla in Manchester, a massive sold-out 500-capacity venue, on my headline run. Returning to my home turf to play Manchester Co-op Live Arena with Benson was a big deal. It was a nice feeling to be home and playing for the people who’ve always supported me. I still get nervous before a show, but once the adrenaline rush takes over and my brain locks in, the fear goes.

Did Benson offer any words of advice?

He’s a real kind-hearted gentleman and welcomed us with open arms. He said the main thing I’ve got to do is be true to myself. Some people are going to dislike it, but I just have to keep doing what makes me happy.

Elliot James Reay Interview

How was life on the road and did you get to do much sightseeing?

A few years ago, I spent time backpacking in Cambodia, Thailand and Vietnam, travelling on sleeper buses, so the comfort of a tour bus with air conditioning and a bed that was my own was a real luxury. Being the support act meant I had a lot more time to do what I wanted. In Nashville, for instance, we decided to go and see Eric Clapton play the Bridgestone Arena, and it was mad seeing him on the same stage that I’d be standing on the next night. Music City was incredible, and I can’t wait to go back and spend more time in Nashville and visit places like RCA Studio.

When you go back to the US, would you like to record new music – maybe in Memphis at Sun Studios?

I would love to record at Sun Studios. Before the Benson tour, I’d got a visa for America because I won the Road To Memphis Song Of The Year Award for I Think They Call This Love. They invited us over to Memphis, and we got to go to Sun Studios and Beale Street, which had always been on my list of things to do. At Sun, I asked about the possibility of recording there, because it still operates as a studio at night. That would be so cool – retreading Elvis’ footsteps.

Can you tell us more about winning the Road To Memphis competition?

The contest has been going for three years – the first was called the Road To Liverpool, and the second year was Road To Nashville. Someone submitted my song and I didn’t even know, so I had no idea who to thank. Of all the places… Memphis! I was absolutely gobsmacked. While we were there we visited Graceland twice. The first time was part of the prize for the award and we did it in two hours. But I had to go back and take my time, to stand in each room and absorb everything.

Last time we spoke, you said – maybe half jokingly – that you’d love to be selling out arenas and one day have a Vegas residency. You’ve had a taste of arenas – are the bright lights of Sin City calling your name and what’s next?

Who knows, that’s the dream! I’d like to have my album ready as soon as possible – but I don’t want to rush it. I really want to do another tour and would love to support someone again, as it’s a great opportunity to learn. Obviously, I’ve done so much and I’m incredibly grateful, but I’m going to work hard to experience even more – I don’t want to be waiting for the next thing to come. Playing arenas was incredible, and now I want to do it for myself. Those aspirations haven’t changed. I’m just going to keep doing what I love.

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*Featured image credit: AOIF MOLONEY PHOTO

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