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Save Me Now Introduction

In December 2020, Paul McCartney released his McCartney 3 album. This was a collection of songs he created during lockdown with him writing ...

Friday, 14 November 2025

 

Song Review: Faded

A heartbreakingly intimate piano ballad that captures the slow, aching blur of grief

Faded is a deeply moving piano ballad that explores grief not as a single moment, but as a long, shadowed landscape — one filled with loneliness, exhaustion, blurred memories, and the quiet search for something resembling hope. The song is based on the real experience of a young woman who lost her partner suddenly, and that truth pours through every line.

The opening verse immediately captures the emotional weight:


“It’s hard to be defined, the years have not been kind / She should have had it all but it’s faded.”
These lines set the tone for a song that is not afraid to name the numbness and disorientation that come with sudden loss. The world around her feels drained of colour, and the life she should have been living has slipped out of view.

The imagery is vivid and cinematic —


A sentimental tune that fails to fill the room,
A photograph that shimmers in the moonlight.
These moments show a woman surrounded by memories that no longer comfort her, only echo back what has been taken.

The second verse cuts even deeper, painting a painfully honest portrait of coping mechanisms and late-night rituals:
“She pours another wine, it seems to pass the time / But time is often so overrated.”
Her friends care, but she can’t let them in. She wants to be alone, yet doesn’t trust her own solitude. She is lost between what she needs and what she can bear.

One of the most powerful moments in the song is the whispered tenderness of the Goodnight section:
“Goodnight, and don’t forget the feeling / Goodnight, and don’t forget to dream him…”
It’s gentle, devastating, and honest — tucked between exhaustion, memory, and the brutal crash of morning light when reality returns.
“And then the morning light comes crashing in — it’s still faded.”
This is grief at its truest: the world resets, but she cannot.

The bridge shifts the perspective outward, acknowledging the people who care for her:
“Everyone you’ve ever known has shed a tear for you, my friend…
They silently resign themselves to be there for you in the end.”

It’s a beautiful reflection of how grief is shared — even when the one suffering most feels unreachable.

The repeated plea —
“There’s a million reasons why… hold on, hold on”
— becomes the emotional spine of the song, a fragile but determined thread of hope. It's not triumphant; it's survival. And that makes it real.

The closing verse returns to the idea of fading, both painful and poetic:
“It’s hard to be defined, for the people we leave behind…
She used to have it all, but the writing was on the wall.”

Yet within this resignation lies recognition — that darkness changes shape over time, and even grief eventually softens at the edges.

Faded is a stunningly crafted piece of songwriting: intimate, vulnerable, and emotionally precise.
The mournful piano underpins every moment with quiet grace, while the lyrics take the listener through the unspoken truths of loss — the nights that never end, the mornings that hit too hard, and the slow rediscovery of permission to feel, to cry, and to keep going.

It’s a song that lingers long after it ends.
And like grief itself, it leaves you changed.

Faded can be streamed on all platforms now and is the second track on Nick's new album - And Now We See


 

Song Review: What Do You Do When You Don’t Know What to Do

Performed by Nick Ryder, Steve Dutton & Roger Kinder

“What Do You Do When You Don’t Know What to Do” is a riff-fuelled rocker that blends sharp songwriting with standout performances from a trio of musicians who bring real personality to the track. It’s the kind of song that hits you with energy first, and meaning second — and both hit hard.

From the very first guitar line, the track announces itself with confidence. The core riff — performed by Nick Ryder, who also wrote and produced the song — drives everything forward with a restless, propulsive momentum. It mirrors the lyrical theme perfectly: even when life feels chaotic, something in us keeps pushing ahead. Nick’s multi-instrumental foundation forms the backbone of the song, giving it both structure and edge.

The lyrics themselves are a cascade of vivid scenarios and impossible choices:
“What do you do when the walls fall down…?”
“…when the lights go out…?”
“…when the monster comes…?”
The song manages to be philosophical, anxious, funny, and painfully honest all at once. Each verse is a new snapshot of uncertainty, until the chorus delivers the universal truth:
“What do you do when you don’t know what to do?”
It’s a line that every adult feels in their bones.

On drums, Steve Dutton brings tight, expressive playing that lifts the song far above standard riff-rock territory. His performance gives the track its heartbeat — dynamic where it needs to punch, restrained where space is required. There’s a clarity and confidence in his drumming that makes the whole arrangement feel bigger and more alive.

Lead guitarist Roger Kinder adds the perfect finishing touch. His leads cut through the mix with both precision and emotion, offering melodic answers to the lyrical questions being asked. Roger’s tone sits beautifully above Nick’s rhythm work — tasteful, expressive, never overplaying, yet adding the exact spark the song needs.

Lyrically, the final section turns into a clever commentary on modern overwhelm: contradictions from politicians, a sister calling with life’s latest drama, a neighbour shouting through a metaphorical megaphone. It’s funny, chaotic, and instantly recognisable — a snapshot of exactly why the song’s central question matters.

Taken together, the performances create a track that feels polished yet raw, thoughtful yet urgent. Nick Ryder’s writing and production anchor the song, but it’s the chemistry between Nick, Steve, and Roger that brings it full circle. Every player contributes something essential.

In the end, “What Do You Do When You Don’t Know What to Do” is a powerful blend of lyrical honesty and musical craftsmanship — a rock song with brains, heart, and the kind of groove that stays with you long after the last chord rings out.

What Do You Do When You Don't Know What To Do is the opening track on Nicks new album And Now We See


Thursday, 6 November 2025

 

🎵 NEW RELEASE: “Stay With Me Now” – Lisa March 🎵

We’re so proud to share something truly special. 💛

“Stay With Me Now” — written by Nick Ryder and performed with heartfelt emotion by Lisa March, with Steve Dutton on drums and Nick playing all other instruments — is a song that speaks straight to the heart.

The song was inspired by a conversation with Kevin Petch and explores the question: What would you say to someone you love as they near the end of their life?
It’s a reflection on love, loss, and the moments that matter most.

The chorus carries hope and light:
🎶 “Stay with me now, ’cause we’ve still got songs to sing, we’ve got bells to ring…”
But as the song unfolds, Lisa’s vulnerability shines through:
💔 “’Cause I can’t let go, I still need you so.”

Lisa and Nick have known each other for over 30 years — they performed together in a band in the early 2000s, but this is the first time they’ve collaborated on original material.

Nick says:

“I’ve always thought Lisa had an amazing voice, but I’d only ever heard her sing cover versions. Hearing her sing original material takes her performance to another level.”

“Stay With Me Now” is a song of strength, love, and holding on — a reminder to treasure every moment and every melody.

🎧 Listen now on all streaming platforms:

#StayWithMeNow #LisaMarch #NickRyder #SteveDutton #KevinPetch #NewMusic #OriginalSong #SingerSongwriter #EmotionalMusic #CancerAwareness #StayWithMeNowSong


Link to stream the song


Tuesday, 28 October 2025

 

FOR IMMEDIATE RELEASE

Nick Ryder Releases Fourth Studio Album And Now We See

New 14-track collection showcases genre-bending songwriting and introspective storytelling

Wakefield, West Yorkshire, UK — 17 October 2025 — Acclaimed singer-songwriter Nick Ryder has released his fourth studio album, And Now We See, a 14-track exploration of emotion, imagination, and modern life.

Following his acclaimed albums Edge of the Universe, Save Me Now, and Anyway, Ryder’s latest work blends sharp lyricism with a wide range of musical styles—from the punk-driven energy of What Do You Do When You Don’t Know What to Do? to the reflective melancholy of Time of My Life and the soaring pop clarity of Do You Know?.

This record is about perspective—how we look at ourselves and the world when things don’t make sense,” says Ryder. “Each song is a snapshot of a moment of clarity or confusion, sometimes both.

Written and recorded between July 2024 and May 2025, the album delves into themes of indecision, grief, acceptance, suburban life, and digital-age disillusionment. Many of the tracks have already become standouts in Ryder’s live performances, known for their emotional depth and dynamic musicianship.

Album credits include:

  • Anna Christensen – Album cover graphics

  • Mark Sykes – Bass guitar on Listen

  • Roger Kinder – Electric guitars on The Ballad of Scotty’s Revenge and What Do You Do When You Don’t Know What to Do?

  • Steve Dutton – Drums on multiple tracks; co-producer and mixing engineer on Listen and album cover photography

  • Nick Ryder – All other instruments, vocals, songwriting, production

All songs written by Nick Ryder.

And Now We See is available on all major streaming platforms from 17 October 2025.


Track Highlights

  1. What Do You Do When You Don’t Know What to Do?

  2. Theatre of Love

  3. Do You Know?

  4. Time of My Life

  5. The Ballad of Scotty’s Revenge


About Nick Ryder
Based in Wakefield, West Yorkshire, Nick Ryder is an independent artist known for his heartfelt songwriting, genre-spanning compositions, and evocative live performances. His music blends elements of rock, pop, and introspective lyricism, creating a sound that is both classic and distinctly personal.

All the streaming links to the album here

Friday, 25 October 2024

Stuck Inside a Cloud


This song just happened. There was no planning, thought or story behind it. I was just strumming a few chords on the guitar one day and pieced it together.


I recorded it into my phone and left it for a few days. When I came back to it, I thought it sounded quite melodic, so I tidied up the lyrics and some of the chord changes before making it ready for recording.


This was one of those occasions whereby I already had the arrangement for the song in my head, even down to the melody of the guitar solo, so when I came to record it, it happened really quickly.


Once Steve Dutton very kindly recorded his drums for it and it was finished and ready for mixing.


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Friday, 18 October 2024

Hey You


I started writing Hey You for Georgia Batterley as I thought it would be a good vehicle for her voice.

Originally, I intended it to be in the style of The Joker by The Steve Miller Band. I wanted a big anthemic chorus, so that was my starting point. Hey, You with it being repeated by the backing vocals. 


I was struggling with the story for the song, so getting the right lyrics was hard, and then I remembered a situation whereby a couple had split up, but one of them couldn't let go or accept it was over, even though it was the best thing for them. It was a lightbulb moment and the song wrote itself after that.


My next challenge was the arrangement. I tried recording a few different versions but none of them sat right with me. Too fast, too slow, not enough impact…. So I left it for a few months.


It's important to know that songwriters do not work in a vacuum, and often take inspiration from wherever they can get it.


One day I was driving to work and the song Gravity by the band Embrace came on the radio. I was enjoying the arrangement. Piano intro, the band comes in, everything is stripped back when the verse starts and then very big in the chorus sections. That was it, that was how I would produce the backing track for Hey You.


So Georgia recorded her lead vocal on the song and I had it mixed, but for some reason it didn’t work. Her vocals were great, but ultimately her voice didn’t suit the song so we made the difficult decision to abandon it. She had recorded lots of backing vocals……


About a year later I loaded up the project and was pleasantly surprised. I enjoyed it but felt the production and arrangement needed a lot of work. I changed some of the lyrics and recorded a new lead vocal. I then set about recording the bass and guitars again. It was starting to sound much better so I asked Steve Dutton to record a new drum part. Steve added the energy the song needed to make it work.


I left in Georgia’s backing vocals which really add to the arrangement.


I’m so pleased that I rescued this song from development hell as I really enjoy it now and I do intend to perform it live one day.


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Friday, 20 September 2024

Weatherman


This is an old song, and when I say old, it dates back to the mid 90’s although it was somewhat different back then. What I will say is that I was never happy with it, even though I thought it had potential.

To explain…… Back in the 90’s I used to write songs all the time for the band I was in. We’d turn up to a rehearsal, I’d play them my latest song and we’d work out an arrangement together as a band. However, these songs were all very much first drafts. What I mean by that is that I’d always go with my first idea, without stepping back and letting the song breathe, or even consider ways of improving it. It was very much a case of quantity not quality. Weatherman was a victim of this work ethic.


I always liked the verse sections, but the original chorus was simply not good enough. It wasn’t even a chorus. I was so lazy back then. If only I’d known what I know now.


So anyway, fast forward to 2023 and I wondered if I could do something with this song as it would have been a shame for it to go to waste. I experimented with different rhythms for a start which led to a new reggae style chorus section, but that didn’t work. I even toyed with the idea of arranging it as a purely acoustic number, but that didn’t work either.


So I went back to basics. I kept the electric guitar based arrangement and worked on writing a new chorus which complimented the original verse sections. I picked a theme of the weather as a metaphor for the world constantly changing, but yet the protagonists stay the same so long as they’re together. Once I had the theme, everything else fell into place.


When I am in the mood, I find it extremely easy to come up with melody lines. I’m guessing it’s because over the years I have listened to mainly melodic music. The Beatles, Costello, ELO, Orbison, McCartney etc. What you listen to informs what you create.


Some writers get very pedantic about lyrics. To them, they have to be clever and make sense or tell a story. Sometimes, the music suffers for this. I tend to lean more towards melody as it is that which stays in someone’s mind. There are so many classic songs with bad lyrics, but it doesn’t really matter at the end of the day.


So that’s it, the song was finished and I feel it is all the better for the rewrite. It only took 30 years……….


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