Multi-platinum Belgian musician Piet Goddaer, best known by his stage name Ozark Henry, is an extraordinarily imaginative and skilled composer and singer, and one of the leading pioneers of 3D immersive sound.
The nine studio albums he released in his nearly 25 years in music range from avant-garde to pop, to symphonic melody; his first record, titled I’m Seeking Something That Has Already Found Me, was praised by David Bowie as “debut of the year” in 1996.
The talented composer later said about Bowie: “He taught me that ego doesn’t matter. It is the work connecting us – the music we leave behind – that matters most. I never forgot this lesson“.
Recently appointed United Nations Goodwill Ambassador against human trafficking by the UN Office On Drugs And Crime, Ozark Henry continues to experiment with audio, visual, technology and a unique blend of music genres, producing groundbreaking 3D immersive sounds and collaborating with renowned artists such as the very amazing and opinionated Jah Wobble, Martin Glover and late Jackie Liebezeit, and orchestras like the National Orchestra of Belgium and the Metropole Orchestra.
The worldwide tour Ozark was preparing in 2o20 was cancelled because of Covid, and his small coastal village in West Flanders, called Oostduinkerke, was put into quarantine; this prompted him to release a moving track titled We Will Meet Again, intended to capture a weird moment like a motionless picture.
And the fact that the man is also remarkably clever, unpretentious and committed to the progress of humanity, and made it clear that he didn’t produce the record just because he was bored by the lockdown, really drives me to appreciate his chords and lyrics to a whole new level.
Hi Piet, how was your new song We Will Meet Again born and what does it mean to you?
I wrote it after being in lockdown for four weeks. I set up an online concert for everyone in my village to create a moment of togetherness, and when I was thinking about what I should play, this song popped into my head. For me, it means embracing reality, showing resilience, living for now but dreaming about the future.
Who are your main sources of inspiration in music?
People, people, people.
How did it feel when, back in 1996, David Bowie praised your first album as “debut of the year”?
One hundred per cent surreal, especially when, later on, his assistant called me on my landline, to say that David Bowie was inviting me to hang out with him.
What does avant-garde music mean to you?
It means music that lies at the forefront of innovation, and today it is exploring the potential of immersive sound.
What was your dream job as a child? Did you have a plan B?
I wanted to be a sculptor, but not having the means nor the support, I started my career as an art painter and set designer. Music was part of my set designs and, in the end, became my main activity, as it still is. I don’t think I ever had a plan B. Let’s hope I’ll never need one!
Are there any artists out there you would particularly like to collaborate with, at this stage in your career?
If I don’t need to be humble, I’d love to work with Kate Bush. She’s one of the most complete artists of all time.
Your fourth album, The Sailor Not the Sea, out in 2004, featured Jah Wobble playing bass: what was it like to work with him? I interviewed Jah, and he told me that he cannot “just help that all of his friends were born in April”. You were also born in April.
That was such a great experience, and he brought late Jaki Liebezeit with him. Jah and Jaki together were pure, just pure magic. John (Jah) on his ovation bass, the amp full-on, his fingers whispering to the strings on his guitar, Jaki with a tiny minimal drum set, no pedals, even playing his bass drum with his sticks. Both of them are artistically so generous. Jaki was very introverted and most of the time John was talking on behalf of them both, but with a very deep respect for his friend and fellow musician. At the end of that session, John went back home to England by train and Jaki stayed a bit longer to avoid traffic jams as he came from Germany by car. And then, all of a sudden, he started talking and talking and talking, and then he stayed for another day. These have been and still are by far the most amazing rhythm sections I’ve ever worked on.
What do you think about talent shows like The X Factor?
I don’t watch much TV so I’m not familiar enough with it to have an opinion.
Your country, Belgium, is trilingual Dutch, French and German; which language are you most attached to, and why did you choose to sing in English?
I’m most attached to Flemish, my native language, which is a dialect of Dutch, influenced by both French and English but with a pronunciation closer to English rather than French or Dutch. As there are only a handful of people left who still speak Flemish, it seemed like I had no option to sing in Flemish.
Because you’re not British, and neither am I, but this interview is being published in a UK media outlet, I’d like to ask: how do you feel about Brexit and what are your feelings towards the UK now?
I love the UK and its rich cultural identity but I don’t get Brexit, and the answer to what Brexit really is about is probably as obscene as the answer to the following question – and just to be clear, I’m referring to the US now: so, how can anyone who is guilty of bigotry, openly sexist, racist and extremely narcissistic be the best option to lead a nation and represent the people? It’s shameful and sad. It’s not about the people as it should be, and the Covid-19 crisis has painfully revealed that.
What achievements are you most proud of?
I’m proud of being able to take care of my family, both emotionally and financially. And I’m proud I’m making a difference in fighting human trafficking and inequality.
Yes, you were appointed Belgium’s goodwill ambassador against human trafficking by the United Nations Office on Drugs and Crime. Would you like to say something about this public engagement?
There are more people victims of modern-day slavery and human trafficking now than ever before in history: it is something we witness every day, and still, we let it be as if the victims were invisible. It’s a crime we should all be ashamed of. Fighting human trafficking is fighting inequality, and if we decide not to accept inequality anymore, people will understand immediately whether they are victims or not. Human trafficking affects every nation in the world, and most of the victims are women and children. The Blue Heart Campaign I’m supporting celebrates its 10ᵗʰ anniversary this year, but even after all this time, it’s still a struggle to get something urgent on the agenda and give it the attention and support that is so desperately needed.
Would you like to add anything else at all? New projects, new plans?
I was looking forward to celebrating 25 years in music in 2021, with a new album that will be out soon. I also look forward to finalising my new project called August Parker. Meanwhile, you can listen to We Will Meet Again.
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All the pictures published have been provided from Ozark Henry’s private collection © to the owners