Losing his voice gave Patrick Watson an unexpected lesson in listening. While making his latest album, Uh Oh, the Canadian songwriter had to consider what his music might become if he could no longer sing it himself. Writing with other vocalists opened up possibilities that went beyond a different sound: their voices allowed him to explore words, thoughts and perspectives that might never have found a home in his own.
That willingness to follow an unfamiliar idea runs through our conversation, whether Watson is explaining what Cardi B’s ‘Up’ taught him about rhythm or how writing music for a photo book unlocked his songwriting. For an artist whose ‘Je te laisserai des mots’ has become a soundtrack to countless personal moments, he takes particular pleasure in the simplest connections: hearing young musicians cover the song and watching people learn to play it on piano.
On 24 November, Watson brings the Uh Oh tour to Singtel Waterfront Theatre at Esplanade as part of Mosaic Music Series 2026. Ahead of the show, he speaks to Bandwagon about sharing the writing process, finding the right take and returning to a city that gave him one of his favourite performances.
Uh Oh began taking shape when you weren’t sure whether you would be able to sing again. What did losing your voice teach you about how you communicate, both in music and everyday life?
I think the big lesson about losing your voice is you realise that there’s so much that you say just so you can hear it out loud, and the part that is for other people is only like 15%. So it really gives you a different perspective on communicating and, in fact, the less you say, the smarter people think you are.
You began writing Uh Oh with other singers in mind. What did their voices allow you to express that you might not have reached through your own?
Each voice is very particular. Which kinds of words, and how those words sound coming from it, vary so much. So when you have other singers, it gives you access to new lyrics and new thoughts that maybe your voice wouldn’t be able to communicate in the same way. So I think it gives you much bigger lyrical freedom.
Especially with the other voices I had access to, I was able to communicate so differently, so that was a really nice gift to this record.
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What was the writing process like with singers such as Martha Wainwright and Solann, and how did their input shape the songs?
Well, I co-wrote each song with each singer. The only song I had a bit more of myself on was the one with Martha, which ended up changing so much because she didn’t necessarily agree with all the lyrics. So the argumentative element to the song is actually quite natural and fun. It makes it sound more real that way.
The rest of the songs, we sat down with the singers and came up with lyrics together so they could sing something that they mean.
Much of the record was captured with two microphones and very few takes. How did you decide when a performance had the right feeling, even if there were things you could still refine?
You know you have the right take when the world looks like a lens has come into focus and everything in the background sticks out. So when I listen, I’m looking for something that makes the world come into focus.
You’ve spoken about studying Cardi B’s ‘Up’ while working on the mix. What were you listening for in that track, and how did those lessons find their way into such a different musical setting?
I was listening to Cardi B because, with very few instruments, you can’t stop bopping your head up and down. I learned a lot about the relationship between the hi-hat and the kick, and also having a bit more top end than I normally would, which makes my tracks have a little bit more energy.
The phrase “uh oh” can describe anything from a minor mishap to a life-changing moment. Did that small, almost playful expression help you approach subjects that might otherwise have felt too overwhelming to write about?
I think the world’s gotten overly comfortable with waking up in the morning, reading the news and saying, “Uh oh.” So I guess it was a celebration of what it’s like for everybody to wake up in this world, where it seems like bad news is apparently part of it.
‘Je te laisserai des mots’ has found an enormous audience, often through short videos and moments from other people’s lives. Has hearing how listeners use the song changed your own relationship with it?
There’s nothing I enjoy more than being the soundtrack to people’s lives. I find it sometimes very comical and sometimes very touching, but my favourite is when young musicians cover the song.
Watching people learn how to play piano for the first time and play that song brings a lot of joy to my life, a lot more than music awards or being famous.
Your music often gets described as cinematic, and you also compose for film. When you’re writing without a picture to accompany it, how much of the scene do you want to establish yourself, and how much do you leave for the listener to imagine?
I think I had trouble writing songs when I was younger. When I was asked to write music for a photo book, it somehow unlocked my lyrics and songwriting. I guess it’s inherently now a part of what I do.
I’m also very inspired by film, photography and painting, so I guess I get a lot of lyrical inspiration and arrangement inspiration from the visual forms of art.
With so many distinct voices shaping Uh Oh, how have you approached bringing these songs on tour? What have the live arrangements revealed that you didn’t hear in the recordings?
When we go on tour, we have the wonderful Ariel, also known as La Force, who is so talented. Together, we cover the different stories and perspectives on the record.
Also, the musicians in the band are so talented that often our live shows are preferred over the record. We take a lot of freedom in the arrangements, and there’s a lot of improv as well. Also, we have a great lighting designer, Chantal, so the shows are a big experience.
Finally, what are you most excited to share with Singapore audiences when you return to Esplanade?
Funny you should ask that. The last show we played in Singapore is one of my favourite shows of my career. It was the first time I travelled so far and watched people from such a different walk of life listen to music.
I was extremely touched and look forward to continuing to come back and play for people around the world. It’s a huge honour that I take very seriously, and I really appreciate the opportunity to play for people on the other side of the planet, so thank you very much for the invitation and the interview.
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Patrick Watson performs at Singtel Waterfront Theatre at Esplanade on 24 November at 7.30PM. Standard tickets are priced at S$65 and S$90. Buy tickets here.
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