A Chat with Marsha Swanson (17.04.25)
With the release of ‘Like an Angel’, a once-hidden ghost track turned poignant single, singer-songwriter Marsha Swanson opens up about the emotional journey that led to its reimagining. Originally conceived in the shadows of grief, the track has since emerged into the light, resonating deeply with listeners and marking a powerful chapter in the evolution of the Near Life Experience album. In this interview, Marsha Swanson reflects on the song’s deeply personal origins, the collaborative magic behind its visual storytelling with acclaimed director Sam Chegini, and much more.
OSR: ‘Like an Angel’ began as an untitled ghost track – what inspired you to revisit and reimagine it now?
Swanson: The plan to extend the EP I had recorded with producer Iestyn Polson, to turn it into an album, was still newly in motion when a looming loss presented in my life led me to write ‘Like an Angel’. It wasn’t in my thinking to include it on the album at this stage. The songs for the album had already been selected with Henry Thomas, and I didn’t want to derail the original plans. I also wasn’t ready emotionally to consider it for inclusion. However, it remained in the ether as a haunting undercurrent, inevitably infiltrating the process. I did not want it to define the album, but I also couldn’t deny its impact or significance in shaping it. This made it ideally suited to being a ghost track, both literally and symbolically. I was comfortable with the idea that it could take a long time, if ever, to be discovered. It was also conceptually fitting that those who sat with the last track that bit longer after it finished would discover something new emerging just at the point when it seemed to be the end.
With the release of singles from the album, I noticed that the closing track ‘In Touch’ (which the ghost track was attached to) was getting traction despite it not being a current single or on any playlists yet. There was no way of knowing whether the interest was in ‘In Touch’ or the ghost track. However, after one reviewer spotted the extra hidden track, many others began referring to it as their unexpected highlight. A combination of the interest in the track, as well as the approaching one-year anniversary of the album, led to two of my band members independently suggesting that I re-record it as a single. I liked the idea of hearing how it could sound when given the same treatment as the rest of the songs on the album, and it felt like a better time to be able to do justice to it.
OSR: The track is incredibly emotional and spiritual. Can you talk about the personal meaning behind the song and what you hope listeners take from it?
Swanson: Everything pales in significance against the scale of raw grief, yet this is only true because of love. In the face of great loss, this song was my attempt to hone in on some of the key qualities that I most admire and have been grateful for as part of a homage or ode. Music and lyrics were the most powerful tools that I had in my armour to communicate love. The musicians I worked with brought their own experiences of love and loss to the table. We all approached this recording with the desire to create something rare and beautiful for everyone, and we came out of the studio feeling transformed by it. I hope that listeners can draw strength from it and perhaps be encouraged to express their love to the people they care most about.
OSR: You mention the track is an “ode to those no longer with us”. Do you see music as a form of healing or honouring memory?
Swanson: I do. I think the root of creativity can often be charged from the need to work through a wound, which can in turn be transformed through the process.
OSR: What was it like recording at Echo Zoo Studios with such a talented line-up of musicians and producer Henry Thomas? How did that live environment shape the new version of the song?
Swanson: It was a privilege and a joy. Henry Thomas is a true gentleman, and he thought carefully and holistically about the kind of environment that would allow us to get into the necessary zone to achieve our aim. For ‘Like an Angel’, Henry knew we would require musicians who also possessed a certain type of emotional robustness. He refers to this as the ability to both “lock in and let go”. To be able to offer up ideas openly, but also to be able to change tack flexibly without experiencing this as rejection. It is relatively easy with talented musicians to get a nice arrangement fairly quickly. However, to get an arrangement that frames, supports, energises and elevates the song to new heights requires a different level of emotional engagement and commitment.
We started from the rhythm section, aiming to create something compelling that would engage the listener instantly, whilst also staying sensitive to the kind of atmosphere required by the lyrics. Drummer Martyn Barker excels in this area. He can be deeply attuned to the lyrical narrative and play with great feel and subtlety. Henry and Martyn have a longstanding history of playing together, so their communication with each other is also ridiculously instinctive. Henry, Martyn and guitarist Tony Qunta spent a long time establishing the key groove between them. Tony referenced “The Police” as a three-piece band who managed to create a very good groove with harmonic and rhythmic depth with just guitar, bass and drums. He came up with simple chords to create a wide landscape, with picked arpeggio notes to give rhythmic movement and interplay with the drums and bass. All three musicians had the sensitivity to listen to each other, and it was this that created an optimal environment for creativity to flourish.
Henry worked closely with Tony to find melodic lines and motifs that would enhance the dynamic and emotional impact of the words. He suggested a high-range, shimmery guitar to start with. Tony used close voicings, adding some extra notes extending beyond the standard chords to enhance specific lyrics in a very ethereal kind of way. He also added some lead guitar lines later in the song that he wanted to sound triumphant as well as serene, in line with the mood and sentiment of the song. Once that strong foundation was established, the expressive piano playing of Anders Olinder seemed to follow effortlessly.
OSR: The music video marks your fourth collaboration with Sam Chegini. What draws you to his visual storytelling, and how has your creative relationship evolved over time?
Swanson: Where does one begin? I am in constant awe at Sam’s ability to enhance a song by creating an immersive visual experience that is deeply attuned to the musical and lyrical narrative. Sam’s images are striking and original, holding the gaze at every turn. This, in its own right, has the power to captivate an audience and keep them engaged. For the viewer who delves further, there is so much depth, emotional insight, subtlety and detail to reward. Sam creates imagery that aligns with the intention of the lyrics, and he utilises allegory, metaphor and symbolism to further enrich. At the narrative level, his stories unfold gracefully with plots that progress and build to stimulating and thought-provoking reveals, or “eureka moments”. The viewer is taken on an intriguing journey via his nuanced sequencing, inviting curiosity about what is unfolding. On the meaning level, Sam has the rare ability to convey complex messages simply, which gives them a universal appeal. His concepts are great, but so too is his execution. The message is not only limited to within the scenes, it is embedded within the very fabric and structure so that even the transitions between scenes serve the emotional content. It is not uncommon for producer Henry Thomas and I to still be spotting new elements even months after the release! The end result is a truly enriching experience that lives on beyond the screen, impacting the viewer profoundly.
Our working relationship over time has deepened and been key to what we have been able to achieve together. The trust between us has afforded more freedom on both sides to express ourselves and to be creatively free. I feel so safe and relaxed when working with Sam, knowing that he will treat delicate subject matter with diligent care and sensitivity, and also that he is in complete command of everything. This allows me to just focus on my performance. In turn, Sam has said that my total support of his artistic process and presence throughout the journey has been integral to what he has been able to create for me. We care about what we are doing and about each other. As Henry has aptly said, “When truth and integrity shine through, it has the power to transcend and really move people.”
VIEWER DISCRETION IS ADVISED
OSR: The video has a very dreamlike, symbolic aesthetic. Did you have a specific vision for the visuals going in, or did you let Sam interpret the song freely?
Swanson: I liked the aesthetic, style and technique of a video Sam had previously made for English musician Jakko M Jakszyk (best known as lead singer from King Crimson) called ‘The Trouble with Angels’ and thought this would work well for ‘Like an Angel’. I mentioned this to Sam, and we discussed the meaning of the song at length, but at this point, I only had the ghost track available to send to him. From the first listen, Sam immediately had the image of the singing and guitar playing in between the clouds appear in his mind, and this concept stayed throughout. He was originally thinking about a drawing style, but when I sent him the new recording with the added musical layers and new atmosphere, this allowed him to imagine much more, and he came up with a completely new revised script.
It was on hearing the new recording that Sam decided to create a space, an environment which he later referred to as the “meeting place” between the sky and earth. He wanted there to be a path for me to follow to take me there. The light was what he visualised as being the guide that I follow and the hallway with the angels, the path. Sam visualised the angels showing me pictures from my life, all of them knowing exactly why I am there and helping me on my journey to see and follow the light, which would ultimately guide me to this meeting place. The technique was well suited to this later aspect of the script because the high contrast between the black and white fit the concept of this meeting place, which exists somewhere between the dark and the light. Sam said, “There is this unique texture of the charcoal. It is so messy yet also so beautiful, and it best visualises this atmosphere of the meeting place”. We agreed that no better technique could convey this atmosphere.
OSR: What has the response been like from fans and listeners so far? Have any reactions stood out to you on an emotional level?
Swanson: I have been thrilled with the amazing response, which has been quite beautiful. You always hope that something you write will resonate, but I never anticipated that so many people would be brought to tears. It is an odd thing to say that I have been happy to hear that so many people have cried, but of course, it is a sign that people have really connected with it. I was also really pleased with how people really saw the connection between Sam’s visual imagery and the words and meaning of the song.
OSR: Lastly, what’s next for you creatively—are you working on new material, more videos, or perhaps live shows?
Swanson: All of the above! Without giving too much away, I can say that Sam and I are currently working on more surprises connected to Near Life Experience. I hope to have time to work towards some more live shows after that. Yes, there are also plans brewing away for new material in the pipeline so it is safe to say, I’m currently firing on all cylinders!
Many thanks to Marsha Swanson for speaking with us. Find out more about Marsha Swanson on her Instagram and Spotify.
