Artist Paul Ryan’s latest offering, Eyes of an Enemy (released 05/12/25), is a lyric-led, concept-driven indie folk project that reads as much like poetry as it does a collection of songs. The album marks the second chapter in Ryan’s ongoing trilogy, following 2024’s The Divine Sky—a debut rooted in stark, traditional folk forms—while pushing his sound into more textured, dream-like terrain. Across eleven tracks, Ryan explores memory, identity, and the figures we confront within ourselves, real or imagined, pairing intimate storytelling with symbolic, literary imagery. We caught up with Paul to discuss his work.
Paul, thank you for taking the time to speak with us. Your journey into music followed a period of personal upheaval. Can you describe the moment you realised songwriting would become your primary outlet for healing and self-expression?
I didn’t have any other outlet at that time. It was a tremendously isolating period of my life. During work on The Divine Sky (debut album), where I was still struggling financially and had little to no support (outside of my music team), it was a painfully miserable time back in 2021. So the songs became a natural process of escapism – as I used to write a lot in my formative years, this was just a natural way of articulating myself and the complex emotions that come with this level of change.
Many listeners draw comparisons between your work and icons like Bob Dylan and Nick Drake. Which artists or albums were truly formative for you, and how have they shaped your sound and worldview?
As much as these comparisons are seriously flattering (to say the least), I can’t really think in terms of what or who I sound like. The process is aiming to be the best you can be, and hoping you can touch the feeling you want to. Artists like Nick Drake, Joni Mitchell, Leonard Cohen, and Bob Dylan are tremendous generational talents that have absolutely impacted me. Not just because of how they reshaped songwriting but because their work still resonates so strongly today. The idea that people are referencing my albums in the same breath is incredibly humbling and exciting.
Mentorship can be crucial for artistic growth. Have you had any mentors—formal or informal—who fundamentally changed the way you approach music or life?
I wouldn’t say I have had a mentorship; however, my collaboration with Olivia has been the best time you could ever imagine. We have such great conversations about poets, musicians, and life – which has helped artistic and personal growth and understanding. She is a major reason why I’m writing at the level I am now.
The Divine Sky and Eyes of an Enemy are both lauded for their lyrical depth. What inspires your poetic lyricism, and how do you balance personal storytelling with broader societal themes?
These albums feel out of time and out of place because of the type of lyricism involved. Everything inspiring this writing comes from politics, modern alienation, technology, and postmodernism – all 21st-century culture. My songs touch many subjects and mix it with emotional energy, that fuses many ideas. Developing this skill has helped me become the type of artist I am today.
You’ve performed at a range of venues, from intimate clubs to renowned gatherings. How have these live experiences influenced your songwriting and your relationship with your audience?
From first starting late 2021 to today, the transition has been great, a lot of influences and great artists have played at venues that I’ve been lucky enough to perform at. This has solidified my live presence as well as being able to balance working on craft and recording.
All in all, I wouldn’t say it’s influenced my songwriting but it has definitely shaped my ideas for how to structure my albums in between travelling. The relationship to my audience has gradually become bigger and bigger, because I am now more confident with connecting myself to wider audiences which helps.
Lost at War is described as a raw, autobiographical piece. Was there any hesitation in sharing something so personal, and how do you navigate vulnerability in your art?
Never any hesitation. Vulnerability runs through all my songs.
In collaborating with Olivia Thomson and Brett Shaw on Eyes of an Enemy, what new perspectives or techniques did you discover that challenged you creatively?
I wouldn’t say it challenged me, but it was refreshing to have different perspectives on how the songs could sound or evolve, especially having such amazing talent around me. I’ve always been interested in different perspectives with music. A fundamental part was learning new guitar tuning techniques throughout 2025 – this was a big learning experience in the process of making this album.
Folk music is often seen as a genre rooted in tradition, yet your recent work pushes sonic and lyrical boundaries. What do you see as the future of folk, and how do you hope to influence its evolution?
There are certain rules within the genre that you cannot change (maintaining its purity) however, because of artistic growth and self-development, I’ve managed to keep several elements intact whilst also carving my own unique space. In terms of the future of folk, I hope it can create even more great albums and artists that follow in the traditions we’ve talked about. To be a part of that evolution would be wonderful.
The music industry is constantly changing—especially for independent artists. What have been the most surprising lessons or realities you’ve encountered since your debut, and how have they shaped your approach?
It’s a lot harder to get to where you need to be than words could ever really explain. My approach is completely different from when I first started, but after much trial and error, I find myself learning more and more and being more open to ideas, which has obviously helped huge projects like Eyes of an Enemy.
Eyes of an Enemy has been praised for its surreal imagery and narrative arc. Can you share the origins of this project—was there a defining moment or idea that set its tone?
I already had several ideas for a second album with a potential second voice (dual perspective). When Olivia declared she wanted to join me in the studio, I didn’t really hesitate. ‘Worth the Know’ was the real turning point, and after our first single, the songs just came in waves from early 2025 in build up to the full album release.
Your upcoming album, Silent Sun, is set to complete a trilogy. What can audiences expect from this final chapter, and how does it connect thematically and emotionally to your previous records?
This is the main question I’m asked now since Eyes was released. It’ll be a combining force of the first two records. The arc will be completed, and you’ll have to re-read the entirety as everything will fall into place once it is out in the open.
Looking back on your journey so far, what advice would you give to artists who are struggling to find their voice or stay true to their vision in an industry driven by trends and algorithms?
If you’re really serious about working on songwriting or wanting to build something meaningful, stick to your guns. It’s very easy to be misled or to lose faith if you don’t surround yourself by the right type of people. Be brave and strong – you can become whatever you want to be.
For further information on the artist, please visit the following link:
https://www.facebook.com/paulrryanuk
Image courtesy of the artist
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