Edward Rogers Finds the Poetry Between Two Postcodes

Picture this: you’re standing at the junction of Eldon Road, Birmingham and Astor Place, New York City. Not physically, of course, that would be a logistical nightmare, but in Edward Rogers’ new record it feels perfectly possible. Rogers, the British-born, East Village based songwriter, has spent the past five years quietly collecting memories, melodies, and the odd magical drum, then distilling them into his new solo album, Astor Place.

It’s a curious album, not ‘curious’ as in peculiar, but curious as in inquisitive. Rogers is peering into the past (a house in Birmingham that hasn’t changed in decades), soaking up the present (the constantly shifting East Village), and setting it all to music that flickers between Phil Lynott inspired swagger, Mott the Hoople tinged nostalgia, and something that might just make you stop in your tracks. Rogers reflects on the places that made him, the collaborators who pushed him into new territory, and why songs are sometimes the best way to time-travel.

It’s been about five years since your last solo album Catch A Cloud. What brought you back to solo work, and how did those intervening years shape Astor Place?

Over the past five years, I wrote songs that didn’t quite fit in with my other projects (Rogers & Butler, The Bedsit Poets). It was a case of writing too much material, but also being ready to start a solo project. I collected 25 songs I had written and sent them to Don Fleming, a good friend who I was hoping would consider producing my next solo album, which he did!

A lot was going on in the world during those years, yet time also went very slowly. It gave me time to think about my childhood and where I am today. Some of the songs reflect places I’ve lived in like Birmingham, UK (Eldon Road) where I lived till I was 12 years old. Other songs reflect my current home where I’ve lived for over three decades (Astor Place).

The album spans from Birmingham to the East Village. How do those contrasting places, your childhood home versus your adopted neighborhood, speak to each other musically?

The two locations are worlds apart but very much a part of me. For 15 Eldon Road, I wrote a song that was musically inspired by Mott The Hoople. I was lucky enough to visit Birmingham several years ago, and I found that my actual house had not changed a lot at all. This obviously sparked a lot of childhood memories which are reflected in the lyrics.

The East Village has been my home for over thirty years and is constantly changing. I actually discovered the area in my early teens so Astor Place combines memories from back then to current day…nothing but everything stays the same.

What drew you to collaborate with Don Fleming, and how did his approach differ from your previous recording experiences?

I’ve known Don Fleming for over twenty years and have been a fan of his work (Teenage Fan Club, Sonic Youth, Screaming Trees, The Smithereens and Hole to name a few). After such a long time recording with my other two projects where I worked with Don Piper, I felt I might be too ‘comfortable’ and thought it would be interesting to step outside my comfort zone. Don Piper was not only my producer, but a main musician on my albums and one of my best mates. (Don Piper does play on Astor Place).

First off, Don Fleming has connections to a different group of musicians, many who I have admired over the years, but never worked with. In the past, it was more collaborative, but I trusted Don Fleming totally and let him guide every song as it took shape. He constantly had new ideas and opinions on how to make a song better. You might notice that my vocals are much improved on this record. After the basic tracks were recorded, Don and I worked for months – almost on a weekly basis – to get the vocals and all additional instruments just right.

You recorded basic tracks with live musicians. Can you describe what that process was like compared to more constructed studio approaches?

Working with most of the musicians laying down tracks in the studio, I think there is a ‘live’ feeling that comes across on the record. It gave the musicians a chance to try new ideas spontaneously. I was lucky to work with this talented group of players that were brought together by Don Fleming. It also created a different learning process for me, and I appreciate Don Fleming’s direction and patience.

Can you tell me the story behind ‘Magical Drum’?

I attended High School with my best friend’s girlfriend who asked me to help her pick out a gift for his birthday. For some reason, I thought a Tabla Drum would make a cool gift for him. In college we drifted apart and didn’t see each other for many years. During the five years of ‘collecting’ and writing songs which became Astor Place, I reconnected with her only to find out my friend had passed away. They still had that drum and as a memento of our friendship, she sent it back to me which I’m looking at right now. I think of that time in our youth as magical so the imagery was formed..

‘Romeo’ is a tribute to Phil Lynott’s solo work. What specifically about his solo period resonated with you, and how does that influence show up in the song?

On Phil’s two solo album, he presents all styles of music, not just the hard rock which he was known for in Thin Lizzy. I’ve always loved his phrasing which really stands out in his solo work. In some ways, “Romeo” does come across more like Thin Lizzy’s music but what’s wrong with that? Lyrically, I was influenced by his Romeo reputation and hope I captured that vibe with respect.

How did you sequence the album to weave the songs together as a whole? If my calculations are right, this is your eighth solo LP.

First of all, you’re right, it is my eighth solo LP. I give full credit to Don Fleming for the sequencing. He tirelessly played the ending of all the songs to make sure they flowed into each other. He must have spent three full sessions sequencing the album which I am eternally grateful for as I think he did a great job.

How has your songwriting evolved since you started?

I think I’ve always been an observational writer and that hasn’t changed. Also with Logic programming, it gives me a lot more freedom to sample and present completed songs the way I hear them in my head. So that helped my songwriting evolve.

And finally, what do you hope listeners take away when they put on headphones and travel with you from Birmingham to the East Village?

I love this question. I hope they enjoy the journey as much as I have enjoyed creating it. I think there is also enough variation in the musical styles to offer interest to anyone listening. So put on your headphones and let’s go!

Further information

Astor Place by Edward Rogers is released on 10 October 2025 on Think Like A Key Records