Ewan was encouraged to play music by his family at an early age, beginning on the piano at the age of six or so. This was an instrument he continued to play for a long time, focussing first on classical music for many years, and then also jazz standards and improvisation. Although by no means strictly traditional or British, singing was commonplace within his family, and he grew up familiar with the musical voices of his parents and grandparents. The collection of records, tapes, and later cds in the home Ewan grew up in gave him an early exposure to the traditional musics of Britain and America. Growing up in Edinburgh, the influences of Scottish culture and Scottish traditional repertoire are clear within his music today.
Hesitantly picking up the guitar at a slightly later age, Ewan could be heard repetitively playing and keenly admiring the early, more socially-aware songs of the great Bob Dylan. This led, gradually, to a broad exploration of English-language folksong, as well as a fascination in how radical ideas of a social and political nature had been, and could be. expressed through music. In addition, with all these songs came a new desire to sing. Soon, Classical guitar became an additional focus, one which he went on to study for some years. The classical rigour and technique remain very much a part of Ewan’s interpretation and performance of folk music and songwriting today.
From Scotland Ewan moved to Leeds in 2005 to begin a three year degree course in music at Leeds University School of Music. It was during this period that he became increasingly obsessed with traditional music and singing, and the guitar. The specific interest in folk song came partly from the realisation that it could (and in fact often did) combine what had been his three passions for years: music; history; and social change. Soon, at the School of Music Ewan found himself paying particular attention to the vast repertoire of industrial folksong, eventually doing two major pieces of work on the role of folksong in the American and British labour movements, both during the early 20th century.
During his time in Leeds, Ewan also became a regular at the Grove Folk Club, soaking up the atmosphere, learning style and repertoire from the singers around him, and generally developing his talents for traditional singing.
Toady, Ewan’s singing and playing covers the broad range folk music has to offer; from traditional ballads sung unaccompanied, to dance tunes or melancholic airs arranged for the guitar, and his own contemporary songwriting, following firmly in the folk tradition.