UK Saxophonist Dan Forshaw is renowned for captivating performances and dynamic stage presence. His global career spans big bands, jazz quartets, and collaborations with cathedral choirs, thrilling audiences worldwide. A sought-after educator, Dan teaches saxophone at the University of Cambridge and serves as a lecturer in music at LST (London School of Theology). A prominent saxophone vlogger, he has produced nearly 700 episodes, with over 2.5 million views. As a recognised authority on John Coltrane, his published academic work explores the saxophonist’s music and its connections to theology. Dan lives between Cambridge and London. His daughter is fifteen and his son is thirteen.
UK Jazz News: What is the best advice you received about balancing/juggling parenthood and career?
Dan Forshaw: I was on tour in Germany in 2017 and missing my kids, (they were about five and seven at the time). An older pro enquired how I was as a teenager, and how much time I wanted to spend with my parents when I was a teen…(not much was the answer); he replied: ‘The gigs & tours will always be there, your kids won’t’. Since then I’ve cut back on gigs I didn’t want to do in the first place and tried to be home at least one evening over the weekend if I can.
UKJN: What information or advice do you wish you’d received but didn’t (and had to learn through trial and error or on the go)?
DF: Don’t feel guilty about going to work, but don’t make work your #1 priority. Yes you need to provide and put ‘food on the table’, but also be mindful of the above. Your children make you a better musician, because great music comes from the soul, not technical proficiency.
UKJN: Your top tip(s) for other parents in jazz:
DF: As a jazz musician, you have to be a good improviser, this is really valuable for bringing up children, you need to be able to ‘swing with the changes’.
UKJN: Travel/gigging/tour-with-child advice. This can be gear or gadget-related, or pertain to approach/what to do/what not to do:
DF: Schedule FaceTime/Zoom calls and stick to them. I’ve never really had my children on tour, my son is now coming along to some gigs to listen and learn, and occasionally play.
UKJN: What is one way that figures or structures in the jazz industry could better support parents who are working jazz musicians?
DF: One way the jazz industry could better support parents, especially single parents, is by addressing the lack of affordable, flexible childcare options that align with the unpredictable and often late hours of performance schedules.
At present, the structures in place seem to favour those with financial safety nets, such as family money, which allows them to navigate the demands of the industry without the constant strain of balancing childcare and work. Introducing subsidised childcare programmes for touring musicians, or collaborating with venues and festivals to offer onsite childcare, could level the playing field.
Additionally, creating funding schemes specifically aimed at supporting musicians with caregiving responsibilities could make the industry more accessible. These steps would help shift the focus back to talent and dedication, rather than financial privilege.
UKJN: What has surprised you about becoming a parent and remaining engaged with your professional activities and ambitions?
DF: What’s surprised me most is how much of my professional engagement depends on resources outside of my control. Being a parent, especially without a financial cushion, has highlighted how the jazz industry often assumes that musicians have unlimited flexibility or external support.I’ve been taken aback by how little the structures accommodate the realities of caregiving. Gig timings, travel demands, and the lack of family-friendly policies can make it feel like the system is set up for those who don’t have these responsibilities—or who have the financial means to outsource them. The challenge isn’t just about balancing the two roles; it’s about realising how many obstacles are baked into the system for parents trying to stay ambitious and active in this field.
UKJN: What boundaries have you set for yourself as a parent in jazz (could be related to travel/touring, riders, personal parameters, child care decisions, etc.)?
DF: As above, I’ve always tried to guard some family time each week. When I went through a divorce and was primary parent for two years, (straight out of the pandemic), I had to step back from performance and work on other areas of my music work such as teaching. As my friend said in Germany, the gigs will always be there, the kids might not be.
(*) Parents in Jazz was started (first as ‘Mothers In Jazz’) by vocalist Nicky Schrire in August 2022. The initiative aims to create an online resource for jazz industry professionals with children, those contemplating parenthood, and jazz industry figures who work with and hire musicians who are parents. The insight of the musicians and administrators interviewed for this series provides valuable emotional, philosophical and logistical information and support that is easily accessible to all. “Parents In Jazz” shines a light on the very specific role of being both a parent and a performing jazz musician or jazz arts professional.
