Knats: The Jazz Collective Redefining Storytelling Through Sound
Recognized as a contender for the 2026 mercury Prize, the emerging jazz ensemble Knats has developed a unique sound that intertwines narrative depth with musical prowess.
Their newest release, A Grate Day In Newcastle, seamlessly blends modern jazz with hip-hop influences, encapsulating the vibrant spirit and essence of their native North East England.
Meet the band
At the forefront is bassist and lead vocalist Stan Woodward, who, along with drummer King David Ike-Elechi and trumpeter Ferg Kilsby, has propelled the band’s artistic vision to new heights.
“When I was composing this album, I aimed to weave stories into the music,” woodward shares. “We had never incorporated spoken word before, so I invited Cooper Robson to deliver an opening monologue.”
“Cooper crafted some remarkable lines for a track titled War Jackie, and after that, we thought, ‘Why not have him contribute throughout the entire album?’ This decision has wholly reshaped our sound.”
A Memorable TV Debut
The band’s evolution was showcased during a standout performance on Later…with jools Holland.
“I recall my bass being slightly out of tune, which was frustrating, but the nerves where the real challenge. We thought we were up next, but every time another act finished, we’d think, ’Okay, it’s our turn,’ only for someone else to take the stage, which heightened our anxiety.”
“Before we knew it, Shania twain was performing You’re Still the One, but once we started playing, the nerves faded away. It turned out to be one of the most surreal experiences of my life.”
The Quest for the Perfect Bass
For Woodward, selecting the right bass was more than just a choice of instrument; it was about finding one that resonated with him personally. His journey led him to a Gibson SG, a model he had previously overlooked as “a bit unattractive.”
“After hearing about vintage Gibson basses from Geordie Greep of Black Midi, who also produced our debut album, I decided to take a gamble on a 1968 model I found on eBay. Initially,it seemed like an unlikely purchase,but it quickly became a revelation.”
“I found a ’68 Gibson SG for around £1,500.The neck has broken three times while on tour, yet it remains the best bass I’ve ever played. It has been repaired, and somehow it still sounds phenomenal.”
“The Mudbucker pickup at the neck delivers a massive, almost piano-like low-end, while the bridge pickup provides the clarity needed for solos.I ofen engage the bridge pickup as if it’s a built-in boost.”
“I’ve also acquired a 1972 SG, but the late-’60s models are definitely my favorites. The necks are incredibly slim, making them a joy to play, and they possess a character I haven’t encountered in any other instrument.”
Musical beginnings
Was bass your first instrument?
I actually began with guitar at around 10 or 11 years old, fueled by my obsession with Arctic Monkeys. My mother gifted me a modest acoustic guitar for Christmas,which cost about £60,and that ignited my passion.
By the age of 16, I started taking it more seriously, diving into jazz, walking basslines, and transcribing bebop. I vividly remember attempting to learn Donna Lee back then and completely failing. However, I persevered and improved rapidly.
Crafting Your Sound
How much consideration do you give to your bass tone?
Less than most might assume. The core of my sound still stems from the SG. Having mentioned that, I believe the instrument doesn’t define the player. You can hand someone the finest bass, but the essence of your sound lies in your fingers.
Recently,I’ve been using Orange amps with a hint of grit,as the band’s sound is evolving to be heavier and rockier. That slight crunch is fantastic.
Innovative Sounds in the Studio
Is that what listeners hear on War Jackie?
Actually, that’s a budget Ibanez I purchased as an experiment. I completely overhauled it-new pickups, bridge, tuners-the works.
I fitted it with flatwound strings and ended up recording with it. It has a unique sound, which is part of its charm.
The bass solo in War Jackie was almost an afterthought. We recorded the song on the first day, but I wasn’t satisfied with the solo and forgot about it. At the end of our final session, after a couple of drinks, Geordie urged me to redo the solo. I went in, played two takes, and that was it.
What about the effects on your solo in Azure Blues?
That features a phaser, and halfway through, we introduce a chorus effect as the band intensifies, helping the bass cut through the mix. I was still using that inexpensive Ibanez with flatwounds, so I had to dig in to make it resonate.
I improvised during that solo, but there’s a significant influence from Messiaen. at one point, I essentially superimposed an E-flat minor triad over C major. It’s quiet nerdy, but I thought it sounded cool.
Much of the material on this album originated from Olivier Messiaen’s modes. The primary riff in Carpet Doctor is almost entirely derived from Mode 3, and War Jackie follows suit, with the melody remaining in Mode 3 nearly until the end.
Balancing Theory and Emotion
Do you worry that discussing theory might label you as the ‘music theory guy’?
Not really. I don’t delve into it much unless prompted. Theory is merely a part of my creative process; it’s not the focal point of the music. If people are curious,I’m happy to explain,but I don’t expect listeners to hear a piece and think,’Oh,that’s Messiaen Mode 3.’ I want them to feel something.
Advice for Aspiring Bassists
What guidance would you offer to bassists aspiring to build a career like yours?
I believe songwriting is one of the most underrated skills a musician can cultivate. You can spend years transcribing, practicing, and becoming an exceptional player, but if you want to carve out your own artistic identity, you must create your own music.
