In the first of a new series of interviews with artists, musicians and creatives I admire, I caught up with Rob Marshall, the architect and driving force behind Humanist.
In 2008 Myspace was king and that was where I first encountered Rob and his previous band Exit Calm. At the time EC were one of the most exciting groups in the country and over the next few years our paths would cross and intertwine as my former band became a regular tour support for EC, joining them at various shows around the UK including sharing the main stage at Godiva Festival and supporting at their marque hometown gig at Barnsley Civic Hall in 2010.
Fast forward to 2024 and Rob is now signed to Bella Union and is releasing music and performing as the excellent Humanist. In recent years he's collaborated with the likes of Mark Lanegan, Dave Gahan, Isobel Campbell, Mark Gardener, Peter Hayes, Ed Harcourt and countless others. Both Humanist albums are emotive and intense, teleporting the listener into a cinematic universe of sound and colour, cementing Rob's place as one of the finest lead guitarists, writers and musical artists of his generation.
In this interview, we explore Rob's inspirations, creative process and the philosophies that guide and propel his sky scraping music.
You’ve just come off the back of an extensive run of live dates, including some very high profile supports and your own headline tour across the UK. How did it go, and how are you feeling?
Music-wise, it’s been an incredible year. I was so happy with the record and felt such relief to have finished it - then to have it mixed, mastered, and with a label I’ve admired for years. This year, I did three tours, and each one was unique and brilliant in its own way.
Touring Europe with Depeche Mode was a real pinch-yourself moment - it was an absolute honour. Playing my own music to 20,000 plus people a night was something I’ll never forget. It was also the first time I’ve experienced a tour with proper days off between shows, which meant we could really explore the cities we were playing. The gigs themselves were just incredible, and being part of something that special for a month was pure joy. We were looked after and treated so well - I’ll never forget it.
"That connection means everything to us"
Then we moved on to some UK and European dates with Jane’s Addiction, which was another amazing experience. They’re such a great band and genuinely lovely people. And finally, we finished the year with our own headline shows, which was something else entirely. I really felt like we were connecting with people on that run. The band felt right, and every night, we gave everything we had, leaving a little piece of ourselves in each venue and with everyone who came. That connection means everything to us.
What is it like to be a musician and artist in 2024, and what’s the journey been like for you to get to this point?
I’m not going to sit here and say it’s been all joy, because while there have been incredible moments, it’s also been incredibly tough. Most of the time, I’ve felt overwhelmed and exhausted. It’s been a full-time job, on top of my day job. My days have started at 5 a.m, and for about 10 months, I was on the go until 10 p.m. But would I do it again? Yes, I would - and I will.
"The rewards far outweigh the struggles"
Just when you’re at your lowest, when you feel at your weakest and most vulnerable, an opportunity always seems to come along to carry you forward. I’ve learned to enjoy the journey, not just the destination. It’s an honour to still be able to do this in such challenging times, and I never take any of it for granted. The rewards far outweigh the struggles.
One thing I’ve learned is that you can’t expect what you give to always come back to you. The biggest achievement, the real reward, is being so in tune with your creative soul that what you produce is unmistakably, unapologetically you. That’s what matters to me - that what I write, whether it’s instrumental, collaborative, or fully formed, is real. And with that, I feel like the richest person I know.
How has your creative process developed and evolved over the years? And how does that differ from your previous bands?
Writing has become easier over the years, mostly because I now have a studio and the tools to capture ideas as they come. I was late to the game with that, but it’s been a game-changer.
Back in the band days, I’d write my ideas on guitar and then take them into a room where we’d jam them out as a group. It was a laborious process, but it had its magic. The constant playing together heightened our intuition, so much so that we could almost telepathically communicate. There’s something deeply special about those moments when everyone locks in together - whether it’s in rehearsal or live, they’re electric and unforgettable. And the Humanist band right now is on track to being right up there where all the good shit happens.
"I can follow an idea wherever it leads without needing to compromise or wait"
Now, it’s a much more personal process. I can follow an idea wherever it leads without needing to compromise or wait. I can also go back later and chip away at the finer details like a scientist. It’s a more fluid and faster process, but it’s also a much lonelier one. Both ways have their pros and cons, but I do enjoy having the freedom to steer the ship in my own direction.
What inspired and drove the evocative title of your latest LP, On The Edge Of A Lost and Lonely World?
Everything I do is autobiographical - it’s impossible for me to create any other way. The title felt deeply fitting for the time when the album was created. It was a period of loss, not just in the world but in my own life. There was tragedy, difficulty, and so much uncertainty.
"The title reflects that recurring theme, and it felt right for this record"
But there’s also something beautiful about being at the edge of something - at a turning point. Behind you is everything you’ve left, and ahead is something unknown, yet full of potential and hope. I’ve found myself at that juncture many times throughout my life. The title reflects that recurring theme, and it felt right for this record.
How do you cope with social media, and how big a role does it play in your thinking as an artist?
Social media is huge now - it’s everything. Traditional outlets like magazines, radio, and even labels don’t have the same power they used to. Social media is the way to connect directly with people.
"You either embrace it, or you risk being left behind"
That said, I’m not fully aligned with it, if I’m honest. I recognise its power, and I’m genuinely grateful for every follower, like, and comment - it’s amazing to engage with people who care about your work. But it’s also exhausting. Keeping up with it can feel like a full-time job, and it’s easy to get so caught up in creating content that you lose time for actual music or playing.
It is what it is, though. You either embrace it, or you risk being left behind. It’s a necessary evil in some ways, but I do my best to make it meaningful.
You’ve got a very loyal and hardcore fan base that has been with you from Lyca Sleep to Exit Calm and now Humanist. How does it feel to have that level of support?
It’s incredible. It’s an honour I never take for granted. I’ve made lifelong friends through the music I’ve been a part of.
The last headline tour was one of the best I’ve ever done. The band felt right, the audiences were amazing, and there was this energy in every room that we could all tap into. Everyone there, on stage and off - was willing each other on. That’s such a humbling thing.
I’ve always been drawn to cult bands - the kind with audiences who stick with them for life. Echo & The Bunnymen, Killing Joke, Joy Division, Bauhaus, BRMC, The Chameleons, Durutti Column, Verve. They’ve all had that. That’s what I’ve always aspired to, and I’m grateful to be on that path.
You had the privilege of working extensively with the late, great Mark Lanegan. What was it like to collaborate with him, and what is the legacy of your relationship?
It was an absolute honour to work with someone so naturally talented. Mark’s creative process was astounding - sometimes I’d send him a track, and within hours, he’d send back fully formed lyrics and a vocal part. His ability to narrate and create so beautifully seemed endless.
"The music is his legacy, and I’m so grateful to have been a part of it"
What meant the most was how he treated me as an equal. In one of his last messages to me, he wrote: “Im so fucking proud of you, your art and your friendship have changed my life, I owe you forever, I hope you know that”. That kind of recognition from someone I admired so deeply meant the world to me. The music is his legacy, and I’m so grateful to have been a part of it.
What’s next for Humanist?
I really want to tour this record. With the first album, I didn’t get to fully explore that, so this time, I want to take it as far as I can.
I’ve got an amazing band around me, and I feel like we’ve got something really special. I want to keep building on that and continue connecting with people through the music. Hopefully, we’ll do more UK dates, some shows in Europe, and maybe even make it to the US later in the year. Touring is tough financially, but it’s something I truly believe in and absolutely love. There’s nothing like having musicians around you who are not only astonishing and committed but also feel like family.
A huge thank you to Rob for taking part in the first Industria Meets, an inspiring and at times brutally honest account of what it's like to be making music in 2024, leaving us in no doubt of his place as a true artist and believer in the power and vitalness of creation.
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