Andrew Deevey, the Liverpool-born musician with decades of experience in bands like The Caretaker Race and The Bitter Springs, returns with a keen eye on the pressures of modern life. His latest single, “Money Can’t Buy Me Love”, tackles the financial strains that affect everyday life, blending sharp social commentary with catchy, melodic hooks.

By Sandra Pinto

In this interview, Deevey discusses the inspiration behind the song, his stripped-down setup of guitar, harmonica, and drum machine, and how working solo has transformed his songwriting. From his roots in Liverpool’s legendary music scene to influences ranging from The Beatles to contemporary guitar-driven indie, he reveals how he crafts songs that are both timeless and immediate, aiming to create an emotional connection with audiences through honesty, resilience, and storytelling.

Money Can’t Buy Me Love directly addresses the financial pressures of modern life. What inspired you to write this song at this particular moment?
The inspiration came from a long build up of things happening all over. There seemed to be a lot of financial pressures locally and nationally with prices going up. It costs more to eat out and the prices in the pubs have gone up. The local councils don’t have any money to fix the potholes. Lots of shops and hospitality venues are closing. It didn’t seem to be like this and it’s getting more and more.

The track balances social commentary with a very catchy and melodic chorus. How do you find that balance between sharp observation and pop accessibility?
The balance between observation and melody comes from the song writing process. The music is written first and then the lyrics. A radio DJ once said “you write a lot of dark lyrics with a catchy tune.” The tune is the hook but the lyrics come from what is around me at the time.

The song reflects on the feeling that money disappears almost instantly because of constant expenses. How much of the song comes from personal experience?
No matter how careful you are with your money there always seems to be some after it. House bills, rent, mortgages. If you park in the wrong place you get a fine. There is congestion and ULEZ charges if you drive in London. Everything seems to have a cost. I can remember when I received my first ever royalty check for £120. As I was opening the envelope I noticed a tow truck go past the window. My car was just down the road on a yellow line as it was broken down. I was waiting for the car in front to move so I could push it off the yellow line. The tow truck took my car away to the car pound and the fine was……..£120. Also I had to get the AA out to tow it back home.

Despite the economic theme, the core message seems to be about valuing human relationships over material things. What do you hope listeners take away from the song?
Even though material thing or money may disappear we still have each other, our family, loved ones which are the most important.

The single has a stripped-down setup with guitar, harmonica and drum machine. What draws you to this raw and direct approach?
I just wanted to keep things simple with an approach that was honest and timeless. When you’re recording it’s easy to keep layering instruments on top of each other until your far away from the original idea. It’s a way of making the most of what I’ve got.

Over the years you’ve played in several bands, but now you’re firmly in a solo phase. How has your songwriting process changed as a solo artist?
The song writing has changed in that with the bands I was in there was always a main songwriter and I was just responsible for making up my own guitar parts. Now as a solo artist I get to write the whole song – chords, melody and lyrics. I’ve always enjoyed song writing. I find it a bizarre process and a bit of a challenge. I like the way something comes from nothing. The challenge of having to come up with lyrics. Somedays I’ll get nothing, other days a line of words just appears in my head and have to write it down. One day I was out for a walk and a phrase appeared in my head but had nothing to note it down with so I had to repeat the line over and over in my head until I got home!

You’ve said you want the songs to work both acoustically and with a full band. How does that idea shape the way you write or arrange your music?
The songs are built to have a structure and foundation rather than studio effects. The song stands up acoustically but still have room for bass and drums to be added afterwards if performed with a full band to amplify the energy that’s already there.

What was it like working with Jon Clayton on the production and mixing of the single?
Jon is an experienced engineer and producer who has worked with bands such as The Bitter Springs and The Band of Holy Joy. He knows lots about studio set ups auch as which is the best microphone to use, which is the best amplifer set up and is very patient especially when editing.

Your career includes time in bands such as The Caretaker Race and The Bitter Springs. What lessons from those experiences do you carry into your solo work today?
With The Caretaker Race and The Bitter Springs I was free to make up my own guitar parts but only as long as they fitted in with the song. That’s something I’ve carried on today with my song writing – I’m free to do what I like but there are limitations.

Producer Stephen Street once described you as “the next Johnny Marr.” How did you react to that kind of comparison?
I was pleased that he did. It was when we were recording the Caretaker Race album, Hangover Square. I’d always had a similar style, always trying to play a bit different than other guitarists at the time and trying to make the guitar stand out in the songs. We were all big Smiths fans in the band and the influence did rub off on us and I was always trying to get some Marr-isms into the songs.

You grew up musically in Liverpool, a place with a legendary music heritage. How did that environment shape your songwriting?
Liverpool has always had a lot of bands so you had to be good to stand out. We weren’t that conscious about purposefully making it stand out but we took our influences and made sure the songs were bright and melodic. We used to rehearse in the same place as Echo and The Bunnymen, Frankie Goes to Hollywood, China Crisis and The Icicle Works. That’s what we were up against!

Your style seems influenced by the melodic tradition of The Beatles as well as contemporary artists like Jake Bugg and Gerry Cinnamon. How do those influences coexist in your music?
All of the artists mentioned are all guitar based and melodic themselves. They coexist as melodies of the 1960’s with the raw working class energy of modern times. From the Beatles there are the “hummable” melodies and the fab four chord progressions. Being from Liverpool the Mersey beat influence is in the DNA. This is blended in with the more modern, raw, sharper contemporary indie edge.

You now perform live in a very direct format with guitar, harmonica and drum machine. What kind of connection do you aim to create with audiences in that setup?
I’m trying to forge a connection of emotions based on honesty,resilience and storytelling and not hiding behind gimmicks, just direct, soulful and unpretentious. Trying to create a connection that feels timeless but with the urgency of today.

After so many years in music, what still motivates you to get on stage and perform?
Performing is the testing ground of what I do. To see if the songs translate to a room full of people. It’s not about me – it’s the songs, Performing songs that people enjoy. I’ve done a couple of gigs where people have come up to me at the end, shook me by the hand and said that was the best!

Does this single mark the beginning of a new chapter? Can we expect more releases or perhaps a new album in the near future?
It feels like a new chapter for me with the format of the guitar, harmonica and drum machine. There are more songs to be released and new songs are being written as we speak. As long as I can keep hold of that money I’ll be ok.

‘Northern Soul’ album (2019) https://open.spotify.com/album/5dFMgRaKFpAyOrxGBGaRqk