Jay McAllister Aka Beans On Toast is a folk singer and songwriter, who for the last 20 years has left a lasting impression on the UK music scene. On the eve of his upcoming Spring tour, in support of new album Wild Goose Chasers, we caught up with the man himself for a chin wag to discuss his career, the new album and what’s to come…
Your brilliant new album Wild Goose Chasers came out in December. Are you pleased with how it’s been received?
Yes, I am pleased with how it’s been received. It seems to have gone down well with both listeners and music critics alike. To be honest, though, once the album is out in the world, my head, my mind, and my heart are generally focused on the next record, that’s just how it goes.
Did you produce this one yourself? How do you find that process with material that’s so close to your own heart and mind? What kind of self-editing is involved?
I’ve made many albums, but I’ve never taken on the role of producer. This album was produced by Jason Stafford at The Libertines Studio in Margate, which is called The Albion Rooms. We miced a piano to within an inch of its life and recorded all the songs in one take. It was a very short session, but the production itself was definitely Jason’s work, and he did an outstanding job.
Your songs have mostly seemed quite personal. Has there ever been a time you’ve thought, “No, I can’t put that on an album,” and are you able to say anything about why?
No, I’ve never had a song that I felt I couldn’t put on an album. Sometimes, there’s a theme in a song that doesn’t fit the album I’m writing, so it carries over to the next one. But most songs I write make it out into the world. I just try to be as honest as possible with myself and the song.
Going the other way, have you written a personal song and immediately felt like you needed to get it out there? And again, are you able to go into any more detail?
Generally, when I write a song, my gut instinct is to get it out into the world as soon as possible, no matter the subject matter. That happens less with personal songs because they have a longer shelf life, like a love song, for example. But if I’m writing about current events, then there’s always a sense of urgency to get it out, especially with how fast the world changes at the moment. That’s sort of why I’ve ended up releasing so much music over the years, I guess.
You have released an album every year since 2009. Is there ever a concern that you will oversaturate yourself?
I certainly hope not. I mean, there are pros and cons to releasing lots of music, but to me, it feels completely natural. I feel like I have an album a year in me creatively, and as long as the songs keep coming to me, I’ll continue to release them.
As someone who is such a prolific songwriter, are you constantly writing, or do you focus on each album as it comes?
I write when I’m at home in between tours. I’ve always really enjoyed the process of songwriting, spending time alone with my thoughts and a spliff. So, it comes in chunks when I’m at home. That being said, most of the time, there’s some kind of song bashing around in my head that I’m working out or ironing out the finer details of.
Aside from being a prolific songwriter, you have also written two books, both featuring stories from your life and the road. In addition, you co-wrote the collection of songs and stories that made up The Fascinating Adventures of Little Bee, your first foray into writing for children. How do those two very different forms of storytelling differ for you personally, and how do they compare to songwriting?
Yeah, all three were very different. Trying to summarise the difference… I mean, a song is creating something out of nothing. When I sit down to write a song, I might know what it’s going to be about, but I have no idea what it actually is until it’s written and out in the world. Whereas with the books, I was telling stories that had already happened to me. It was a process of getting those stories, ones I knew inside out, both because I’d lived them and because I’d told them onstage so many times, down onto paper. That’s very different from songwriting. And the children’s book? That was more like songwriting. We came up with the concept of ten songs for ten books, and I basically wrote ten short songs that then turned into the books.
Are we likely to see more literary works from you in the future, or are you solely focused on music for the foreseeable future?
I can feel another book brewing.
Half the first part of the tour was done before the album’s release. Did you play much of it then? Will there now be more songs on this leg?
Yeah, we played a whole chunk of songs from the new album just before it was released, which is pretty standard for me. I always play nice, long sets, so there’s plenty of room for the old songs and plenty of room for the new ones. Even if people haven’t heard the album yet, it was a way of presenting it to the world before it came out.
With the tour split into two legs, is that how you’re touring these days? A stint before a release, then another once the album is out? Or is it simply logistics?
That’s what we’ve been doing for the last couple of years, and it seems to work. It’s just a way of getting to visit more and more places. The December run before the album is generally in smaller cities and towns, and then in March, we’re about to embark on the country’s major cities.
Having seen you perform (at the Wedgewood Rooms), it seems like you just play whatever you feel like in the moment. Is that true, or do you have a more rigid setlist?
We have a loose setlist, but nothing’s written in stone.
How do you decide which songs from a previous tour to replace when you release a new record?
There are some songs that will always get an outing because I know they’re people’s favourites. I generally pick some random ones from across the back catalogue and then add the new ones. I like to give a broad spectrum, and it’s fun to have such a huge back catalogue to pick and choose from. And there’s always an element of the gig where people can shout out songs they want to hear, and I’ll sing them to the best of my ability.
Your career has been built through smaller venues and grassroots promotion. Do you ever see a scenario where you take this into arenas? Or do you think this will always be for smaller, more intimate audiences?
I think arenas are quite unrealistic, just for the nature of the music I make. I certainly wouldn’t turn it down. If that many people wanted to come and see me in an arena, I’d be more than happy to play. But I’m happy with my lot, and I like the venues we’re playing on this tour. For me, consistency is important. I’d rather do this for a long time than have some kind of flash-in-the-pan success.
As an artist who started playing shows back in 2005, what are the biggest differences between the scene then and now, 20 years later?
I mean, the world has changed, and I’ve changed so much in the last 20 years. It’s hard to sum up in a short answer. But personally, the biggest change is that I’m not as hammered as I used to be. I used to take all sorts of drugs and drink before going on stage, so my early years of touring are a bit of a blur. I knocked the chemical drugs on the head a while back, so I guess the shows are a little clearer now.
What’s the rest of 2025 got in store for Mr On Toast?
I’ll be up to my usual antics. After this tour, I’ll head straight into the studio to record the next album, which will come out in December. Loads of festivals, probably some overseas shows before the year’s out, whether in America or mainland Europe. But yeah, basically, writing, recording, and playing music.
For additional information on Beans On Toast including tickets for the upcoming tour click here
