“When you can win over a pub that hates you, you could probably win over a venue that’s come to see you,” reflects Matthew Hickman, better known as Brownbear, contemplating his journey from Ayrshire pubs to major venues. It’s this hard-won wisdom that characterises an artist who’s consistently pushed against expectations, both musical and cultural.
Nearly two years since the release of his acclaimed album ‘Demons‘, Hickman finds himself in an interesting space of rediscovery. “I’d probably started to get a little bit distant from the songs,” he admits. “For me, I lived a longer experience of those songs before they reached the world.” This distance has created room for reinvention, particularly as he prepares for a special Celtic Connections performance featuring string arrangements by Angela Chand.
“I never thought, both from having grown up in Ayrshire and being working class and from being Black, that I would ever be around orchestral music,” he reflects. The collaboration has opened new possibilities: “We need to savour that auditory experience… we can’t lose what this feels like.”
This willingness to cross musical boundaries reflects Hickman’s broader approach to artistry. “I think songwriters should be songwriters and they shouldn’t be thinking about genre because that’s not what songs are. That comes after,” he explains. His music draws from a lifetime of diverse influences: “For as much as I was into Nirvana, I was also into soul music… I love pop music.”
Yet being a Black artist in Scotland’s indie music scene comes with its own complexities. “You’re maybe closer to people who might have views that are against what you’re doing,” he notes. “But then I get to have conversations with them and they go, ‘oh, yeah, I never thought of it like that.'” This position has made him both an artist and an advocate, though he’s quick to acknowledge the personal challenges: “Publicly I’ve been so outspoken about the rights for Black artists and how they should be seen. But like I’m still a person who has self doubt.”
Finding community through PRS Foundation’s Power Up initiative has been transformative. Being surrounded by Black artists from across the UK who work across diverse genres has reinforced what Hickman has long advocated – that artistic expression shouldn’t be confined by racial expectations. “Being around other Black artists from all over the UK and from all different genres” has provided both validation and inspiration, particularly when industry veterans like Trevor Nelson express enthusiasm for Black artists in alternative music. It’s a powerful reminder that while Black artists “have been part of every genre,” their contributions haven’t always been acknowledged. This recognition and support network has strengthened his resolve to continue pushing boundaries both musically and culturally.
The concept of home weaves through Hickman’s work, from his debut album’s questioning to his current perspective. “Home to me probably means when I feel secure and safe and valued,” he reflects. His connection to Ayrshire has evolved over time: “I think with album one, I was like, I’m ready to run away because I don’t think Ayrshire gets me… But I think as you get older, you know yourself better. So it doesn’t really matter if someone doesn’t get you because you know who you are.”
Looking ahead, Hickman sees potential for significant change in Scotland’s music scene, particularly regarding collaboration across art forms. “We’ve got such a wealth of talent and such a massive wealth of talent within different genres and different aspects of creativity,” he enthuses. However, he’s clear-eyed about the challenges: “We say it year after year, but not necessarily many steps are taken. And partially that’s because it’s the same people in the same rooms that have been there since I started music like 10 years ago who are still talking about doing things rather than actually doing them.”
His vision extends beyond individual success to building sustainable communities within Scottish music. “There’s always going to be detractors and people who say, ‘well, should race or colour matter?'” he acknowledges. “But culture matters… When it’s done well, it’s such a positive impact on everyone.”
As he prepares to reimagine ‘Demons‘ with string arrangements, Hickman remains focused on evolution and authenticity. “I think we’re always at our best when we’re learning,” he reflects. “It’s been really nice to be humbled again… And how will that take that into the next record?”
In the current musical landscape, where artists often feel pressured to fit specific algorithms or moments, Hickman takes a longer view. “The songs that do reach the worlds are the ones that are well written and they stand the test of time,” he reflects. “It might not hit the first time it got heard in 2023 but it might get discovered in 2027, have a bigger impact because it wasn’t made for that specific moment.” As he continues to evolve – through string arrangements, cross-cultural collaborations, and community building – Hickman remains focused on creating work that transcends immediate trends. It’s an approach that speaks to both his artistic integrity and his broader vision for Scottish music: one that’s built to last, built to include, and most importantly, built to inspire change.
Brownbear performs at St Luke’s 19 January 2025 as part of Celtic Connections. For full information and tickets visit – celticconnections.com/event/1/brownbear-and-support
[Halina Rifai]
Main image by Gabby Secomb-Flegg
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