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Rick Astley: “I’ve done some mad sh*t because of Rickrolling”
From breaking America, to sparking viral trends, to achieving a number one album on his own terms, Rick Astley reflects on his career highs
“It doesn’t take much to become a National Treasure these days!” was Rick Astley‘s typically self-deprecating reply when asked if he’d achieved the hallowed status yet. Glib as the pop crooner may be, Astley has had a remarkable career. There’s been eye-watering highs, and rather tear-jerking lows. But he’s managed to endure, more than most pop stars from previous decades can claim to have done.
Talking to Rick from his home library – complete with immaculately sculpted trademark quiff – he’s been in a reflective mood in recent years. Having published his memoir Never in 2025, the Mancunian is set to embark on The Reflection Tour this April with special guest Gabrielle as he approaches his 40th year in music. But he’s refreshingly frank about the moments when was wasn’t all rosy.
“Quite a lot of those years I wasn’t in the business. I went off, drifted away and all that. I know I’ve got some talent. I’m not being modest or playing myself down, but I think we just love a comeback story in Britain. We love the underdog. In sports, movies, music, whatever. How people come back and do it all over again. I did the retro circuit for a while, which I absolutely loved. Just play the hits and get on with it. But it’s exciting playing new stuff, doing something different, even if the wider public are never going to hear it,” he shrugged.
Grounded about his unlikely resurgence, and appreciative of the second chance, Rick promises to play the sing-a-longs we all know and love on the upcoming tour. As well as a few choice cover versions – his rendition of AC/DC‘s ‘Highway To Hell’ from behind the drum kit at Glastonbury Festival in 2023 was one of the festival’s most joyous moments. He’s still Rickrolling rock music fans when the opportunity arises.
The Reflection Tour is special for him personally, however. Whilst he didn’t confirm it’d be his last tour, he did hint that the end might be fast approaching. “It’s ticking that box off. At the age of 60, I can sort of go ‘yeah, this might be it’. But what a way to do it. A lot of the guys and girls in my band have been on a journey with me, and it’s nice we’re going to finish our run at The O2 in London. I’ve played there loads of times, supporting Peter Kay, Take That. But now this is my gig.”
With Rick Astley’s arena tour nearly underway, the singer gets reflective about his many career highlights – from breaking America to sparking one of the first viral trends, playing alongside Blossoms, and achieving a number one album on his own terms.
Playing Top Of The Pops
Top Of The Pops was a really big thing for me. As a kid I liked all kinds of music. I’m the youngest of four kids. The first gigs that I ever went to was to see a band called Camel, a progressive rock band, and I went to see Supertramp as well. My sister took me to both when I was 10 years old. If you play any early Yes, any early Genesis, any Magma, I’m there. I’m steeped in prog rock. But I’m a pop boy too.
Someone coming out and going ‘boom’ with a pop song is still super strong to me. I still love it. I don’t have to say, ‘Oh, I have to listen to the whole album’. I can just cherry pick that one song. I love it. I think going on Top Of The Pops, which is the epitome of that. Going on it for the first time was pretty goddamn amazing. It was a bit weird. It was a big letdown. It’s just this small room with a bunch of kids who get pushed around to each stage. But Def Leppard was on that week, so it’s all good.
So much music mythology has been created because of Top Of The Pops. David Bowie performing ‘Starman’ is a big one, for instance. All these moments of magic in music, and Tops Of The Pops was at the centre of it all.
It dragged everything together. You’d see The Jesus And Mary Chain, then a random one-hit wonder. I met Morrissey at Top Of The Pops, who wanted a photograph with me. He came to my room and as he left I was thinking ‘hang on, that was Morrissey?’ They were always on Top Of The Pops. It was a big deal to them. I’m a huge fan of The Smiths, always have been. Top Of The Pops just brought everything together. The charts felt a lot more eclectic then. Not all festivals, but a lot of them I play these days I just burst out laughing at the lineup. I think ‘you’ve got to be kidding, what are we doing here?’ Again, not being modest. Sometimes I think I should be playing some old codger pop festival down the road, something more mainstream. But then there’s an alternative rock legend headlining. Whatever, fine. Festivals are weird these days.
‘Never Gonna Give You Up’
Obviously, I had a number one record with my first record ‘Never Gonna Give You Up’. It was with Stock Aitken Waterman. They weren’t knocking out hits by then, but they were getting it together. It wasn’t a conveyor belt of hits – ‘The Hit Factory’ as they became known – but they certainly expected every release to be a hit single. ‘Never Gonna Give You Up’ stayed at the top of the charts for five weeks. It was the most beautiful millstone around my neck, because I was never going to beat it. It was like ‘that’s who you are’. That guy in the music video. If someone saw the music video and heard you, that’s who you are. I hadn’t gone out and done the band thing, to figure out who I was. I’d been in bands as a kid, after school and what not. But I got spotted by Pete Waterman, made a lot of tea for Mel & Kim and Dead Or Alive, then bang, all of a sudden I’m at f*ckin’ number one.
It must’ve been intense making tea for musicians, then being an international star yourself in the space of a few months. What was that period like?
It was absolutely mad, obviously. It wasn’t just new and different in the sense that, like, ‘I’ve got this hit record’. I hadn’t been around the world before. I haven’t even been to Belgium. I’d fly into Belgium to do a TV spot, then fly to Berlin that evening. I’d been on holiday to Spain once. I went on a cruise with my cousin’s family and my auntie when I was about 13. But I hadn’t traveled, I hadn’t been anywhere. So you’re doing all that at the same time as actually becoming this famous person. I want to say famous… I remember being in Sweden, before the days of the internet of course, and noticed people kept staring at me. I asked someone how the record was doing and it’d been number one for weeks, something daft like that. Even if they did or didn’t want to hear that song, they would’ve definitely heard it. The likes of Taylor Swift and Harry Styles are ubiquitous now, but if we go back to the 80s, a big pop star got played everywhere. Every cafe you went into, every airport. In a bizarre way, certain songs had more impact than they do today. It was all a bit mad really.
Breaking America
Going to America. I’d had three proper hits and a big album in the UK and Europe, but we hadn’t touched America yet. We went in January, and it was a bit of a punch in the face. It was a freezing January in New York, where you just open the door and just think, ‘I’m on a different planet’. It was that cold, you know. I’d never been to America, certainly never been to New York. In the late 80s, it was still a bit of a scary place to be. I think it wasn’t what it is today, where I feel safer there than I do London sometimes. Back then it felt hostile. So we were starting again. We were starting from ground zero.
Bless them for writing and producing it, Stock Aitken Waterman, but all my interviews were about them. They were the Phil Spector of the day. In America, nobody knew about them. I loved it. The occasional DJ might’ve asked about them, if they were more clued up about what was happening over here. If I’d got to the end of an interview without speaking about Stock Aitken Waterman, I’d almost feel the urge to mention them out of habit. Even though they were the ‘sound of the moment’, a lot of their records didn’t cross over to America. They just met a brick wall. So when I was number one over there, it was my flag in the ground.
I’m not joking, but this has stayed with me: I thought to myself ‘there’s no way Bill Withers hasn’t heard this’. There’s no way he hasn’t heard my voice. He might not like it, but he’d definitely have heard it. Al Green might not like it, Luther Vandross might not like it. But they’ve heard it. Those guys all taught me to sing. Black American music was a massive deal to me. Not just Marvin Gaye, Al Green. Modern stuff too. British artists have never managed to do what they do. But that’s an entire interview in itself.
![Rick Astley - Together Forever (Official Video) [4K Remaster]](https://i.ytimg.com/vi/yPYZpwSpKmA/0.jpg)
‘Together Forever’
‘Together Forever’ was a number one in America as well. That meant my first two singles were number one. All of a sudden the laser beam focus was from the American label, RCA. They thought they’d make a go of me. RCA was everywhere and I was definitely feeling the pressure. When I made the second album, I came back to the UK. I remember singing the song the guys had written for me, and thought ‘they ain’t going to play this on American radio’. They needed to write ‘Never Gonna Give You Up’ again, in a different way. Stock Aitken Waterman were very UK-centric. Everything they touched turned to gold. But I don’t think they ever looked at America and went, ‘maybe we’re going to have a crack there’.
Culturally America was changing – the rise of hip hop culture, for example. Not that I was going to be anywhere near it, but it was filtering into pop music. I should’ve rapped on my records! Ha, no. I was just saying we should’ve had more Philly style strings, make more of an American soul record. That’s where I should’ve pushed as that’s where my voice sits. So, they [Stock Aitken Waterman] gave me a song and I said I’m not singing it. I nearly jacked it all in, there and then. It became Jason Donovan’s first single anyway. It wasn’t a number one. If you remember how big Jason was, he could’ve released a video of him banging dustbins on a roof and it would’ve been number one. He’s a good mate of mine. But that song didn’t have it. Anyway, America meant a lot to me. I did influence my thinking. The enormity of it. The feeling of it.
I remember I went on Sunday night at London Palladium or Saturday. Jimmy Tarbuck was the host in those days. He used to do it in a tux and everything. A-ha were on the show that night. I sang a song from my second record, and I remember Jimmy Tarbuck introduced me as ‘the kid who’s just conquered America’. It really meant something to me. So many of my favourite artists or albums are from America. The Americans feel the other way, I guess. Abbey Road is their Mecca.
Quitting music to focus on being a family man
After the initial bubble burst, I wasn’t really into it anymore. I knew how hard it was going to be to make records that were going to break through again. We’d just had our daughter at that point too. I love saying this in interviews because I’m a big head, but I’d made good money by then. I’d made some goddamn money by the time I was 20. I was pretty comfortable. So, I wasn’t in a position that if I quit I’d be screwed. I thought I could just disappear and nobody would care. I had enough money to potter about. It was an amazing situation to be in. But my heart wasn’t in it anymore. The music business can be pretty ugly – and it is often not about the music at all. I just wanted to be at home a lot. I built a little studio, went there every day. My dream was to write for other people, but I just didn’t have the chops. I certainly didn’t have the energy. But that’s how I can enjoy where I am today. I know what the wilderness feels like. I know what it feels like to become unrecognisable. So I appreciate it.
When I did Glastonbury a few years back, I’d never been before. The only time I’ve been, I’ve played twice believe it or not. I remember checking out the stage beforehand as we had a few technical issues, and there was no one there in the crowd. So, I went back down to get change and all that, then it was packed when I came back on stage. My daughter told me to chill, that I’d be alright. Just play like I was playing in the local pub. (I actually do play in pubs, now and again). But she told me to enjoy it. Wise words from a kid. Well, she’s 33 years old now. It was a big moment. I remember being up there thinking ‘I just don’t give a sh*t’. You can’t care about what happens at that point. If I didn’t enjoy this for myself, I’d regret that forever. If nobody else enjoyed it, think it’s a sh*t performance, then at least I can say I was in it. I was there. I feel more present performing today because I had a huge break from it.
Rickrolling
It must’ve been one of the early viral trends, at least one associated with just one song. It feels like a long time ago now when that kicked off. Going on YouTube was still a novel thing. Now it’s just turning on the tap. It’s unbelievable. For a music video to be used in a very specific form – getting a link via email – was unusual then. Now you get 50 emails a day, but getting an email 20 years ago was odd. For me, I didn’t grasp it. I’d done some mad sh*t because of Rickrolling. I don’t know if it’s just because of that. But I might not have played with Foo Fighters, as they might not have remembered the song if it weren’t for Rickrolling. I sang at the Macy’s Day Parade in New York. My American friends told me I had to do it, everyone screamed down the phone. Rickrolling definitely made an imprint on the evolution of social media and its relationship to music. It’s not even like it was a modern song.
How did you feel about Rickrolling potentially influencing the presidential campaign?
There was the thing where everyone in the White House got Rickrolled, when Obama was president. Someone did say to me that he would have got that email. Whether it’s true or not, I’m taking it. There was another one where Mrs. Trump made a speech and the words were similar to the song.
Barackrolling was the famous one, when Barack Obama was mid-presidential campaign and someone stitched together his speeches. POTUS and Rick Astley combined.
It’s pretty weird. Me and my wife watched Mad Men, and someone did it with that too. Too much time on their hands. It’s all great though. It’s another way of somebody discovering a song, and liking it. Or not liking it. But it can spur people on to other music. Or just jig a memory. They might see I’m on tour and buy a ticket. I don’t mean to go on about the money or tickets, but that’s why people have social media. Not all people do social media just because it’s fun. Back in the day, everything was more under the control of Big Media. It’s in the hands of anybody now. If someone’s sat at home and they’re a superstar, they can press click and everyone can see. It’s a little scary too.
His number one album, 50
It was a huge moment for me. For so many reasons. Partly because I made that music to be something I was proud of. Like, ‘this is what I can do at 50.’ I played all of the instruments. I produced it. It was like someone having a hobby – say they’re into motorbikes and when they hit 50 years old they ride to Timbuktu. That’s what my record was. I had an amazing team of people behind me. My wife manages me. Everyone turned it into a number one album, which was freaking unheard of. I was so proud of and happy with it, as it was homemade. I was so hands on with it. It inspired me to make a different connection with music. To just do it for me. If anyone else likes it, great. I had the biggest success I could dream of. I had a number one album.
![Rick Astley - Angels On My Side (Official Video) [4K Remaster]](https://i.ytimg.com/vi/cc91EfoBh8A/0.jpg)
A lot of artists lose their connection to music throughout their careers. But often when you do it for you, the results are always way better.
You can apply that to anything. But with music it’s so true. If you do it with the right intention, and honesty. I had this discussion this morning with someone, about guitar tunings. I don’t mind if bits are out of tune, there’s life in it. All the great records have had something different about them, which made them stand out. From any decade, there’s loads of music that sounds the same. Now we have so much technology, everything becomes a little too similar. Even radio, media, everything. Everyone’s frightened to do something different. When you watch football, those lads are terrified to say anything other than ‘it’s about the team’. They’ve just scored a bloody hat-trick! It’s easy to say as I’ve had my career. But I’d say to a young musician, if they’re going to fail, they should fail on their terms. Saying that, if someone had a magic ball and said there was a formula to getting a number one hit, I’d do it.
Playing The Smiths’ songs alongside Blossoms
I’ve always loved playing music that’s not in my lane. I’ve always wanted to just sing The Smiths. The song I loved. I did it in lockdown. Then I met Blossoms when Manchester [AO] Arena reopened. I did their podcast and we talked about music from Manchester. Obviously, The Smiths were massive to both of us. They were very real, and they were from down the road, not London. They stuck their necks out and did something completely different – and they were from down the road. From where we’d buy guitar strings and drumsticks. I saw them once and thought ‘it can happen’. After talking to Blossoms, they said they were up for being the band behind me. We did a rehearsal together, just five or six songs to get us going. We started off with ‘Please Please Please, Let Me Get What I Want’, a slower one to get us into it. I got really emotional. I teared up. I almost lost it. They were the same. They shouldn’t really be taking that on. They’re a happening band. I’m in a different universe. It doesn’t matter what I do anymore. How can I ruin it, when it’s almost over anyway? I’m like ‘thanks for having me!’ but they’re in their white heat. We were all in the room, looked at each other and thought ‘we have to do this’. Even if it was just a pub in Stockport. It was unbelievably joyful. We ended up playing two reasonable venues in Manchester and London. It was amazing, one of the best experiences of my life. I understand that some people wanted to burn us at the stake, bury us for it. If I’m brutally honest, I’d want to too. In a weird one. I get it. But having played the songs together, the cat was out of the bag. It was something I’ve always wanted to do. Those gigs were amazing. Then we were invited to do the secret show at Glastonbury.
The ultimate bonus from it was that I’ve made some excellent friends. What was amazing for me, was that I’d already done my set. I just did what I do. It was nervewracking, but it was what I do. But most of my adrenaline was gone. I thought ‘f*ck it’. I knew Blossoms sound incredible. I left it all on the stage. It was only our version of it. It’s no replacement for The Smiths. But there’s an enormous amount of people who won’t go to see Morrissey. I was a bit shocked seeing Johnny Marr, as he plays a lot of The Smiths’ songs. He digs in there. His voice weirdly suits them. Then you think, he did bleedin’ write them.
I don’t even know if Morrissey plays The Smiths anymore. He thanked you for doing those shows, in his roundabout way of thanking someone.
He was in Manchester the night we did our gig at the Albert Hall. He was in town that night. He was supposed to go see someone else, but his nephew came to the show and he came to the afterparty. We had a bit of shindig that night. It was epic. The beauty of that was, for me, when I throw myself into another lane it unshackles me. There’s no expectation. If Oasis got back together and it was a bit sh*t, it’d be the biggest disappointment. But if musicians from various bands got together to play Oasis songs, people would be like ‘that’s mental, but I’m going!’ Obviously it wouldn’t be Oasis. I mean, it’s a covers band, but it’s something different.
There’s something unique about seeing music idols perform their music idol’s songs.
Let’s face it though, it’s me doing it. That’s a stretch. For me it’s not, as I grew up with them. But I understand it’s a stretch if you think of me as ‘Never Gonna Give You Up’. Why on Earth would you think that would’ve worked. Blossoms are different. They’re incredible live. That’s not the stretch.
I don’t think singing Morrissey is much of a stretch for your voice. Oasis, maybe… Unless that’s the next tour?
I went to the show in Manchester. It was epic. I went to a few mega gigs last year. I went to see Bruce Springsteen in Milan. The last time I saw him was in 1988, in Los Angeles. I thought he was amazing, but it’s just not for me. Second song in – I cry a lot more these days – and I wasn’t even pissed, but tears were streaming down my face. I thought, everyone here is exactly where they should be. That includes the band, us, everyone in here together. It really affected me. I’ve become a Springsteen nut since then. It was less about what he played, it was about his communication. I felt like that at Oasis. Thank God they were great. Liam’s voice was fantastic, he nailed it. He’d punch my lights out for saying this, but I wondered if he could still do it, 25 years on. It’s a tall order. He did. He nailed us to the seats. I knew the band would be great, but for Liam to do what he did was amazing. I love leaving a gig thinking ‘music is f*cking great’. It’s inspirational, it’s gut wrenching, it makes you cry. I played a couple of gigs last year and thought ‘this is it. The dream is alive and well’.
There’s always good stuff, you just have to be involved. Seeing Sam Smith or Paul McCartney record a cheap video and post it on social media would encourage me to see them more than a flashy music video. I don’t mean to name drop, but Dave Grohl (uncle Dave as everyone calls him) always gets asked for advice for younger musicians. I remember him saying just go and play. Play everywhere, all the time. If someone sees you, there’s a big chance they’ll come again.
Header photo credit: Luke Brennan/Getty Images
