This is your third visit to Manchester in quick succession. Have you managed to see anything besides the inside of the Deaf Institute? And are you looking forward to a change of scene?

Unfortunately, we haven’t been able to explore Manchester yet – it’s usually in and out for us. The Deaf Institute is actually pretty cozy, but we’re always up for exploring when there’s time.

While you’re playing at the Academy, Manchester’s own Liz Green plays the Deaf Institute. She’s signed to your UK label, Play It Again Sam… are you familiar with Liz’s music at all?

We know the name but aren’t too familiar with her music. I might have to change that, right now.

You have The Magnetic North supporting you at this show. Do you know much about those guys? It sounds like an interesting musical project.

We actually played a show with Hannah Peel last time we were in London and really loved it. We learned that she was working on another project and it just happened to work out that they were able to join us for the tour. It’s been great having them on the road with us, lovely people, lovely music.

Earlier this year you were invited to be tour support for Radiohead in the US. Was that a highlight for you so far?

Definitely a highlight. It’s going to be hard to top. They’ve always been one of our favourite bands so we couldn’t be more excited about a tour. The shows have all gone really well, and the Radiohead crowd has been really good to us.

A BBC Music review of your album mentions influences including Steve Reich and Philip Glass. Is there any truth in those suggestions?

It’s true. We’ve always loved classical music and more recently we’ve been getting into modern classical. Reich and Glass in particular were a big inspiration while recording the record.

Finally, you’re from Stillwater, Oklahoma. Tell us something interesting about your hometown.

The parking meter was invented there…

Catch Other Lives and The Magnetic North at Academy 3 on Thursday 5 April – more information and tickets here. Liz Green plays the Deaf Institute the same night.

You’re playing this year’s Sounds From The Other City in May. For the uninitiated, what can people expect from your show, and your music?

I’ll be playing the show with my live band The Fever Dreams. We all look fairly malnourished but together we can make quite a concordant racket. As for my music in general, an old friend of mine who writes for a blog recently used the phrase ‘Snore-core’. While he wielded it in the most derogatory of ways, I actually quite like it, and it’s quite fitting. Perhaps I’ll start a scene.

Your last appearance in Manchester was another visit to Chapel Street – at Sacred Trinity. Are you looking forward to the upgrade to St Phil’s?

The show at Sacred Trinity was really lovely. I remember we played in London the night before and everything that could have gone wrong, did. I think we managed to find some pretty substantial shards of our shattered rock star egos that night.

We really appreciate the intimate venues like Sacred Trinity. I get pretty nervous at the larger venues, but St Philips looks beautiful, and the high roofs of the churches we play always put a welcome wash of extra reverb over everything. We appreciate that too.

There’s a plethora of up and coming talent at this year’s festival. What other acts would you recommend our readers to see?

I love what I’ve heard of Loney Dear – we’re playing with him in Paris soon, so I’m sure it’ll be good to see him again at Sounds From The Other City. Luckily he’s on straight after us I think.

Your debut EP, Lilac And Wisteria, was probably our favourite EP of last year. Why did you opt for the EP format first, and are you thinking another one or two in the future, or is a full album on the cards next?

Wow, well thank you! An EP was the perfect way to help us to develop a direction and immerse ourselves in the recording process. I co-produce everything with my live guitarist Max Prior, and candidly speaking, we just weren’t ready to record an album, but singles have never interested us too much – they can be quite disingenuous if you’re not already familiar with the ‘artist’. I guess an EP just felt like the best way to introduce myself to people.

We learnt a lot while working on Lilac & Wisteria, There were a million things that we wished we had done differently once it was released, so we started working on the next EP pretty much immediately. The best way to subdue that itch of dissatisfaction was to start working on something we felt was superior. We’ll be releasing the new EP called Descartes Highlands on 16 April.

Looking forward through the rest of 2012, what other plans do you have?

We’ve got a string of festival dates that you can keep up to date with on our website: PaulThomasSaunders.com, hopefully a little bit of touring and on the days off we’re beginning to put together our first album. So far we’ve decided we’re going to wear suits on the weekdays and lab coats on the weekend. I heard if you get your dress code in order, the music will just fall into place. We’ll see.

You can catch Paul – plus Loney Dear, Laura J Martin, Stranded Horse, Withered Hand, Joseph & David and Stuart McCallum – at St Philip’s Church for our Sounds From The Other City stage on Sunday 6 May.

Hey Joe, what are you up to right now?

Eating egg tacos.

You’ve visited Manchester a couple of times already. What do you know of the city?

I’m a devoted fan of Abraham Lincoln’s life. His connection to your city has always struck me as beautiful. That an American president would directly appeal not to a foreign government, but a foreign people, that seems unprecedented and, given the current state of global politics, unrepeatable.

Oh… and the Curry Mile. That’s my jam.

You seem to have a following here – half of the tickets for your show next month sold in the first few days. Are you aware of having fans here?

I’m surprised and flattered.

You’ve taken the DIY ethic to extremes, personally sending out over 15,000 sample CDs to fans. Do you just really enjoy visiting post offices?

The fewer people between my music and the folks who enjoy it the better. When there isn’t a gatekeeper to be pleased, I’m allowed a wide range of artistic latitude. If the downside to that is a few more trips to the post office, that’s a bargain.

Comparisons have been drawn with Josh Ritter, with whom you’ve tour. He’s a very nice fellow, isn’t he? And a great songwriter to boot.

My admiration for Josh grows every time I see him play, every time I hear a new album of his, every time I see the dignity and respect that he affords everyone he works with, not to mention his fans. If there are comparisons drawn, it’s only because I crib so much from him!

So what does 2012 hold for you?

I’ve recorded a new album with my band. It will be out this coming April. Then we’ll just tour like banshees behind it. We’ll head straight for Manchester.

Joe Pug plays the Castle Hotel on 21 February, with the Travelling Band’s Jo Dudderidge supporting. More info and tickets.

• Ryan Francesconi + Birdengine @ The Castle – 16 February
• Dan Michaelson & The Coastguards + The Wooden Sky @ The Castle – 9 March
• Death Vessel + Rozi Plain @ The Deaf Institute – 14 March
• Arbouretum + Samson & Delilah + Milk Maid @ The Deaf Institute – 20 March
• Jesca Hoop + Magic Arm @ The Deaf Institute – 26 March
• Simone Felice (The Duke & The King) @ St Ann’s Church – 9 April
• Singing Adams (ex-Broken Family Band) @ The Deaf Institute – 17 April
• The Radio Dept. @ The Deaf Institute – 11 May
• The High Llamas @ The Deaf Institute – 15 May
• Team Ghost + Daniel Land & The Modern Painters + Anoraak @ The Castle – 18 May

As such, we’ve put together a Spotify playlist featuring one song by each band above (Ryan Francesconi – video below – and Death Vessel excepted) – click here to listen now. We’ll be adding to it as more acts are confirmed, so please subscribe.

Hey Ryan, how’s your year going so far?

Well, so far it’s great. All 11 days of it. This tour is the kick off event of the year! I’m replying to your questions here on United flight 928 en route to Europe from Portland. [We should add that this epic response was written via iPhone... Ryan joked of getting 'touchscreen tendinitis' and having to cancel the tour.]

Is this upcoming tour your first solo visit to Europe? Are you looking forward to any cities or venues in particular (you don’t have to say Manchester!)?

No, I’ve done some one off things and smaller runs – but this is the first proper tour doing the solo guitar Parables music in Europe. I’m happy with all of the events and cities – in particular, getting to spend a bit of time in cobbled Flandrian Belgium is always something to look forward to. Aside from a tiny house show in Ghent (I love that sort of thing) and a great show at the AB in Brussels, I get to be in the holy land of bike-racing shortly before the spring classics season begins. I’m there just a tad early to catch any races unfortunately!

To begin the tour, my girlfriend and I will take the train from Budapest and head west. That will be a magical snowy old-world adventure of sorts. Or… a suitcase dragging over icy cobbles, trudging through freezing rain, lugging a too heavy guitar case on my back, getting lost in southern Bohemia. I’ll let you know which happened when I see you.

You’re also joining Joanna Newsom for her continental Europe tour this month. How did you come to work with her?

We’ve been collaborating since 2006. We’re both from northern California and had met previously at a folk music camp in 2005. I was really impressed by her improvisation ideas over a few jams we had. I hadn’t heard her songs before, but they later became the soundtrack of that summer. We kept in touch, then the following summer she had an idea for a folk band ensemble to perform the material from Ys. It was the first time she had decided to put together a band and she wasn’t expecting anyone to play the Van Dyke scores… but that seemed like a fun idea to me, so we gave it a go. I kind of by default ended up the caretaker of complicated challenges after that. And there have been many! I’ve kept rearranging all the scores and writing new ones since depending on the touring lineup.

For the uninitiated, can you explain your guitar-playing style?

Hmmm, ideally, I want to play solo compositions with the structure of a Weiss lute sonata and the fire of a Balkan folk musician. Ideally. Ideals are good to have I think? Exploring the guitar as a solo instrument is my best chance at this realisation at the moment. Firstly, I am a composer; second, an instrumentalist. I think that distinction lends itself to a different type of sound and intention – one that perhaps could be perceived as a performer who puts the composition first over being impressive. The likely result is that you are neither impressive nor play a good composition. But I’m fully responsible at least, in that I can shape the pieces to suit the types of ornaments and techniques that are a part of me as a player.

Who would you consider contemporaries or inspirations?

I seem to be getting a lot of comparisons to Toumani Diabaté’s solo kora playing at the moment. I wouldn’t say that is accurate as a direct influence, but I do love the kora. I’m more influenced by my friend Kane Mathis from Seattle, who is an incredible kora player. His kora playing is something I listened to constantly in 2008. Granted, this was the case as we were housemates and I had little choice but to listen to it, but regardless there are a few koraisms that I have adopted, namely polyrhythmic patterns with bass variation. Actually, I was doing these types of things many years before hearing a kora – but hearing it done properly always sorts you out and gives you new ideas.

And some other inspirations you know already: Robin Pecknold – I wouldn’t need to play fancy guitar pieces if I could sing like Robin; Joanna – despite being heavily involved with shaping her music, I’m still a fan, and she has plenty of soul and power without all these fancy pants violin parts we gunk up her songs with! I think she’s an important ear-opener in this musical era.

You recorded your latest album, Parables, completely live with no over-dubs. Was this a reaction to over-complication elsewhere, or you wanting the live experience to be in line with the record, or neither of the above?

Both those things are true. I also wanted to set a few limitations for myself to distill what my capabilities are. Writing ensemble music is easy by comparison. I went overboard with using computers to make music from 2002 until 2006 and left that music with a hollow feeling. I wanted a music of my own derived in physical reality. There are no tricks, no loops, nothing to rely on, nothing to bail me out when things don’t work. ‘Geez, sounds grim!’ However, I think the reward is inherent in those limitations. If you can make music (however humble) under these limitations then I would say you are able to approach something that has the bare minimum required for a timeless statement. In short, as a musician I enjoy getting my ass kicked. Rehearsals are easy to schedule as well.

Your music incorporates elements of your interests: bluegrass, Baroque lute music, jazz improvisation, and Bulgarian folk music. What drew you to study the latter?

Well, simply put music from the Balkans (not just Bulgaria) is amazing. I’ve been playing this music since 1993 – so it predates most of my other influences as this point. In particular my guitar style is hugely based on my Bulgarian tambura playing. The primary difference is that with the guitar I play fingerstyle in order to have counterpoint. The tambura is played with a pick. There is very little counterpoint in East European instrumental folk music. The reason that Baroque music comes up for me is that the structural skill required to write successful counterpoint is a rarity these days. I hazard to say a lost skill – but it’s a sound and compositional device I’ve been in love with since my student years. I also have a number of Balkan-genre albums out there. Just in October I released an album of tambura and oud duets with Kane called “Songs From The Cedar House”.

A recent four-star review in Uncut compared one of Parables’ tracks to something by Toumani Diabaté. Is African music also a major influence for you?

Oh, it looks like I answered that already! I seem to have a harp thing these days. Actually that relates. Joanna partly inspired me to find ways to keep the strings ringing, so it does sound a bit harplike when I play melodies. I guess comparison with kora is pretty accurate.

Until I met Kane my main association with african music was being a very white feeling, shy 18 year old, awkward haircut having first year guitar major being forced to African drum, sing and dance by intimidating Ghanian men at CalArts where I went to college. So in general, no, African music is not a major influence. Closer touchstones are Greek, Turkish, Bulgarian and Baroque. Even Balinese gamelan is actually a bigger influence on my playing than African. One review said I copied a Michael Hedges song. I loved him when I was in high school actually, but it had never occurred to me that anything I play is derivative of him. I wonder…

In Manchester you’ll be playing at the Castle Hotel, which has been beautifully refurbished and is proving to be popular with music fans and ale drinkers alike. What will be your tipple of choice?

I’d be up for a proper small batch English ale after I play! Something dark perhaps. I rarely drink though. Never before playing. Unless I’m playing Rembetica, and then it must be Ouzo on the rocks. Lion’s milk.

Ryan Francesconi plays at the Castle Hotel on Wednesday 16 February. Toulouse’s Birdengine supports. More information at heymanchester.com.

1. An Astronomical Evening with Darren Hayman @ Godlee Observatory, Manchester (video clip below)
2. Hauschka, Nancy Elizabeth @ The Lowry Hotel’s Presidential Suite, Salford
3. The Album Leaf @ Bush Hall, London
4. Owen Pallett @ The Deaf Institute, Manchester
5. Jens Lekman, The Blow @ The Deaf Institute, Manchester
6. The Mountain Goats @ Brudenell Social Club, Leeds
7. CocoRosie @ Manchester Cathedral
8. Jónsi @ Latitude Festival, Suffolk
9. At Swim Two Birds @ Sounds From The Other City festival, Salford
10. Bonnie Prince Billy & The Cairo Gang @ Shepherd’s Bush Empire, London
11. Joanna Newsom, Roy Harper @ Palace Theatre, Manchester
12. Josh Ritter, Dawn Landes @ RNCM, Manchester
13. Yann Tiersen @ Manchester Cathedral
14. Wu-Tang Clan @ Academy, Glasgow
15. Hypnotic Brass Ensemble, Denis Jones @ Band on the Wall, Manchester
16. The Bundles @ Scala, London
17. The Duke & The King @ The Deaf Institute, Manchester
18. The Tallest Man on Earth, Idiot Wind @ St Philip’s Church, Salford
19. Beach House @ Manchester Cathedral
20. Deer Tick, Caitlin Rose @ The Deaf Institute, Manchester

Next year is shaping up nicely (and hopefully a little less crazily) – so far I’ve got four shows booked in, with another two or three likely to be announced in the next fortnight. Sign up to the mailing list to keep up to date with upcoming Hey! Manchester shows – and hopefully see you at some in 2011!

So last year I thoroughly enjoyed spending days deciding on my albums of the year. It’s a list of 15 records that, looking back on, I still largely stand by – see and listen for yourself here.

This year I’ve picked out another 15 records that I keep going back to:

1. Owen Pallett – Heartland (Domino)
2. The Album Leaf – A Chorus of Storytellers
3. The Radio Dept – Clinging to a Scheme (Labrador)
4. S Carey – All We Grow (Jagjaguar)
5. Yann Tiersen – Dust Lane (Mute)
6. Beach House – Teen Dream (Bella Union)
7. Toro y Moi – Causer of This (Car Park)
8. Twin Shadow – Forget (4AD)
9. Jonsi – Go (EMI)
10. Alcoholic Faith Mission – Let This Be The Last Night We Care (Ponyrec)
11. Gil Scott-Heron – I’m New Here (XL)
12. LCD Soundsystem – This is Happening (EMI)
13. Bonobo – Black Sands (Ninja Tune)
14. Steve Mason – Boys Outside (Domino)
15. Menomena – Mines (City Slang)

You’ll find all these albums bar The Album Leaf’s on Spotify – and I’ve gathered them together in this handy ‘Hey! Manchester 2010′ playlist. Enjoy!

• Tim Hecker @ Islington Mill 6/12
• Matthew Dear @ The Deaf Institute 6/12
• Belle & Sebastian & the London Contemporary Orchestra @ Apollo 7/12
• Godspeed You Black Emperor @ Academy 1 7/12
• The Rural Alberta Advantage @ The Deaf Institute 8/12
• Arcade Fire + Devendra Banhart @ Manchester Central 11/12
• Saint Etienne + The Radio Dept @ The Ritz 17/12
• Justin Townes Earle @ The Deaf Institute 14/1
• The Walkmen @ Central Methodist Hall 20/1
• Band of Horses + Mojave 3 @ Academy 1 1/2
• Wire @ The Roadhouse 4/2
• Penguin Cafe + Portico Quartet @ Bridgewater Hall 7/2
• The Hold Steady @ The Ritz 13/2
• Ryan Francesconi @ The Castle Hotel 16/2
• Gruff Rhys + Y Niwl @ St Philips Church 17/2
• Suuns @ The Deaf Institute 22/2
• Efterklang @ Academy 2 25/2
• King Creosote + The Earlies @ Band on the Wall 25/2
• Mogwai + The Twilight Sad @ Academy 1 26/2
• Admiral Fallow @ The Deaf Institute 8/3
• The Decemberists @ Academy 1 10/3
• Iron & Wine @ Academy 2 15/3
• Arbouretum @ The Deaf Institute 20/3
• Josh T Pearson @ The Deaf Institute 27/3
• Deerhunter @ Sound Control 30/3
• Noah & The Whale @ The Deaf Institute 30/3
• Explosions in the Sky @ Academy 1 17/5

Hope you see something there you’re interested in!