Franz Ferdinand frontman Alex Kapranos has described fatherhood as a familiar journey, drawing parallels to his band’s formative years.
Kapranos and his wife, Clara Luciani, celebrated the arrival of their first child last year. The 52-year-old shared with BBC Scotland News that embarking on tours with his band has become “really difficult.”
“Saying goodbye to him is hard,” the singer reflects as his band gears up for the release of their sixth album, The Human Fear, set for January.
“After years of evading responsibility and embracing a carefree lifestyle, the prospect of taking on responsibility now feels surprisingly invigorating.” Many individuals have expressed to me that sleep deprivation would have detrimental effects.
Yet, it mirrors the experience of 2004 when the band was gaining momentum, and I often found myself awake through the night. The band would perform at various gigs, spend the night out, and then rise at 6 a.m. to catch a flight to their next destination. During that period, I averaged roughly two hours of sleep each night; the current situation mirrors that experience, albeit without the accompanying hangover.
As 2025 unfolds, Kapranos is set to bid farewell on several occasions. The year promises to be bustling for Franz, who has undergone a transformation since their early days yet remains skilled in crafting artful indie pop.
From the vibrant music landscape of Glasgow, Kapranos, alongside guitarist Nick McCarthy, bassist Bob Hardy, and drummer Paul Thomson, achieved notable chart success with their hit singles, including the iconic “Take Me Out.” The band has established itself as one of the premier live performances in the UK and was awarded the Mercury Music Prize in 2004.
The singer reflects on the unexpected triumph, stating that the band believed “anyone but us would win.”
“This reflects a distinctly Glasgow mindset.” We don’t consider ourselves the type of individuals who receive accolades.
Success was a journey that required patience and perseverance.
Born in England, Kapranos relocated to Scotland during his childhood. During his teenage years, he immersed himself in the vibrant 90s Glasgow music scene, organizing club nights and performing with the cult indie band Yummy Fur before ultimately founding Franz Ferdinand.
The landscape has shifted significantly since the release of their debut album, which garnered the prestigious Mercury Prize. The Human Fear represents the band’s inaugural studio project following the departure of original drummer Thomson in 2021.
The departure of guitarist McCarthy occurred in 2016.
The original members Kapranos and Hardy have welcomed a fresh line-up, including guitarist Dino Bardot, keyboardist and guitarist Julian Corrie, and drummer Audrey Tait.
Kapranos asserts that the band’s identity remains intact, even in the face of changes.
“Every time we take on a cover, it consistently reflects our unique sound, and I appreciate that.” During our segment on Radio 2, we featured “Good Luck Babe” by Chappell Roan, a remarkable track.
However, when we perform it, it tends to evoke the sound of Franz Ferdinand. In a recent conversation, Bob and I reflected on the importance of being comfortable with one’s identity and sound before creating this record. Understanding your voice and identity is crucial.
Listeners can trace a clear lineage from the early records of the Birthday Party to the haunting ballads that Nick Cave crafts today, a continuity that remains unmistakably his own. This phenomenon is similarly evident in the works of PJ Harvey and Leonard Cohen. “That informed us making this record.” The intention behind this work is clear: to ensure that listeners recognize its unmistakable connection to Franz Ferdinand.
In 2021, a greatest hits compilation and the subsequent tour allowed the singer to reconcile with their past work.
“I’m not the type of person who enjoys reflecting on the past,” he states.
“After we complete a record, I typically don’t revisit it, but during the tour, I had to listen to that music again, and I discovered that I felt quite at ease with it.”
The band celebrated their past with a strong desire to explore new possibilities for the future.
The Human Fear showcases a range of innovative concepts, featuring orchestral elements in the recent single “Audacious,” the incorporation of a bouzouki in “Black Eyelashes,” and a Celtic-inspired riff that drives “Cats.”
The thrill of fear
Despite what the title may imply, Kapranos asserts that the album conveys a message that is quite the contrary.
“The most significant moments in life occur when one conquers fear,” he states, revealing that his childhood dread stemmed from the shark in Jaws.
“Engaging with horror films or experiencing the thrill of rollercoasters can evoke a sense of excitement, prompting a reconsideration of how we confront broader existential fears.”
Reflecting on my childhood in the 1980s, I recall a pervasive anxiety that a single diplomatic misstep could lead to catastrophic consequences for us all. Fear is an ever-present element in life, presenting individuals with a choice: yielding to it or confronting it head-on.
Reluctant to delve into political discourse once more
Franz Ferdinand has previously engaged in politics. In 2014, they supported Scottish independence, and two years later, they launched Demagogue, targeting the then-incoming American President Donald Trump.
However, the prospect of a second Trump presidency is unlikely to elicit a similar response.
The singer criticizes Trump, stating, “He’s not my favourite man, and there’s a great deal in global politics that is disheartening.”
It is, however, discouraging to observe the constant discourse surrounding politics. The task feels burdensome, and I am reluctant to contribute my part. It seems clear that Trump exhibits self-centred behaviour and a lack of intelligence.
Can I point that out? A number of my friends on social media frequently discuss it at length. The arts serve as a formidable instrument of protest, and it is essential to maintain this practice. However, it is important to distinguish between genuine expression and mere complaining. However, they are unlikely to stay quiet on some issues.
In 2024, the group joined a chorus of Scottish musicians voicing apprehensions about potential cuts to arts funding. Meanwhile, a brief tour allowed them to trial new songs in several of the nation’s smaller venues.
In 2025, the UK will see performances at prominent venues, such as the Barrowland in Glasgow, alongside a summer show at SWG3. However, the singer continues to express a strong commitment to supporting grassroots music.
“Having dedicated numerous years to the basement of the 13th Note in Glasgow, it has become an integral part of my identity.” Being in a small, dimly lit cellar with a band performing at full volume is where I find my joy.
