Artist Interview · Model Citisin
“We All Can Be Vulnerable”
Nick Swettenham returns to Exposed Vocals with Letters—a more exposed song about consumption, loss, family memory and the freedom and workload of building an independent band entirely on his own terms.
When Exposed Vocals first spoke with Model Citisin earlier this year, Nick Swettenham was balancing a growing independent catalogue, a new child, permanent hearing loss in one ear and a family history that runs through the late-1960s Apple orbit. At the time, he told us the next single would be Letters. Now that record is here, and the conversation has moved with it.
Letters turns inward. Swettenham describes a song that began with modern consumption—screens, alcohol and the ways people lose themselves—before opening into something more personal through family experiences with dementia and mental health. The vulnerability is deliberate, but so is the momentum: Model Citisin already has the next two years of releases mapped out. That made this less a follow-up than the next chapter, so we picked up where the first conversation left off.
“Letters” follows “Summer” in the Model Citisin story. What changed in your life or writing between those two releases?
The simple answer is seasonal. I wrote Summer during that Spring/ Summer period a fair few years ago listening to The Smiths a lot probably. Letters was written early this year and I was in a phase of writing 3 or 4 more self-reflective tracks listening to a lot of Noel Gallagher’s acoustic solo material. So the real story is, as the years have gone by, I’ve felt more comfortable showing vulnerability in my lyrics.
What was the first real piece of “Letters”—a melody, a lyric, a guitar part or a specific memory?
I remember just sitting down, getting in my little songwriting world and strumming the chord sequence. The song was written starting from the verse into the chorus. I normally write my chorus’s first but this all flowed in one go for a change.
The title suggests something private becoming public. Who are the “letters” addressed to, emotionally, even if not literally?
There were really two feelings I had here. The song is mostly about losing yourself in modern consumption. Screens, drugs, alcohol etc. Then trying to find those words that just won’t come, to then release it’s too late and the thing you love has gone. Chorus two though hints more at the battle with mental health issues like dementia which is what my Grandma suffered with and now another extended family member.
How has hearing loss changed the way you make production decisions on this song?
Haha great question. It’s an everyday challenge for me now. I have to ask a few people’s opinions on the mix and master as I don’t trust my own ears anymore. I’ve changed my phone etc to play everything in mono so I can hear it all in one ear but still need those extra options to make a final decision.
Model Citisin is built largely on your own terms. Which part of working independently feels most freeing, and which part still tests you?
The freedom is, I make every decision, release what I want, when I want and don’t have to conform to any trendy political opinion in case I get cancelled. No one tells me what to think so that’s very freeing. On the other hand I also do 100% of the promotion and practical work. The only things I don’t do are the drums and bass. Having two young girls, time is the enemy so it’s a constant race against the clock! Being an independent artist you also have to accept you might be doing this for essentially pocket money while your following grows.
Is there a line in “Letters” that carries more personal weight than a casual listener might realize?
I guess the lines in the verses are really more about my own issues with consumption and a few too many late nights or should I say early mornings. But also having someone there for you to get you through those come downs.
How did you know the arrangement was finished rather than simply ready to release?
I’m lucky in that once I know the direction of the song I can hear it all in my head so I just have to match what’s going on up there.
What connects the Beatles influence in your musical foundation to the record you are making now?
I’ll be honest, I love The Beatles but I’ve never really been influenced directly by them. I tend to be more influenced by Oasis which is ironic seeing as they have so much Beatles influence. I guess their actual sound is nothing really like The Beatles. It’s more specific vocal lines etc that Noel takes from them but creates his own new sound from that. The chorus’s to While my Guitar Gently Weeps and She’s Electric being a good example. Same vocal line but a completely different type of song.
Do “Summer” and “Letters” point toward a larger project or a new phase for Model Citisin?
Oh of course, there’s always an ongoing plan. Our next single ‘One Life’ is out September 25th which is pretty full on and high energy, and then followed by a new song every 4 – 5 weeks including a Christmas single in November. I have the next two years of releases already planned and written. The order could change but if you like us now then you ain’t seen nothing yet!
What do you want a listener to understand about you after hearing “Letters” that they may not have known before?
We all can be vulnerable and in ‘Letters’ I’ve used my own feelings and experiences to express that. Not all my songs have specific meanings and it’s what you as a listener take from them that matters. If you listen to my songs, you’ll notice they all have their own identities and they are not just the same kind of song again and again. You won’t hear another one like ‘Letters’ by us for a while but it doesn’t mean you won’t ever, so, you just have to follow us to find out.
There is a useful contrast between the two Model Citisin conversations. Summer was about restraint, optimism and learning to trust a damaged ear; Letters is about allowing more of the private material into the song. The machinery around the project is accelerating too. “One Life” arrives September 25, followed by a release roughly every four to five weeks. For an artist who says time is the enemy, Swettenham has built a remarkably long runway.






