“We did it!” exclaims Antony Szmierek, lowering his binoculars to offer a triumphant bear-hug. We are standing at Cleeve Heronry, just a short distance from his Bristol base, where an attentive Szmierek has successfully spotted a heron circling the canopy. He promptly names the bird “Badger.” In this Antony Szmierek interview, it becomes clear that the gangly bird has become more than just a local sighting; it is a totem of his artistry, appearing on the artwork of his second album, Decoding Birdsong, and even serving as the inspiration for his costume in Bristol’s Birdman contest.
Embracing the Chaos of the Heron
The Birdman contest, where participants attempt the impossible feat of flying across the harbour, serves as a fitting metaphor for Szmierek’s current outlook. “It’s impossible, but we were cheering people even though we know they’re going to fall,” he says with a smile. “I really like the idea of conceding to the chaos of everything. You don’t really need to control everything.”
This philosophy extends to his music, notably in the track ‘Chalk,’ which explores how a snooker player’s performative use of chalk is more about comfort than affecting the game. Set against a sleazy, LCD Soundsystem-esque beat, the song reflects Szmierek’s natural disposition to follow the world’s lead rather than forcing a destiny. In the studio, he is constantly searching for the “happy accident” that transforms a simple idea into something profound.
From the Classroom to the Service Station
Szmierek’s journey to musical prominence is as unconventional as his storytelling. A former secondary school English teacher, the 35-year-old possesses a relatably witty command of language that has seen him transition from the classroom to supporting acts like The Streets. His 2025 debut, Service Station at the End of the Universe, unified his blend of poetry, pop, and post-punk under a concept that featured a cast of characters ranging from Cleopatra to a “pound shop Geri Horner.”
His signature style—expressive, vivid storytelling narrated in a cozy Mancunian accent over floaty electro-pop and house beats—has earned him the status of a Mancunian micro-celebrity. Since moving to the South West in early 2025, he has found a new community of artists, including Getdown Services and Big Special. He jokingly refers to this cohort as the “holy trinity of talky-talky boys,” a group defined by sincerity, warmth, and mutual support.
Divine Dissatisfaction and the Pursuit of Memory
Despite his rising success, Szmierek remains disarmingly sincere and “overbearingly honest” about the challenges of the industry. He speaks openly about the loneliness that comes with being a solo artist in transit. “My role is different, inherently, from the rest of the touring band,” he explains. “You start to become in transit, like a parcel that gets delivered everywhere.”
This sensitivity informs his worldview, which is heavily influenced by his peers and the concept of “divine dissatisfaction,” a term he borrowed from Florence Welch. For Szmierek, coincidence is a religion—a belief in superior factors at play even when evidence suggests otherwise. Decoding Birdsong explores this dilemma: the act of looking at the world and trying to understand what it is trying to tell you, while acknowledging the potential mistake of seeing only what you want to hear.
The Solace of Songwriting
As he prepares to headline Manchester Academy and London’s O2 Forum Kentish Town, Szmierek reflects on the consequences of “getting lucky.” He attributes his drive to his working-class roots, noting the underlying fear of being “one big tax bill away” from returning to his mother’s spare bedroom. This reality hasn’t dampened his optimism; instead, it has fueled a creative flurry that is already spilling into ideas for his third and fourth albums.
Ultimately, Szmierek finds his greatest solace in the creative process itself. While he continues to watch for signs from the universe—much like the heron biding its time—he remains grounded in the act of writing. “The act of songwriting is my saving grace,” he concludes. “I know that I’ve got this thing that makes me feel better.”