Marc Gallagher has made a name for himself as one of the most dynamic and engaging ukulele players on the scene today. Whether through his heartfelt songwriting, inventive arrangements, or infectious live performances, Marc’s unique style blends pop, jazz, and folk influences, earning him a loyal following across the UK and beyond.
I was excited to chat with Marc about his musical journey, creative process, and what is next for him. But first, I have some exciting news – Marc is now an official endorser of Noah Ukuleles! He’s currently playing the Noah Tenor X, a beautifully crafted instrument that perfectly complements his distinctive sound. Read on as I dive into Marc’s world of music, inspiration, and, of course, his love for the ukulele!
Can you share how your musical journey started and what your early musical influences were? Your website mentions learning the Crazy Frog theme by ear at the age of 12!
My musical journey began in 2009 where upon watching Dreamworks’ “Monsters vs Aliens” and the scene in which the President of the United States plays the Crazy Frog theme on keyboard, I went home and figured that out by ear. It was the nurturing of my school’s music department that got me started with piano, then guitar, then bass before I first picked up a ukulele in 2011. My influences in music were Queen, Brad Paisley, Ed Sheeran, and 2000’s pop.
What drew you to the ukulele, and how has it influenced your approach to songwriting and performance?
Initially playing the ukulele was just a way of adding another string to my bow. I wanted to be versatile, the kind of musician who could play any instrument and fit any role in any band. It wasn’t until 2016 where it gradually took over as my main instrument, and that came through wanting to be different on the open mic circuit. In a given night of 5 guitarists, I stood out as the 1 ukulele player. More importantly for me, it was about challenging people’s perceptions of what a ukulele could do. It was not taken seriously and considered just a way to play tricks like “Riptide” or “I’m Yours”, and I set about trying to make those folks think twice through my song choices and playing techniques.
With a diverse teaching portfolio, how do you tailor your lessons to accommodate students of varying ages and skill levels?
I tailor my lessons through listening. Victor Wooten would say that “music is a language”, and while that is not literally true in terms of syntax and other linguistic elements, music and music lessons are a conversation, and conversations should flow bidirectionally. I listen for what my students want to get out of their instrument and music. Sometimes they want to play and sing a 3 chord trick in front of friends, sometimes they want to learn modes and chord inversions on piano. I’m asking the student what they need, and I help guide them to whatever goal it is they seek.
You’ve run workshops in multiple countries. How do you design these sessions to engage diverse audiences, and what do you aim for participants to take away?
I would say that my workshops are kind of the opposite of my usual music lessons. While some workshops are “let’s play a song together”, I tell my classes “I am here to teach you shit”. I treat workshops as a class in which I deliver the lesson and guide folks into playing with me (with obvious room for questions). While the class might not take away the initial joy of “yay I just played a song with Marc”, I hope that the ideas I teach them translate into other elements of their playing.
As a linguist, I try to engage with the language of the class I am teaching, whether it’s the Polish words for “thumb” and “finger” at my fingerpicking workshop in Poland, or just full-on delivering workshops in German.
As someone who plays in a covers band and sometimes struggles to remember the 30 or 40 songs in our repertoire, I was fascinated to read that you’ve memorized over 800 songs! Can you tell us a bit about your methods for achieving this? I would love to know!
I appreciate that, the number has now grown to over 850! I’ve devised a workshop and a book on the topic called “Avril to Ziggy – Mastering Musical Memory” that details my genuine process. In a sentence it is
“Identify patterns and repetition, and break the song down to its sole unique elements”. This can be put into practice by removing the chords from every single point of the chart, and instead just make a note of the progression and trust yourself to remember where to change those chords. It comes from removing chorus lyrics and trusting yourself to a) remember the chorus or b) refer to the first instance of the chorus when you hit repetitions.
What inspires your songwriting, and how do you balance lyrical content with musical composition, especially in your pop-folk style?
Most of the time it comes from relationships, my romantic experiences acting as the foundation for my stories, but lately I’ve incorporated other elements of my own life into my songs such as sleep apnoea in “Sad Elephant”, depression in “I’m So Glad You’re Still Here” or toxic masculinity in “I Never Saw My Father Cry”. My musical style usually centers around primary chords with colourful open voicings, the precise influence varying from song to song.
Having played in 12 countries, how do different cultural experiences influence your music and performance style?
I wouldn’t say it influences my musical style, it’s not like I write Cadleigh music after playing in Galway. As for my performance style, I really try to focus on being present and engaging with the audience on a personal level. It’s probably counterproductive, but the more I am playing my own music in other countries, the less I am trying to be a ‘performer’ or ‘entertainer’ and the more I’m trying to be ‘me’ onstage. Considering the personal nature of my songs I think it’s not very ‘me’ to be putting on a show. When I go onstage I have my songs, their stories, and a very loose plan of what I’m going to do or say, and that’s how I keep my authenticity.
What was it like supporting a renowned artist like Jake Shimabukuro, and how did that experience impact your musical career?
Supporting Jake was unreal. I was bricking it with imposter syndrome in the minutes before, my friend Kit Luc was great in reassuring me. My favourite memory from it comes after I finished the first song “I’m So Glad You’re Still Here”. As the audience were applauding it started to die down after a few seconds and then it re-escalated. It made me well up and it remains one of the highlights of my life. Jake saying “beautiful songs” as I walked offstage was also brilliant.
With a strong online presence, including regular cover videos and collaborations, how do you engage with your audience, and what role does digital media play in your career?
As for how it impacted my musical career, I think it helped with my standing of ‘fame’ in this niche industry. People know who I am, there are now cases of ukulele events where people are coming to see me, and it’s unreal. To increase my standing like this, to earn the respect of the ukulele scene was something I’ve wanted since I re-entered the scene in 2016, so it means the world to me that I can step back sometimes and say “mission accomplished”.
I engage with them by listening to them and responding to every comment and message I receive. I put out my art and observe their reactions to it. To be honest I’m not making as much content for my audience as I’m making it for myself. I play songs that thrill me, with people who are important to me, I’m not playing “Wagon Wheel” to appease a demographic, and while it explains why I don’t have the largest online following, I’m still really creatively satisfied with my online work.
Digital media plays a huge role in my career as a primary way to be discovered, to have materials and reels for gigs and venue, and for the connection I currently have with my fans across continents.
Can you share any upcoming projects or goals you’re excited about? I know that you’ve got a new book which recently came out – tell us about it!
Right now I am focussing on my new book “Avril to Ziggy” which is available on my bandcamp store. I plan to teach workshops at clubs in Great Britain, and then I’m waiting on some clearances before I start writing my second book!
I’m also visiting the Allegheny Ukulele Soiree in Altoona, PA in April. This is my first visit to the USA in 6 years so I’m very excited to see my friends there and engage with some of the American culture and food!
Thanks Marc for giving such an interesting and in depth answers. It’s great to have you on board as a Noah artist 🙂
For more information on Marc, check out his website.