Interview by Ali Williams
THE CRIBS are bringing ninth album Selling A Vibe to Australia this October, and Ryan Jarman is considerably happier about the shows than the long-haul flight. It will be their first national tour since 2018; the pandemic prevented an Australian visit for 2020’s Night Network. Ahead of the return, the guitarist and vocalist caught up with HEAVY to discuss a new recording approach and the spontaneity he refuses to give up. Ryan, bassist and vocalist Gary Jarman and drummer Ross Jarman still write together in the rehearsal room, working out the songs before recording begins. For Selling A Vibe, they favoured compact arrangements and strong hooks. Ryan describes the material as more pop-structured than Night Network and their earlier work with Steve Albini, while retaining the energy that comes from the three of them developing ideas together.
Producer Patrick Wimberly brought a different approach once those songs reached the studio. The band recorded live performances first, then gave him the freedom to deconstruct the tracks, adjust the sounds and develop the production. His experience with pop, rap and hip-hop offered possibilities outside their usual recording methods. Ryan readily admits he would not have the patience to do that detailed work himself. Admiring somebody’s skills does not necessarily mean wanting their job. The extra time required some adjustment for musicians accustomed to arriving with finished songs and recording them quickly. Ryan had long been wary of computer recording’s capacity to remove the human variations in a performance. “You don’t want to edit the humanity out,” he says. Keeping the band’s live takes as the basis of the record allowed them to experiment without losing the playing that excited them in the first place.
They had also reached this decision themselves. Earlier suggestions to work with whichever producer was currently fashionable had done little to interest THE CRIBS, who preferred people with more traditional recording techniques. This time, they actively wanted a contemporary sound. Ryan speaks warmly about working with Albini, but hearing a producer bring something unfamiliar to the music now held its own appeal. The longer gaps between albums follow a similarly deliberate choice. Ryan sees little purpose in making another record simply because the band can. “If I don’t feel like writing songs, I hate writing songs,” he says. When the desire returns, he finds it difficult to stop. The brothers now wait until they feel motivated, accepting that this can mean more time between releases.
Onstage, their years together allow for decisions that have not been settled in advance. Songs can be chosen on the spot, and Ryan wants enough room for errors to keep the performance from feeling regimented. He is quite clear that other musicians can work however they please; his concern is preserving his own enjoyment. “Who gets into it wanting to be a professional?” he asks, before allowing that some people do. It was never his reason for picking up an instrument.
Australian audiences have consistently made him feel comfortable being himself. “I feel like we make sense to the audience, the audience makes sense to us,” he says. Early overseas tours sometimes meant discovering that press coverage had grouped THE CRIBS with acts whose main connection was a shared nationality. Having to correct those assumptions could make a visit awkward. Years of records and shows have since given listeners a clearer understanding of the band, leaving Ryan with less to explain and more opportunity to enjoy playing. That affection extends to Perth, despite some memorable travel arrangements. Ryan recalls an earlier trip involving a transfer straight from a show to the airport, followed by another straight to soundcheck on arrival. A bed would have been a welcome addition. Still, the brothers want to reach as many people as possible. Growing up somewhere that rarely received touring bands left Ryan with a lasting appreciation for musicians who made the effort to visit.
Local supports help them get to know the places they play, too. Ryan credits his brother with listening to and selecting the bands for this run. On previous visits, going out with local musicians has offered a chance to see more than the hotel and venue, and to meet the people making music there. Those introductions remain a substantial part of his enjoyment of touring. The October shows will bring songs from Selling A Vibe together with favourites from across their catalogue. THE CRIBS return proud of the new record, with Ryan enjoying the freedom that comes from no longer feeling he has to prove himself. Australian fans have already given him good reason to feel understood. He is ready to get back in front of them and enjoy the evening as it happens.
THE CRIBS Australian tour October 2026:
● 4 October — 170 Russell, Melbourne, with Big League and The Satts. ● 5 October — Factory Theatre, Sydney, with Trophy Wyfe and Jean Elliot. ● 6 October — The Triffid, Brisbane, with Lucid Safari and STAHR. ● 8 October — Rosemount Hotel, Perth, with The Deenys and Streetlights.
