Craig Robertson releases his newest collection, Running The Other Way
It’s been 10 years since Canadian singer-songwriter Craig Robertson released his debut solo album, and in that time, he’s emerged as a compelling voice in the roots music scene. His latest album, Running The Other Way, marks a new creative peak, with 10 deeply personal tracks recorded in his home studio in Cambridge, Ontario. Featuring a talented lineup of collaborators and a mix by James McKenty, the album blends acoustic instrumentation with Robertson’s most refined vocals yet. Inspired by personal experiences and influenced by artists like R.E.M., Robertson’s work is both introspective and universally resonant.
First off, care to introduce yourself to our readers?
My name is Craig Robertson, a Cambridge, Ontario based singer/songwriter in the folk-rock genre. Running the Other Way is my 6th album release, which leans more into the area of folk than I have ever before. A few of my inspirations are R.E.M, Nick Drake and Gordon Lightfoot. I am currently booking shows for 2025 with my band, and solo, with a spring tour planned.
Running The Other Way has been described as capturing a sense of longing and melancholy. What inspired these emotional themes, and how did they shape the overall direction of the album?
Some of the themes come from life experiences. For example, ‘Moonlit Bay’ is a real place where my family used to visit in Ontario. I like the image of it being a place of solace, peace, and finding something. ‘New Brunswick by Noon’ is another inspired by countless visits to the province and the yearning one may have to keep going back. ‘Nest and Hide’ is about my Mom, who was a poet. She hated birds, loved Elvis and old movies. She was instrumental in inspiring my dreams. These themes just found their way into the songs and without knowing it, shaped the album.
The album’s first singles, “New Brunswick By Noon” and “Nest And Hide,” seem to be deeply connected to the Canadian landscape. How does Canada’s geography and culture impact your songwriting?
I love songs about the road and travelling has been an inspiration for my songwriting. A name, place, or an experience in places like New Brunswick or Saskatoon – on ‘Goodbye Saskatoon’ – can offer a place where the song can live.
You had almost 30 songs to choose from for this album. How did you go about selecting the final 10 tracks, and were there any difficult decisions about leaving certain songs out?
I really wanted to have a collection of songs that had a feel. I had the album mastered twice, as the first go featured two songs that didn’t make the cut. I really wanted to pare it down to the nuts and bolts of how it flowed and how it felt together. To leave songs off is always difficult as they become very close to you. I have several songs that didn’t make the cut that will be released as digital singles down the road.
Working with longtime collaborators like Jeff Dunk and James McKie seems to have played a significant role in shaping the sound of the album. How does your creative process evolve when working with familiar musicians?
I love working with these guys and others. They bring their own unique magic of what to play and I’m always open to these ideas as they can shape the material into something I never thought of. Jeff Dunk (JCI, Cadre, The Textiles), acted as my main sounding board for how the songs were being shaped and his playing is so inspired. James McKie (Lemon Bucket Orchestra, Jerry Leger) can play fiddle like no other and it was a pleasure to have his work on this record.
The horn arrangements by Sabatino Vacca added a unique texture to the album. How did you decide to incorporate horns, and what did they bring to the songs in terms of atmosphere?
One of my favourite instruments is the French Horn. It’s emotive and warm and offers a ‘feeling’ of loneliness and melancholy. When I wrote the song ‘Cigarettes’ I envisioned horn on it to capture its mood. I wrote a very basic idea and sent it to Sabatatino, who is the conductor of the Cambridge Symphony. He came back with something I never thought of and it worked. Danielle Grundy, a member of the Cambridge Symphony, played the horn beautifully. It turned out to be one of my favourite moments on the album.