Metal, Mental Health & Mammoth-Level Ambition: My Deep Dive Interview with Pick Up Goliath
- Samantha Ann
- 1 day ago
- 9 min read
What happens when progressive metal collides with raw honesty, award-winning production, bipolar recovery, and creative obsession? I sat down with Pick Up Goliath’s Sam to talk about Salt & Static, mental health, music industry pressure, songwriting, major award nominations, Mammoth Sound Studio, and the emotional story behind “Hope is a Hell of a Drug.” If you love metal, music production, artist interviews, or behind-the-scenes creative journeys, this one’s for you.
Before we get into the interview, let’s catch up. Pick Up Goliath is the creative project of Sam, an award-winning producer, songwriter, artist, and all-around heavy music mind who has been steadily building a serious name for himself.
Since our last conversation, Sam has stepped into a whole new level of momentum — from award-winning releases and ambitious progressive metal projects to mentoring rising artists and continuing to grow Mammoth Sound Studio. But what makes this interview especially powerful is how open he is about the person behind the music.
In this conversation, we talk about creative growth, mental health, bipolar disorder, the story behind “Hope is a Hell of a Drug,” his upcoming Salt & Static record, major award nominations, the International Singer Songwriters Association, and what it really takes to keep creating when life gets heavy.
Basically, this isn’t just a “what’s next?” interview. It’s a real look at resilience, artistry, honesty, and turning difficult experiences into music that hits hard and means something.
Let's go!
Me: Sam, it honestly feels like every time I look up, you’ve hit another milestone. It’s been a little while since we last spoke, so catch me up — what’s been happening lately, and what are three things you’re especially proud of right now?
Sam: Things have moved forward quite a bit since we last spoke, which I’m grateful for. It’s been a period of real momentum, both creatively and professionally.
The first thing I’m proud of is the success of Hymns of the Unholy. That project really connected in a way I’d hoped it might, both with audiences and within the industry. It picked up multiple awards, including ‘Producer of the Year’ and recognition from the Global Music Awards, and it helped establish me more firmly as both a producer and an artist working at a high level.
The second would be Artificial Ascendency. That was a very ambitious record structurally, a full four-movement metal symphony, so to see it land well and go on to win ‘Best Progressive Metal Album’ at the European International Music Awards meant a lot. It validated the idea that you can push boundaries in heavy music and still have it resonate.
And the third is the development of Mind Traveller, a band I’ve been working closely with from a production and mentorship perspective. They’ve made huge strides, playing Resurrection Fest in 2025 and now reaching the national final of a battle of the bands competition for a slot at Wacken Open Air 2026. Seeing that growth from the inside, and knowing the work that’s gone into it, is incredibly rewarding.
So overall, it’s been a period of building, not just releases, but reputation, relationships, and long-term direction.
Me: One thing I’ve always admired about your work is that it never feels predictable. In a world where so many artists chase trends, what do you think genuinely sets you apart right now?
Sam: I think the main thing is that my music is ultimately for me. I don’t write with a target audience or a trend in mind; I write because there’s something I want to explore or express. That gives me a level of creative freedom that’s quite rare. I’m not boxed into a specific sound or expectation, so each project can go wherever it needs to go.
Alongside that, I probably bring a slightly more academic approach to writing within a genre that doesn’t always lean that way. My background in music and teaching means I naturally think about harmony, structure, and form in a deeper way, and I apply that to metal in a way that isn’t always typical. That’s where a lot of the identity comes from, the balance between instinct and analysis.
So, it’s not about trying to be different for the sake of it, it’s more that the process itself leads me somewhere a bit outside the usual lane.
Me: This next question surprised me while reading your answer because it’s so honest. Right now, who inspires you the most creatively and personally?
Sam: Right now, it’s actually me, which might sound strange, but it’s the honest answer.
The last couple of years have been mentally very intense. I was diagnosed with bipolar disorder and am going through a significant amount of therapy to work through parts of my life that have been difficult for a long time. Coming through that period, still standing and still creating, is something I’m genuinely proud of.
What’s been most important is being able to channel those experiences into my work. The new record, Salt & Static, is very much a reflection of that, taking those internal struggles and turning them into something tangible and expressive. To be in a position where I can articulate that through music, rather than be overwhelmed by it, is something I don’t take lightly.
So, at the moment, the inspiration comes from growth, from resilience, and from proving to myself that I can keep moving forward, both as a person and as an artist.
Me: “Hope is a Hell of a Drug” stopped me in my tracks the first time I heard it. It feels deeply personal but also incredibly relatable. How long did it take for that song — and the emotions behind it — to fully come together?
Sam: The starting point was really the decision that I was ready to talk about certain parts of my mental health journey. Through a lot of self-development, reflection, and support, I reached a place where I felt comfortable opening that door. My experiences have been challenging, but they’re not unique, and if sharing them helps someone else feel a bit less alone, then it’s worth it.
Interestingly, the concept for the entire Salt & Static record came together very quickly. I mapped out the themes in about an hour, things like depression, addiction, grief, fatherhood, and suicidal ideation, all told through my own experiences. From there, I wrote all the lyrics first as standalone poetry, which took a couple of weeks. That became the foundation for everything else.
For “Hope is a Hell of a Drug” specifically, once the lyrics were in place, the production process was relatively focused. From the initial writing and arrangement through to recording, editing, mixing, and mastering, it was probably around seven to eight days of work. It was quite an intense process, but the clarity of the concept made it flow in a very direct way.
Me: I think what makes the song hit so hard is how real it feels. Out of the entire production process, what was the most meaningful part for you personally?
Sam: The most meaningful part was the catharsis of it. Being able to take something I’ve lived with for a long time and actually give it a voice, shape it, and put it into the world in a way that feels honest.
It’s my story, but I was very conscious of telling it in a way that allows other people to see themselves in it. If someone has lived through similar experiences, I want them to feel understood, like what they’re going through has been articulated in a way they maybe couldn’t put into words themselves. And for those who haven’t experienced depression, it offers a kind of window into that mindset, a glimpse into the internal conflict and weight of it.
I also made a deliberate decision not to force resolution. Not every story wraps up neatly, and not every struggle has a clear outcome. There’s something powerful in allowing that ambiguity to exist, and I think that’s part of what makes the piece feel real.
Me: Okay, this is huge — in August, you’ll be delivering a keynote speech for the International Singer Songwriters Association! When you first got that news, what went through your mind?
Sam: My first reaction was a mix of gratitude and disbelief, if I’m honest.
I attended the International Singer Songwriters Association Summit and Awards Ceremony last year for the first time, delivered a talk, and was fortunate enough to come away with ‘International Male Album of the Year’. That in itself was a huge moment for me.
So, to then be invited back to deliver the keynote this year is something else entirely. It’s incredibly humbling. You spend so many years just focused on the work, trying to improve, trying to build something meaningful, and you don’t always stop to take stock of where you’re at. Opportunities like this force you to recognise that your work is being seen and valued at a high level.
It’s a real honour to be trusted with that platform, especially at one of the most respected organisations in the music space, and I’m looking forward to hopefully offering something of value to the people in the room.
Me: And somehow, on top of all of that, you’re also walking into this year with FIVE award nominations. That’s incredible. What categories are you nominated for?
Sam: This year I’m nominated for five awards, all tied to Artificial Ascendency, which is incredibly rewarding as it reflects the record as a complete body of work.
The nominations are for Best Album, Best Single for “Veil of Illusion,” Best Male Vocal, Best Songwriter, and Best Sound Engineer.
To have recognition across both the creative and technical sides of the project means a lot, because that’s how I approach my work. It’s never just about one element; it’s about the full picture, from the writing and performance through to the production and final sound.
It would be an incredible honour to bring home even one of those awards, especially considering the recognition the project has already received, including Gold for ‘Best Progressive Metal Album’ at the European International Music Awards and ‘Best Rock Song’ at the World Songwriting Awards for “Veil of Illusion.”
Me: Artists always say awards “aren’t everything”… but let’s be honest for a second — emotionally, what would winning mean to you?
Sam: Winning awards isn’t the be-all and end-all, but it is incredibly validating.
When you’re making art, especially something as personal or ambitious as this, you never really know how it’s going to land. You create something you believe in; you hope it connects, but ultimately it’s subjective, and once it leaves your hands, it’s out of your control.
That’s why external recognition does carry weight. However much artists say it’s not important, it does mean something to know that your work has resonated, not just with listeners, but with people who are evaluating it at a high level. It’s a form of confirmation that what you set out to achieve has translated beyond your own perspective.
So, while it’s not everything, it’s definitely meaningful.
Me: Behind every artist is usually a small circle of people helping hold everything together. Who’s been your biggest support system through all of this?
Sam: Undoubtedly, my wife and daughter, along with my parents and my in-laws.
A career like this doesn’t happen in isolation. It takes a huge amount of time, energy, and often uncertainty, and having people around you who believe in what you’re doing makes all the difference. Their support, both emotionally and practically, has been fundamental.
Without that foundation, there’s no way I would have been able to build what I have to this point.
Me: Last question, and I can’t wait to see where things go from here. What’s next for Sam and Pick Up Goliath?
Sam: In the short term, the focus is on finishing Salt & Static. The plan is to release the six tracks across the rest of the year, with a new single every four to six weeks until the full record is out. It’s a very personal and all-consuming project, so most of my energy is going into making sure it’s delivered exactly as it should be.
Unusually for me, I haven’t mapped out what comes immediately after that. I tend to always have the next concept lined up, but this record demands full attention.
Alongside the releases, I’m continuing to build out Mammoth Sound Studio as a destination for artists, as well as expanding my educational work and developing my podcast, Tracks On Trial. But those are longer-term plays, and something I’ll dive into in more detail down the line.
Me: Sam, every time we talk, I walk away feeling inspired — not just by the music, but by the honesty behind it. Thank you for being so open about your journey, your struggles, and your growth. I already know this next chapter is going to resonate with a lot of people, and honestly… I can’t wait to watch it unfold. ❤️🎶
There’s something incredibly refreshing about artists who are willing to be brutally honest about both their victories and their struggles, and Sam does exactly that. This interview gave you awards, metal music, production credits. It was about resilience, mental health, creativity, and what happens when someone turns pain into art that genuinely connects with people.
Whether you’re a fan of progressive metal, music production, songwriting, or simply love hearing the real stories behind creative minds, Pick Up Goliath is absolutely an artist worth watching right now. And honestly? I have a feeling Salt & Static is going to leave a lasting mark on a lot of listeners.
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