With When Youth Fades Away, Somebody’s Child wrestles with the inevitability of growing older, embracing both its anxieties and revelations. The album, out March 28, shaped by introspection and sonic exploration, channels the poetic weight of Leonard Cohen, the electronic pulse of Kraftwerk, and the raw urgency of lived experience. Frontman Cian Godfrey reflects on the album as both a question and an answer he never quite finds — because maybe, he suggests, that’s the point. In this interview, he unpacks the moments, influences, and restless energy that make up his most personal record yet.
When Youth Fades Away explores the bittersweetness of growing older. Was there a particular moment or realisation that inspired this theme for the album?
I think it was probably a necessary eventuality. I needed this album to come to deal with my fear of getting older. It was my way of processing the reality of the themes within in. Although it’s funny, I feel like learning more about the album from doing these interviews than I did during the album process. I almost found myself more confused by the end of it than I did to begin with, as I never really seemed to stumble upon the answer to my problems. But maybe that’s the point. Either way, these questions have become my therapy.
You’ve worked with Grammy-winning producer Peter Katis, known for his work with Interpol and The National. How did his influence shape the sound and atmosphere of this record?
When we found out we were working with him, we immediately went on Google maps to see where we would be recording. We fell in love with the house and it became a big part of the overall vision for the sound of the record. Peter and his engineer Kurt were phenomenal. When you put people like them together there is no way to have anything but a successful recording process. Just really good people, and their influence is everywhere on it.
The album incorporates Kraftwerk-inspired electronics and Leonard Cohen-influenced poetic lyrics. How did these new elements challenge or expand your songwriting process?
We wanted to make an active effort to listen to artists outside of our direct influences, to try and get out of our habits when writing. The idea was to challenge ourselves to create in an uncomfortable space, and this meant most, if not all of the songs were started on something other than an electric guitar. Whether that’s just vocals, or a synth in a lot of cases, meant we didn’t have the crutch of our first instruments to rely on. We needed to adapt. This definitely prolonged the process but by the end it was infinitely more fulfilling.
Your first single, Time Of My Life, seems to carry a mix of nostalgia and urgency. Can you talk about the emotions that fuelled this track?
Yeah, that’s my favourite song on the record, simply because it’s so personal. I think it came at a time when I was being forced to process things. I had been kicking the can down the road in terms of getting my shit together since I was in my teenage years, and for once in my life I felt I should stop to reflect. In doing so, a whole host of emotions can be triggered, and this led to Time of My Life, which is supposed to sound like the flashing of life before your eyes. I think that’s why it works as a closer. It is the death of the album, the fading of youth.
Your band has had a whirlwind year — playing SXSW, supporting massive acts like Kings of Leon and Bloc Party, and breaking into the US. What’s been the most surreal moment for you so far?
We had a great year last year. Probably the year we would have wanted on the release of our first album, but we’ll take what we can get. We’re a small team working our asses off, so when opportunities like that come we’re very grateful.
Coming from Dublin and now being based in London, how have these two cities influenced your music and perspective as an artist?
We never wanted to sound Irish, I think that was evident from the start. I think the first album probably sounded more British than what came before, so as a natural reaction to that as an Irish person we had changed that for sound the second record, which is probably more influenced by where we recorded it — Conneticut.
Your self-titled debut introduced your sound to a wider audience. How do you feel When Youth Fades Away evolves from that first album?
I think this is really our third album. The second one, we probably wrote during Covid and just as well it didn’t come out. It would have been pretty shit. So yeah, this album feels like two steps forward, and it’s nice to be able to mature with our fans. We’re all in this life thing together, aging concurrently. That’s probably what I took from writing the record as a whole. Hopefully they’re along with us for the ride.
With the album set to release via Frenchkiss Records, what excites you most about this next chapter of your career?
We’re delighted to be releasing on FKR again, they’ve been so good in allowing us to pursue our artistic vision throughout, which is so important to us as creatives. We’re excited to take the record to places we’ve never been before. We’re about to go on our first German tour, I’ve never been to 90% of those cities before.
What do you hope listeners take away from this album, especially those who may be experiencing their own transition into adulthood and change?
I’m reticent to give anyone advice, as I struggle to even heed my own. So don’t take any one person’s opinion too seriously, including mine. Everyone is on their own path, I’m a new person to who I was even three years ago, but hopefully some people can share part of my story, and maybe even relate, even just for a moment.
Looking ahead, what’s next for Somebody’s Child? Any plans for touring, collaborations, or projects that you’re excited about?
We’ll be announcing some shows very soon. I might take a quick break after this to take stock, and work on something else for a second, who knows. Everything is uncertain nowadays. But lots of shows planned, which we’re back rehearsing for in Dublin at the moment.
