Secretly Canadian obviously felt the same way. The label is now on board after witnessing Alex’s much revered support shows for bands like Foxygen and UMO. It seems they have as much faith in Alex as Alex himself. “I wanted to be a musician and I figured that I am either successful and good at what I do…. and I know that one day I am going to be very successful and one day I will have my impact, or I am just very deluded and I might be mentally ill? There might be that potential and either way it’s win, win. Secretly Canadian didn’t seem like bullshit artists, they seemed like people who had earned what they got and they made a big impression on me and my saxophone player Roy Molloy.”
We forgot to mention Roy Molloy. Roy is not just Alex’s Saxophonist, he is his business partner (Alex’s words, not mine). Without Roy, ‘Jumping the Shark’ might never have happened.
“We were next door neighbours as kids and we worked together, went to high school together, delivered pizzas together. He is just as much part of the project as I am. He’s a tram conductor in Sydney. He actually won the southern hemisphere’s best tram conductor of the year award. In Sydney everyone knows Roy from the trams because he is by far the best conductor.”
It goes silent whilst I gather my thoughts; Alex continues anyway: “In all seriousness he is just one hell of a conductor, he really owns the tram. He’s got fans, people come to our shows and they say look it’s Roy from the trams, you know what I mean.”
You can catch a glimpse of Roy in any number of captivating online films Alex has posted online, including a hypnotic trawl through SXSW, which reinforces the brand (again Alex’s words) and captures Alex’s passion on being the eternal support band.
“I take the utmost pride in supporting a band,” he says, “it’s an underrated job – it’s something that has got shame in it. Most people I know, young in the music industry, would have a big discussion saying are we going to take this job? For me its not a matter of if we are going to take a job, it’s a matter of how are we going to do this job well. Can we open for UMO? Can we work a Mac DeMarco crowd? As a support act you need to be able to shift and shape yourself – what are you doing on stage that makes you engaging and why do people want to watch your music? Can you work a crowd into one that is favourable? I think I can. I think I can get any crowd to work. Roy and I can turn any room to our favour and we have, every single room we have played.”
It’s heartening to hear Alex’s self-belief and as the conversation continues I find myself at one turn baffled, another inspired.
“For a long time I would make myself older every day. I would do make up and I became an old man,” he tells me. “The idea of doing that was so I could spread myself out across multiple identities and live as characters and I could peel my face off, that could be something I do, peel it off.”
I knew he played with the sense of self but this still surprised me, so are we talking on stage or down the corner shop? “I would do it on stage but also on days where I didn’t have a show. I just felt like doing it, it was odd. I would be on the train and I would catch my own reflection and I would notice that I was an old man. It was confronting and I think other people might have been confronted by it – it pushed the idea of identity really for me and also it helped me understand what it means to become a character. I made friends with an old person, they saw me one day without the make up on when I came back to town and they said I thought you were an old person!”