Steve Balsamo Of ChimpanA Talks New Album, Band Origins And More

 Singer-songwriter, musician and all round creative Steve Balsamo (Jon Lord/Eric Woolfson/Jesus Christ Superstar) is one half of ChimpanA, the Electronica-inspired Prog duo with Robert Reed (Magenta/Cyan/Sanctuary). Steve very kindly chatted to JLTT about their forthcoming third album, the band’s origins and more: 

Who is in ChimpanA,  how did you meet and what do you play?

ChimpanA is Songwriter/producer/multi-instrumentalist, Rob Reed and singer songwriter Steve Balsamo.

We met over 20 years ago when I, Steve asked Rob to co-write songs for a project that became The Storys. That collaboration didn’t pan out (although The Storys went on to record 3 albums and tour with the likes of Elton John, Joe Cocker and Celine Dion) but former The Storys’ band mate, Rob Thompson, Steve and Rob Reed went on to write for the first ChimpanA album.

 

What is the story/origin behind the name ChimpanA?

It comes from an episode of The Simpsons, A Fish Called Selma, when there is a musical of Planet Of The Apes. One song started, “from chimpanA to chimpanzee“, and we thought it was funny and we would have it as a placeholder until we thought of a proper name. It stuck! And we love it, ha.

 

What is your earliest musical memory?

Steve – “my dad ran a country club for a few years when I was a kid, until the fighting got too crazy. There was a tear up one night when two bouncers were hospitalised and my dad had to go to court to convict a couple of rugby players, so he called it a day. There was a disco at the club and every weekend when we went up to visit, I remember hearing The Jags’ song, Back Of My Hand. I was 8. I absolutely loved it at the time, and still do. Incredible song, with an amazing guitar solo. The hit was remixed by Trevor Horn and Geoff Downes.

When did you begin songwriting?

Steve – I was in a local rock band, After Dark that had a great songwriter, Stu Leary who was a very big influence on me early on. I then formed a band called The Faith and drummer Steve Macrill was a big champion of my writing and gave me a huge amount of confidence to keep going. Great days. I was about 18/19.

Your new album ‘M.I.A.’ is out on 29th August 2025. How did you want to approach the making of the album?

The album started as three songs for Richard Mylan’s superb, hard hitting play about his former drug addiction, Sorter. Rich is a fan of The Chimp and asked Rob and I to write a few songs for the play. Stems of the tracks were then used to form soundscapes in the actual play. We loved the process, loved the songs and decided to use those songs a the beginning to this album.

 

Where did you record the album and who produced it?

We recorded the main tracks at Rob’s studio in The Pop Factory, Porth, Wales. Some of the bass, with amazing Guy Pratt, was recorded with our friend Ben Robbins at his West End, London studio. Neil Taylor was recorded in his kitchen in Wiltshire and it was such a thrill for us, as we are big fans of his playing, especially for early Tears For Fears. We went to just outside Bangor to record mighty Ged Lynch with his engineer, Mark. Just great, great fun and it really was witnessing some of the best players on earth making our tunes better.

Do you have any interesting, funny or memorable stories from the album recording sessions?

Every contribution was memorable. Kirsty Roberts’ powerhouse, soulful voice moved us to tears many times, as did Tina Booth, the beautiful singer with Rob’s band Magenta. 

Guy Pratt being incredible was also very memorable. As I mentioned, watching Neil Taylor play like a beast…all great moments.

 

All of it is interesting to us, as we used the sessions as therapy. Rob and I would retreat to the sanctuary of the studio, talk, sometimes cry and then pour it all into the music.

Do you use any particular instruments, microphones, recording equipment to help you get a particular sound/tone for the record?

That’s Rob’s domain…but as he says, if it moved us it was on the album. So sometimes non conventional recording approaches were used, just as long as it has emotional impact to us, we used it.

 

Do you have any musicians who guest on the album? What was that experience like?

We have lots. As I said, Ged Lynch on drums who plays with Black Grape and Peter Gabriel. I played a show with him years ago and he’s an absolute beast. He can play so your soul moves from his power, and equally move you with his incredible percussion and sensitivity. A complete, very musical drummer.

 

Guy Pratt’s playing is legendary, and his feel and groove is insane. I toured with Guy as part of the late, great, Jon Lord’s band that included Steve White and Chester Kamen. We went to South America for a month. Absolutely killer band. Neil Fairclough also plays bass. He’s currently with Queen and Elio Pace’s band. Another beast. As I mentioned we have Neil Taylor on guitar and Francis Dunnery, who Rob has been working with. He plays a stunning solo.

 

Singer wise we have an incredible collective – Kirstie Roberts, Tina Booth, Angharad Brinn, who adds her folky, ethereal voice on our version of Here Comes The Flood.

Also we have the beautiful speaking voice of Tony Dallas, and Richard Mylan reading from his play, Sorter. 

Keyboard player, Nigel Hopkins also plays keyboards and arranged beautiful orchestral pieces to blend the album together. We also had the Prague Session Orchestra on some tracks, who sound amazing.

 

You have also released your new single ‘Here Comes The Flood’ which is your version of the Peter Gabriel song. When did you first hear the song and what was the reason behind choosing to record this song?

 

I first heard it as a teenager. ‘So’ was my way in to Peter. I wasn’t a Genesis fan at the time, but love them now. I was into heavy rock, from Sabbath and Purple, to Slayer. When I heard ‘So’, it really changed my musical world, so I went back to earlier Peter solo stuff and then back further.

Initially I didn’t want to touch the song, but Rob literally broke me down over a few years, ha. It was when Kirstie soulfully sang the chorus, that something clicked for me. It was the key that opened the door. We use all 4 singers on the track, which I think is at least how many you need to get close to Peter’s pipes!

 

At the same time, you have released the original track ‘Wolves’. What was the story/inspiration behind the track?

I love Wolves.

Again, it’s inspired by Peter and I love how Rob has got some of those 80’s synth vibes, and electric piano that’s all over his early stuff.

For me the song is a little sideways look at how everything seems to be going to shit, fast! The chorus is uplifting and powerful, very melodic set against very angular verses. I love that light and shade, which we play on a lot throughout the album. I’ve tried to be very visual lyrically, playing with biblical and folkloric themes. 

 

The single is accompanied by an official music video. What was the thought process behind the video and who directed it?

Our friend Rhys Davies is a great filmmaker and with an actor / writer friend, James William Cook, came up with a short film to pitch for a drama series, called Rom Baro. 

I had a part in it and Rob asked Rhys if we could see the rushes, to if it worked with the song. It’s very dark subject matter, but beautifully shot, and when we married the two, we think it really works well. I know it will upset some fans of the song, but we wanted to make a statement of intent, both visually, sonically and artistically, and we absolutely love the result.

 

Which of your new album tracks hear you at your a) happiest, b) angriest and c) most reflective?

 

1. A) We’ve done a cover of Everyone’s A Winner, as we both really love the original. It makes me smile a lot when I hear it.
2. B) Invisible People – a Gary Numan inspired tune, taken from the play Sorter. It deals with how some drug addicts are invisible people. The words are inspired by Rich’s play.
3. C) Skeletons is one of my favourite songs I’ve ever been involved in. It can mean a lot of things, and people have told me it means very different things to them, but for me it a song about my daughter, Issy.

 

Was it a difficult album to write?

It was a joy to write. Some of the themes are difficult, but I love collaborating with Rob Reed, he’s an incredible musician and producer, very fluid and mercurial. We would move quickly, always in search of the most emotional outcome. Some of the music is complex but some very simple. A bit like being human I suppose.

 

What two things do you hope to have achieved once you have left the stage?

That we have moved people. Twice!

Where is your hometown and could you please describe it in five words?

Swansea, South Wales.

A very, pretty, s****y, city (stolen from Twin Town). I love Swansea.

How do you look after your voice?

Warm ups, warm downs, don’t smoke, steam, no shouting, especially in crowded pups after gigs, regular exercises, massages, lots of water, prayers.

You are given the opportunity to write the score for a film adaptation of a novel that you enjoy. Which novel is it and why?

The Alchemist by Paulo Coelho. I love the book, for the wisdom, the poetry and I think we could make some awesome soundscapes with indigenous singers, players and instruments.

Who are some of your musical influences? Do you have any recommendations?

Lots! As The Chimp we love The Blue Nile. Paul Buchanan is a master. We would LOVE to get him on the next album. If you could pull some strings please! 

 

Do you have any live dates planned in the UK/Europe in 2025?

We have an album launch at Acapela Studios in August, and are hoping to take the band on the road as soon as possible!

What makes ChimpanA happy and what makes you unhappy?

Listening to the great players that have contributed to this beautiful album makes us very happy. 

The Tiktokification of music, the lowering of attention spans and the seemingly free, throwaway, disposable view of music today makes us unhappy.

With our album M.I.A. Music Is Art, we are very unfashionably trying to tempt the listener back to the very wonderful art of listening to a long form album as a whole piece. Long form TV shows like The Sopranos and Game Of Thrones take huge amounts of concentration and focus, which ultimately leads to huge gratification. Why can’t music be the same?