From early moments spent watching his older brother behind a drum kit to chasing the thrill of applause on a pantomime stage, music has always found its way into Paul’s life, even if the path wasn’t immediate. What began as a slow-burning curiosity quickly transformed into a calling, sparked by rhythm, audience connection, and a determination to prove his place. Today, Dr. P. A. Francis stands as both an accomplished musician and educator, whose journey from performing arts school to a PhD in Higher Instrumental Popular Music Education reflects not only talent, but an enduring commitment to growth, creativity, and passing inspiration on to others.
Across a career that spans live performance, studio work, and education, Paul has built a reputation rooted in authenticity and musicality. Having contributed to projects connected to legendary names like BB King, Amy Winehouse, and James Brown, his experience reaches far beyond the spotlight, grounded instead in the intimate, human connection that music creates. It’s this philosophy that now defines his creative project, O.W.T.O., a bold and uncompromising celebration of real musicianship. With a “no smoke, no mirrors, no autotune” ethos, the project strips music back to its core, championing live instrumentation and the irreplaceable magic of performance captured in the moment.
Described as “an evolution of nostalgia,” O.W.T.O. bridges the past and present, honoring the legacy of classic recording while pushing forward with fresh, original sound. With chart-topping releases, international airplay, and growing critical acclaim, Paul continues to carve out a space that values craft over convenience. Yet despite these achievements, he remains grounded, still teaching, still learning, and still driven by the same desire that first drew him in: to connect, to create, and to make something real.
In conversation with Earmilk, Paul reflects on the journey that shaped him, the lessons learned along the way, and the vision behind a project that’s redefining what authenticity in modern music can sound like.
You showed an interest in music from a very young age, what are your earliest memories of discovering your passion for rhythm and sound?
My music discovery was something of a slow-burner. As a child, my eldest brother played the drums, and I remember family outings going to watch him perform. I was more interested in being like him than the music itself. I also remember going to a pantomime. It’s an English tradition at Christmas time, and children are often invited onto the stage. I was one of those children. I distinctly remember the stage lights, being the centre of attention, but most importantly, the round of applause. I loved that. My early experiences of actually playing an instrument, the recorder, then the cornet, didn’t suggest I had any ability. In fact, it was suggested by my then music teacher that my time in the school band would be very limited. It was. Fast forward a few years, in secondary school, and I got another chance to try an instrument. When the drums were offered, because of my brother, they were already on my radar, so I chose that. It became really obvious, really quickly, that I was better than the other kids who had made the same choice. Those other kids knew it too, and suddenly, during group lessons, I was the centre of attention. I immediately put the two things together. If I wanted that audience reaction, then I could get it from playing the drums.
How did your journey through formal education, from performing arts school to a PhD in Higher Instrumental Popular Music Education, shape you as both a musician and educator?
When the time came to select a secondary school, although my siblings had all gone to the same secondary school, I was lucky enough to have parents who listened to me when I said I wanted to go to a different school, miles from where we lived and a school you had to audition for. I got a place and was once again fortunate to have inspirational teachers with a passion for the performing arts. That’s where it really started. I originally thought acting would be my vehicle of choice, but music just kept rearing its head. I was good at it. My journey has been, on some level, an opportunity to realise the faith and inspiration I was shown by those teachers, and to pass that on to others. If you think you want to, you can.
You’ve performed with legendary artists like BB King, Amy Winehouse, and James Brown, what have been some of the most impactful lessons from those experiences?
Just to clarify, my previous work has included working with artists who have worked with those names. I have done some high profile performances and although they are perhaps what people tend to focus on, it has probably been the smaller gigs that have provided the most lessons. With the smaller more intimate performances, you get to not only see the audience, but you also get to feel the impact and the individual appreciation that a smaller audience is able to give. The smaller gigs teach you, and remind you, that the people who come to see and enjoy you are coming to see ‘you’ and are coming to give support when you need that the most. The smaller gigs also allow the potential to speak to the audience and thank them.
After years as a supporting drummer, what inspired you to step into roles such as writer, producer, and arranger?
It sounds a little bit boastful, but as a supporting drummer, I always thought I could do what the artist I was supporting were doing. I‘ve always had my music in my head. Ideas for songs, melodies, arrangements, and I’ve always thought of myself as a musician, not just a drummer. Sometimes you have to have courage and put faith in yourself, so I did. I have always thrived when given the opportunity to shape creative forces, and the composite roles of writer, producer and arranger allow me to be the things that make me, me.
How would you describe the creative vision behind O.W.T.O., and what sets it apart from other music projects today?
The creative vision behind O.W.T.O. is really a reflection of me. It is not just one thing. It’s a chance to explore my potential and creative abilities across a range of platforms. One of the inspirations of the project was to put live instruments back in the mainstream. One aspect of me is that of an instrumentalist who has worked tirelessly on their craft. The vision of O.W.T.O. is to celebrate live performance with real instruments and musicians. Machines and computers are out there and are being used by others, but some of the best music within the popular music canon was created without them. I suppose I'm just a hopeless romantic. Rather than technology bridging the gap, I want O.W.T.O. to represent and be synonymous with real instrumental ability.
O.W.T.O. emphasizes “no smoke, no mirrors, no autotune”, why is authenticity such a central value in your music?
These days, it sometimes feels like anyone with a computer can do music and be celebrated for it. Being a good instrumentalist takes years of dedication and hard work, and I often think that fact is not always appreciated. I want to celebrate instrumental ability. I would rather do ten takes with a musician than cut and paste together some notes on a computer. When working with a person, you always get something individual and unique, and that authenticity is O.W.T.O.’s driving force. What you hear is what actually happened, what was captured in the moment and what came as a result of an instrumental craft.
Your sound has been described as “an evolution of nostalgia.” What does that phrase mean to you creatively?
My background is live performance, like it was back in the day, when musicians got together, went into a studio and pressed record. That’s the nostalgia. The evolution part is the fact that the music O.W.T.O. produces has never been produced before, but it hopes to stand on the shoulders of giants.
“Tell Me in the Morning” has received strong praise and recognition, what was the inspiration behind that track, and how did it come together?
The real truth and inspiration behind that track is not really for a family audience, but I will do my best. Sometimes, although relationships are successful, there are moments of incompatibility. Sometimes, one half wants to play, while the other doesn’t. ‘Tell Me in the Morning’ is a song about someone saying, “I love you, and I am there for you, but right now, I’m tired, and I’m going to sleep. You can tell me in the morning”.
With multiple #1 releases and international airplay, how do you stay grounded while continuing to grow your audience and artistic reach?
When you put it like that, it sounds as though I should be thinking of myself as a pop star and be hiring someone to peel my grapes! In reality, I still have to put the bins out, and my ability to load the dishwasher “correctly” still comes under constant scrutiny. Having said that, teaching others, especially children, helps with staying grounded and keeping it real. When ‘little Johnny’ is having trouble with his paradiddles, having multiple #1s and international airplay, is of absolutely no help. I’m just a lad from Yorkshire, England, who likes nothing more than a comfy armchair as a resting place to watch their favourite sport. Rugby League.
Your message “Make a Change” is powerful, how do you hope your music influences listeners and the wider world?
That song is a message to myself, as much as it is a message to anyone else. Having taught for years and tried to inspire others through musical education, it was time for me to make a change and start to practice what I preach. If that track has any influence on others, I hope it sends the message, ‘when life does its thing to you, you do your thing to life’.
What's next in your creative world?
Well, after this interview and the hiring of a ‘senior grape peeler’, there are more songs in the pipeline, and an EP, which is just being finished as we speak. Then hopefully an album will follow after that. During all that, I’d like to get out there and play live and say thank you for the support the music is receiving. The process of putting a live show together has already started, and I’m always on the lookout for musicians to join my band. I’m also speaking to other musicians and artists about some collaborations, so if you’re reading this and want to get in touch about that, or what to discuss joining the band, then please do. I’ve also been enrolled on a dishwasher loading course!
Connect with O.W.T.O.: INSTAGRAM
