Introducing: Eve Simpson

Edinburgh-based Geordie singer-songwriter Eve Simpson and award-winning musician Mike McKenzie have teamed up to deliver Always Waiting, a cinematic exploration of mental health within the family dynamic. With haunting vocals, delicate keys, and deeply personal lyrics, the track captures the struggle of wanting to appear fine while being unable to hide your pain from those who know you best.

Having met at an Edinburgh songwriter’s night in 2022, Simpson and McKenzie forged a friendship rooted in shared vulnerability, a love for writing emotional ballads, and a shared penchant for “pop girls and terrible jokes.” Fresh off a sold-out UK acoustic tour, their collaboration is a celebration of musical honesty and raw connection.

Simpson’s sound, described by The Skinny as “radically vulnerable” with echoes of Joni Mitchell and Laura Marling, has earned her spots at major festivals like Celtic Connections and Edinburgh Hogmanay. Meanwhile, McKenzie, lauded by Jo Whiley on BBC Radio 2 as “gorgeous,” has performed on The Quay Sessions and worked alongside legends like PJ Moore of The Blue Nile.

Supported by Youth Music and Help Musicians, Always Waiting is more than a song—it’s a poignant moment in the careers of two rising talents. This heartfelt track is available now, bringing listeners into a world of unfiltered emotion and cinematic beauty.

1.  You've been compared to iconic artists like Joni Mitchell and Laura Marling. How have these influences shaped your songwriting and performance style, and are there other artists who have played a significant role in your musical journey?

I think their most pressing influence has been a combination of honest lyricism/storytelling, and vocal stylings, such as speak-singing and use of range. They are the timeless greats to me, and if I could release an album with half the magic of theirs, I would be so fulfilled. However, I genuinely would not have picked up a guitar without Taylor Swift - I learned the whole of the Speak Now album back to front on a wee Argos guitar when I was 12, and that was my introduction to songwriting. Recently I've been super into Sarah Kinsley and circling back to some Norah Jones. 

2.  Your music often explores themes of vulnerability and personal experience. Can you share a specific moment or experience that inspired one of your songs, and how you approach translating those emotions into your music?

My latest release, Always Waiting, which is a co-write with Mike McKenzie, came from a very specific moment just before the writing session, around 18 months ago now. My Mam had just phoned me to check in, I was living on my own for the first time, and was going through a big period of change and had just started quite a heavy/intense job. She knew something was up the minute I picked up my phone, (Mother's intuition, eh?), and I felt such a sense of failure as I really wanted to be positive and upbeat. I've had a rocky road with mental illness, and I was trying my hardest to stay well, so this was a big moment of reality for me in assessing how I was actually doing. That poured out of me in the session with Mike, who is a phenomenal writer, such empathy to bounce of the other person and we really click as co-writers. Writing has always been therapeutic for me, so it requires very little rational when a song is just ready to be written. Sometimes it's a very different process and can be way more formulaic depending on the song and brief, but when I write purely for myself, there is very little to it. 

3. As an Edinburgh-based artist, how has the Scottish music scene influenced your work? What role do you think local culture and community play in shaping your sound and artistic identity?

I feel very accepted in the Scottish scene. I'm originally from South Shields, and grew up more on the Newcastle music scene, and that was difficult to leave. Early influences really shaped my writing and sound, notably from local artists such as The Lake Poets and Jake Houlsby. Newcastle is pretty renowned for its sense of belonging and community, so I definitely struggled when I first moved as I realised I had to almost start from scratch all over again. However, it was Mally Smith and Mike McKenzie's writer's night at the Dragonfly in Edinburgh that gave me a sense of belonging and deep-rooted friendship. Being immersed in Scotland has forced me to develop my own sense of identity away from home comforts and stereotypes - I think this has been vital in where I'm headed as an artist now. Mostly, it has given me a huge community of artists to write and learn from. 

4.You've received accolades from various publications, including being named ‘Artist of the Week’ by Richer Unsigned and being featured in The Skinny’s 'Pick of the Month.' How do you feel about the growing recognition, and what impact has it had on your career?

It's both humbling and validating. I had very little confidence 18 months ago, and I've definitely grown into presenting and asserting myself as a songwriter, artist, and musician. That confidence shift has been game-changing for me, allowing me to apply and go for opportunities I previously thought were off limits due to my own brain saying I didn't deserve them or I wasn't good enough. I think it should be talked about more that every musician I know thinks they're not good or could be better. If we all realised that we had those doubts, we could just push each other to realise that that's just not true, whilst also keeping us grounded because there are so many incredible people trying to do this really hard thing with very limited sustainability. Ultimately, recognition can give you the drive to keep going I think - perseverance is half the battle in this industry, and it is incredibly privileged to continue to endure, and recognition can honestly be the difference between keeping going and hanging up the guitar. 

5. Your live performances have garnered positive attention, such as at Celtic Connections. How do you prepare for a live show, and what do you hope audiences take away from your performances?

I'm really proud of the development of my live set this year, especially my solo set. Again, I've been hiding behind other musicians due to my own confidence for a wee while, so I really set myself a challenge this year to develop my own playing, believe in my instrumental playing, and go for it. I really think I've done that - I've played the most shows I've ever played this year, quite literally from the top of Scotland to the bottom of England, whilst being my own tour manager, promoter, agent, and manager in the process. Ultimately, I think my live show is just at a better standard than it was this time last year, which makes me super happy. I used to have to perform lots of compulsions, as a diagnosed OCD gal, before live performances, but I received a lot of help with that a couple of years ago. Having to no longer do those compulsions is transformative, but I still have to actively work against nerves and those thoughts. But the best thing I can do is keep showing up, and demonstrate that vulnerability to folk, which I think comes across on stage. I want people to escape their life, feel something, and not look at their watch/phone once. That's what live is about for me, the chance to escape and experience common feelings through shared experiences captured in one of my songs. It's an honour.