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Andy Connell

Andrew John Connell (born 26 July 1961) is an English keyboardist and composer best known as the co-founder and primary musical force behind the pop-jazz duo Swing Out Sister. Connell formed Swing Out Sister in 1985 in Manchester, England, alongside drummer Martin Jackson and vocalist Corinne Drewery, drawing on their backgrounds as session musicians to create a sophisticated blend of pop, jazz, and soul influences. The group's debut single, "Breakout", released in 1986, became an international hit, reaching number six on the US Billboard Hot 100 and number four on the UK Singles Chart, propelling their debut album It's Better to Travel (1987) to commercial success with approximately 800,000 copies sold worldwide. Following Jackson's departure in 1987, Connell and Drewery continued as a duo, with Connell serving as the main and arranger for subsequent including Kaleidoscope World (1989), (1992), and The Living Return (1994), which explored evolving themes of romance, travel, and introspection through lush instrumentation and Drewery's distinctive vocals. Their work earned two Grammy Award nominations in 1988: Best New Artist and Best Pop Performance by a Duo or Group with Vocals for . Over four decades, has released ten studio albums, maintaining a for their timeless, cinematic sound while Connell has occasionally contributed to other projects, though his legacy remains tied to the band's enduring catalog of melodic, jazz-infused pop.

Early Life

Birth and Family Background

Andrew John Connell was born on 26 July 1961 in , . Little is known about Connell's family background. Connell spent his early years in , a city defined by its industrial legacy as a hub of and during the mid-20th century. By the , the backdrop of post-war economic recovery and urban redevelopment was fostering a dynamic , with influences from American rock 'n' roll and the nearby Merseybeat in beginning to permeate local communities. This environment, marked by working-class resilience and emerging artistic expression, laid the groundwork for Manchester's influential music culture that would flourish in subsequent decades.

Musical Awakening and Education

Andy Connell began playing the at an early age and completed eight grades of classical piano training before shifting his focus to . During his teenage years in the late 1970s, he became involved in the music scene, including bands, which further shaped his artistic development. Growing up in the city, he developed a keen interest in keyboards through hands-on experimentation with music and in informal settings, laying the foundation for his professional aspirations before entering his early twenties.

Early Career

Involvement in Manchester Music Scene

Connell entered the Manchester music scene as a founding member of the post-punk band The Immediates in the late 1970s or early 1980s, which performed in local venues and was affiliated with the Manchester Musicians Collective. The group, featuring Connell on keyboards alongside Mike Dunne and Franny Dunne, contributed to the burgeoning post-punk milieu by blending experimental sounds in intimate club settings like Portland Bars and Cyprus Tavern. In the early 1980s, Connell joined , a pioneering outfit signed to , where he provided keyboards and enhanced their rhythmic, dance-oriented style. He became a full member around 1982, contributing to live performances and recordings that bridged energy with grooves, including their third session in November 1982. His tenure with the band aligned with Factory's influential ecosystem, which fostered Manchester's community through releases and events. Concurrently, Connell was involved with Kalima, a jazz/pop ensemble also on , often moonlighting alongside members Jez Kerr and Martin Moscrop. Formed from the earlier Swamp Children in 1983, Kalima's sound incorporated Latin, , and elements, with Connell arranging brass and playing piano on tracks from their 1986 album Night Time Shadows, helping shape its sophisticated, improvisational early aesthetic. Through these affiliations, Connell networked extensively in Manchester's club circuit, including at , where performed and where the venue's emerging house and electronic sounds influenced his keyboard techniques toward more synth-driven explorations. This immersion in the and electronic scenes solidified his role in Factory's vibrant, interconnected community during the 1970s and 1980s.

Key Early Bands and Productions

During his time with , Connell contributed keyboards to the band's evolving and sound on albums such as (1982) and (1985), before departing in 1985 to pursue new projects. Connell provided production and arrangement support for Quando Quango, a Manchester-based electronic project on , including keyboard performances on their 1985 album Pigs + Battleships. His contributions featured on tracks such as "," a club-oriented single that became a staple in early sets, blending twisted electronic elements with dance rhythms. In 1984, Connell collaborated with former Magazine drummer Martin Jackson and DJ Greg Wilson on the production of Street Sounds UK Electro, a compilation album that showcased emerging British electronic talent through demos and original tracks in an electro-funk style. The release, featuring acts like Syncbeat and Zer-O, marked a pivotal moment in the UK's adoption of American electro influences, adapting them into a local funk-infused variant and achieving a UK chart position of #60. Connell also lent his keyboard skills as a guest musician to Kalima, a Latin-jazz ensemble, on their 1985 EP Four Songs, where his piano and work complemented the band's fusion of jazz, funk, and dance elements alongside contributions from members Jeremy Kerr and Martin Moscrop. This involvement bridged his ACR tenure with transitional projects, highlighting his versatility in Manchester's vibrant 1980s music ecosystem before fully committing to .

Swing Out Sister

Formation and Breakthrough

In 1985, Andy Connell, a keyboardist with prior experience in Manchester's scene including , partnered with drummer to form the core of what would become . They recruited vocalist , who had recently departed from the band Working Week after a brief stint where she felt undervalued as a singer. The trio met through mutual connections in Manchester's vibrant music community; Drewery joined after auditioning and contributing vocals to their early demos, blending her sophisticated style with Connell and Jackson's experimental electro-pop foundations. The group signed with , teaming up with producer Paul Staveley O'Duffy to refine their sound. Their breakthrough came with the debut single "," released on October 1, 1986, which Connell co-wrote with Drewery and Jackson. The upbeat track, inspired by the and featuring a distinctive bass line and horn sections, achieved significant chart success, peaking at No. 4 in the UK and No. 6 on the , while earning a Grammy nomination for Best Pop Performance by a Duo or Group with Vocals. The accompanying , directed by , showcased Drewery as a fashion designer in a stylish narrative that highlighted the band's polished aesthetic and contributed to its international appeal. Building on this momentum, released their debut album It's Better to Travel in May 1987, which debuted at No. 1 on the and spent two weeks there. Connell served as the primary composer and arranger, crafting the album's lush, jazz-inflected pop arrangements around Drewery's vocals and the trio's instrumentation. The success propelled early tours across the , including high-profile performances like their July 1987 appearance at BBC Television Centre in , solidifying their rise as a fresh force in British sophisti-pop.

Peak Success and Major Releases

Following the breakthrough success of their debut album It's Better to Travel, Swing Out Sister reached their commercial peak in the late 1980s and early 1990s with a series of releases that blended sophisticated pop with emerging jazz elements, earning critical acclaim and strong chart performances particularly in the UK and US adult contemporary markets. Their second album, Kaleidoscope World (1989), marked a pivotal moment, peaking at number 9 on the UK Albums Chart and reaching number 61 on the US Billboard 200. The album featured standout singles such as "You On My Mind," which climbed to number 28 on the UK Singles Chart, and "Waiting Game," which achieved number 86 on the US Billboard Hot 100 while resonating strongly on adult contemporary radio. These tracks showcased Andy Connell's intricate keyboard arrangements and the duo's polished production, solidifying their reputation for lush, melodic pop. In 1992, Swing Out Sister released Get in Touch with Yourself, their third studio album, which peaked at number 41 on the UK Albums Chart and number 113 on the US Billboard 200. The album highlighted their versatility through covers and originals, including a soulful rendition of Barbara Acklin's "Am I the Same Girl?," which reached number 41 on the UK Singles Chart, number 45 on the US Billboard Hot 100, and topped the US Adult Contemporary chart. The self-titled lead single "Get in Touch with Yourself" further exemplified their upbeat, introspective style, contributing to the album's emphasis on personal empowerment themes amid catchy hooks. This release demonstrated the band's ability to adapt 1960s soul influences into contemporary pop, maintaining momentum from their earlier hits. The duo's commercial height extended into the mid-1990s with The Living Return (1994), an album that shifted toward a more organic, -infused sound with live and raw arrangements, though it did not in the UK. Tracks like "Better Make It Better" and "Don't Let Yourself Down" reflected this evolution, incorporating Connell's sophisticated work with improvisational elements drawn from traditions. Earlier in their peak era, received two Grammy Award nominations in 1988: Best New Artist and Best Pop Performance by a Duo or Group with Vocals for "."

Later Years and Ongoing Work

Following the band's mid-1990s releases, entered a phase of experimentation and refinement, with Shapes and Patterns (1997) continuing the jazz-pop direction through and lounge influences, primarily released in . They then issued Filth and Dreams in 1999, which marked a shift toward earthy, jazzy neo-soul with Brazilian influences inspired by artists like and . The album featured minimalistic arrangements and darker tones, diverging from the group's earlier lush, cinematic style, with Andy Connell co-writing tracks and contributing backing vocals alongside and producer Paul O’Duffy. This release, initially available only in , underscored the band's evolving sound while Connell maintained his central role as and arranger. In 2001, issued Somewhere Deep in the Night, a collection of cinematic, romantic jazz-pop tracks infused with film-music textures that highlighted the group's maturation into shimmering, adventurous compositions. Connell played a key part in crafting the album's dazzling soundscapes, co-writing songs and arranging vocals in collaboration with O’Duffy and guitarist Tim Cansfield. That same year, the compilation 20th Century Masters: The Millennium Collection: The Best of Swing Out Sister gathered their key singles from the 1980s and 1990s, reinforcing their pop-jazz legacy and influencing subsequent creative directions. The band continued this trajectory with Beautiful Mess in 2008, embracing a soulful lounge jazz-pop aesthetic with R&B-inflected ballads and chill-out vibes that further solidified their mature sound. Self-produced by Connell, who also co-wrote material and integrated layered vocal arrangements with backing singer Gina Foster, the album blended rhythms and smooth pop elements. In 2017, they released Private View, a self-produced effort exploring -jazz territories with Connell's arrangements at the forefront.) By 2018's Almost Persuaded, Swing Out Sister had refined their laidback, summery jazz-pop formula, drawing on , and film scores, and neo-soul for an alluring, elegant collection. Connell co-wrote, produced, and arranged the tracks, initially envisioning big-band elements before streamlining into intimate soundscapes. As of November 2025, remains active with ongoing tours and promotions, including the Living Return Tour across the earlier in the year, where Connell performed live on s alongside Drewery. The duo also released the 8-CD box set Certain Shades of Limelight in July 2025, compiling rare recordings and remixes that highlight their enduring jazz-pop evolution. Connell's role as primary arranger persists, shaping their performances and releases with sophisticated work and oversight.

Other Contributions

Solo Projects and Collaborations

Outside of his primary work with , Andy Connell engaged in several collaborations and rare solo endeavors, particularly in the electronic and jazz-infused realms during the and . In 1984, Connell teamed up with drummer (formerly of ) and DJ to produce the album UK Electro on the Street Sounds label, where he handled all keyboard duties and contributed to co-writing, production, and mixing across tracks released under pseudonyms such as Broken Glass ("Style of the Street"), Zer-O, Forevereaction, and Syncbeat (""). This project, which peaked at number 60 on the , highlighted Connell's live piano and keyboard overdubs in a proto-house and style, marking an experimental venture distinct from his later pop-oriented career. Connell also contributed as a guest musician to Quando Quango's 1985 album Pigs + Battleships, providing keyboards on several tracks. Connell also explored limited solo efforts under the pseudonym Sons of , a moniker he used for select productions. Notably, in 1998, he produced the track "Freedom " (a cover of Eddie Harris's composition) for the compilation album Presents: Vivo, blending jazz elements with contemporary arrangements recorded at The Soundstation and mixed at Studios. This rare contribution underscored his versatility in keyboard orchestration beyond group settings. Among his lesser-known works are unreleased or limited demos from the , including the 1983 track "" (produced during a session at Drone Studio in ), where Connell provided keyboards alongside Jackson and in an early experiment that remained vaulted until a 2007 limited 12" release. These projects reflect Connell's foundational role in Manchester's electronic scene while anchoring his broader musical explorations.

Film Scoring and Additional Ventures

Connell composed the musical score for the 2005 short film The Knickerman, directed by Sonja Phillips, which explores themes of rural life in , . The film, about a sleepy village stirred by the arrival of a knicker salesman, premiered at festivals and highlighted Connell's ability to blend atmospheric keyboard arrangements with narrative tension. Beyond his band work, Connell has contributed to television and film music projects, including composing for the 2006 ITV pilot episode The Outsiders (released as the Swing Out Sister soundtrack album Les Étrangers). His songs have also appeared in films such as (2019), Picture Perfect (1997), and (2021). These contributions leverage his expertise in sophisticated arrangements to support visual storytelling. As an avid supporter of Manchester City Football Club, he occasionally appears as a guest on The Man City Show Podcast, discussing matches and club developments alongside hosts Nigel Rothband and Rob Behrens. These media engagements reflect his broader interests outside music production.

Musical Style and Influences

Signature Keyboard Techniques

Andy Connell's keyboard work evolved significantly from his early days in Manchester's scene, where he contributed to the minimalistic, funk-infused sound of bands like The Immediates and , characterized by sparse electronic textures and rhythmic drive. In , his role involved adding subtle keyboard layers to support the group's funk aesthetic, emphasizing percussion and bass over ornate arrangements. This foundation of restraint contrasted sharply with the sophisticated pop-jazz he later developed in , where his playing expanded into more layered and harmonic complexity. Central to Connell's mastery is his adept blending of synthesizers and acoustic keyboards, such as the grand piano and , creating a hybrid sonic palette that merges electronic precision with organic warmth. He frequently employed synthesizers like the Fairlight sampler for experimental , as seen in remixing sessions where he explored samples to enhance tracks' depth and texture. This technique allowed for seamless integration of digital effects with live piano elements, producing the lush, cinematic quality emblematic of Swing Out Sister's recordings. In Swing Out Sister's arrangements, Connell favored lush orchestration augmented by jazz-inflected chords, drawing from influences like to infuse pop structures with improvisational flair. His style often incorporated extended harmonies, such as the B-flat 13 sus 5 chord in "," which added emotional nuance despite production pressures to simplify. Collaborating with producers like Paul Staveley O'Duffy, he layered keyboards with horns, cellos, and orchestral elements to build dynamic, bittersweet choruses that elevated the band's sound. A prime example of Connell's layering technique appears in "," where he crafted the bass line on keyboards inspired by , then overlaid multiple synth and piano tracks to achieve rhythmic propulsion and harmonic richness. This approach not only drove the track's upbeat energy but also ensured its live adaptability, as Connell later modified arrangements to maintain freshness without replicating studio density.

Inspirations from Jazz and Pop

Andy Connell's compositional style draws heavily from jazz legends, particularly the fusion elements evident in acts like , whose intricate keyboard arrangements influenced his layered synth work and improvisational flair. He has cited the sophisticated harmonies and rhythmic complexity of as a key touchstone, shaping his approach to blending with rock structures in Swing Out Sister's tracks. Early exposure to and further rooted his sound in classic jazz, evoking the romanticism and vivid imagery of mid-20th-century artists through modal progressions and subtle tonal shifts. In the pop realm, Connell absorbed influences from 1960s songwriters like and , whose craftsmanship informed the melodic elegance and narrative depth in his writing. Northern Soul's upbeat grooves and emotive delivery also played a role, providing a rhythmic foundation that contrasted with more introspective elements. While not directly referencing 1980s contemporaries, his era's pop scene—exemplified by the polished fusion of acts like —aligned with the sleek production values he pursued, though his focus remained on timeless rather than trend-driven sounds. The Manchester music scene profoundly shaped Connell's worldview, where post-punk outfits like and introduced angular rhythms and electronic textures that he later fused with and . His time in , a new wave funk pioneer on , bridged this post-punk edge with groovy basslines and percussive drive, while his stint in the jazz-pop group Kalima honed a more experimental blend of improvisation and groove-oriented composition. influences from and added warm, narrative-driven layers, emphasizing lyrical bass and horn-like synth swells. These diverse inspirations coalesced into Swing Out Sister's signature sophisticated sound, often termed , where jazz's harmonic sophistication meets pop's accessibility and the scene's eclectic edge. Connell's techniques, such as Rhodes-driven chords and atmospheric , reflect this , creating a timeless hybrid that prioritizes emotional resonance over genre boundaries.

Personal Life

Partnership with Corinne Drewery

Andy Connell and first met in the mid-1980s when Connell, then a with the band , attended a performance by Drewery with the group Working Week at Manchester's club. This encounter led to their collaboration on demos, establishing the core dynamic of , with Connell handling composition and instrumentation while Drewery contributed lyrics, vocal arrangements, and structural refinements to the songs. Their partnership evolved from an initial trio including drummer into a enduring duo after Jackson's departure in 1987, blending Connell's sophisticated keyboard work with Drewery's soulful delivery. The duo's creative synergy has sustained Swing Out Sister's output for nearly four decades, marked by a balanced interplay where Connell often provides instrumental foundations—described by Drewery as "handing me an instrumental"—which she then shapes into complete tracks. This process is exemplified in their adaptation of covers, such as the 1991 reworking of Barbara Acklin's "Am I the Same Girl?" from the album , where Connell's jazz-inflected arrangements complemented Drewery's reinterpretation, drawing on her influences to infuse the track with fresh pop elegance. Their approach emphasizes mutual respect, with Connell noting a "" dynamic—his melancholy tendencies offset by Drewery's preference for joyful elements—fostering innovation across albums. Professionally and personally intertwined as , Connell and Drewery have credited their relationship's stability for the band's longevity, navigating industry challenges like label shifts and fan-driven for their 2018 release Almost Persuaded. In a 2018 , Drewery highlighted how their shared vision has kept the collaboration vital, stating that Connell's instrumental ideas continue to inspire her lyrical contributions, ensuring a seamless blend of professional output and personal harmony without overshadowing their musical focus. This enduring bond has allowed to maintain relevance, releasing consistent work while preserving the duo's original creative equilibrium, including the 2025 box set Certain Shades of Limelight.

Hobbies and Public Persona

Connell is an avid supporter of , the football club based in his hometown, and has occasionally contributed to discussions on The Man City Show , sharing insights as a lifelong fan. His public presence remains understated, with Connell maintaining a low profile away from the music industry spotlight and avoiding media scrutiny on personal matters. This reserved approach extends to his activity, primarily channeled through Swing Out Sister's official accounts on (@sosister) and (@swingoutsister), where he engages with fans via band updates, live performance clips, and nostalgic posts as of 2025. Residing in the area, Connell's lifestyle reflects a grounded connection to his roots, balancing creative pursuits with everyday interests in sports and local culture. His long-standing partnership with contributes to a stable personal foundation, allowing focus on collaborative work without public personal disclosures. No notable philanthropic endeavors or family details have been publicly shared by Connell, underscoring his preference for .

Legacy

Awards and Recognition

Swing Out Sister, featuring Andy Connell as the primary composer and keyboardist, garnered early acclaim through two nominations at the in 1988 for their hit single "": Best New Artist and Best Pop Performance by a Duo or Group with Vocals. These nominations highlighted the band's breakthrough success following the release of their debut album It's Better to Travel. The single "" achieved notable commercial recognition, peaking at number 4 on the for 16 weeks and number 6 on the US Billboard Hot 100. Their debut album It's Better to Travel topped the and earned platinum certification from the (BPI) for sales exceeding 300,000 units in the UK, while also receiving gold certification from the (RIAA) for over 500,000 units sold in the US. In , where the band has maintained a strong following, received the Grand Prix International Award—considered the equivalent of a Grammy—for Best International Single in 1997 for "Now You're Not Here," which served as the theme for the television program Mahiru no Drive. This honor underscored their enduring appeal in Asian markets, bolstered by consistent chart performance and sold-out tours. In the 2020s, the band's catalog has experienced a streaming resurgence, amassing over 120 million plays on , reflecting ongoing fan appreciation without formal award ceremonies.

Impact on Music and Fans

Andy Connell's contributions as and for Swing Out Sister helped bridge 1980s pop with elements, defining the genre through lush, orchestral arrangements infused with and jazz influences alongside and grooves. This stylistic fusion, evident in tracks like those on their debut album, positioned the band alongside contemporaries such as and , paving the way for the movement of the early 1990s by emphasizing smooth, danceable rhythms blended with improvisational jazz textures. Acts like drew from this foundation, incorporating similar jazz-pop hybrids into their funk-driven sound, as seen in their evolution from instrumental roots to vocal-led . Swing Out Sister developed a dedicated internationally since the late , sustained by their refusal to chase fleeting trends and instead honing a timeless, cinematic pop-jazz aesthetic that resonated beyond mainstream radio success. This loyalty intensified in , where the band became one of the country's most popular acts, leading to consistent releases and tours tailored to enthusiastic audiences there. In the , the group experienced a resurgence through streaming platforms, amassing over 120 million total streams and nearly 500,000 monthly listeners on as of October 2025, fueled by and algorithmic rediscovery of hits like "Breakout." Their 2018 Almost Persuaded, crowdfunded via , exemplified this revival, with fans providing direct input and financial support to complete the project amid a broader wave of retro interest. In July 2025, the band released the 8-CD box set Certain Shades of Limelight via , compiling their from 1994 to 2004 along with bonus material, further engaging longtime fans. As of late 2025, Swing Out Sister is working on a new , signaling continued creative output. Connell's roots in Manchester's vibrant music scene further cemented Swing Out Sister's place in British musical heritage, as his early involvement with Factory Records alumni groups like A Certain Ratio and the jazz-pop outfit Kalima connected him to the city's post-punk and funk innovations under Tony Wilson's influential label. These experiences, including collaborations amid the Haçienda club's cultural ferment, informed Connell's sophisticated keyboard work, linking Swing Out Sister to Manchester's legacy of genre-blending acts from Joy Division to 52nd Street. Though not directly signed to Factory, Connell's tenure there bridged the label's experimental ethos with the polished pop-jazz of Swing Out Sister, contributing to Manchester's reputation as a hub for innovative sounds in the 1980s. The band's fanbase demonstrates remarkable loyalty, with supporters attending live shows worldwide and engaging through and social platforms to sustain the duo's output. Swing Out Sister's performances, often featuring reimagined arrangements of classics like "" with a full band, draw consistent crowds, particularly in and at UK jazz venues, where audiences appreciate the improvisational flair. This devotion extends to fan-created covers of their material, which proliferate online and underscore the enduring appeal of Connell and Drewery's compositions among -pop enthusiasts.

Discography

Albums with Swing Out Sister

's debut album, It's Better to Travel, released in 1987, marked the group's breakthrough, reaching number one on the and spending 21 weeks in the top 100. Andy Connell served as keyboardist and arranger on the record, which was primarily produced by Paul Staveley O'Duffy, contributing to its polished sound infused with elements. The album's success, driven by hits like "," established the duo's reputation for sophisticated arrangements. Their follow-up, Kaleidoscope World, arrived in 1989 and peaked at number nine on the , charting for 11 weeks. Connell handled arrangements for most tracks, including strings, while O'Duffy returned as ; the expanded the band's palette with global influences and tracks like "You on My Mind." It showcased Connell's growing role in shaping the group's eclectic, jazz-tinged pop aesthetic. In 1992, Get in Touch with Yourself reached number 27 on the , marking a shift toward a more soulful direction with danceable rhythms. Produced once again by O'Duffy, the featured Connell on keyboards and as co-writer on several tracks, emphasizing his contributions to vocal harmonies and instrumental layers. This release highlighted the duo's evolution as a streamlined partnership after drummer Martin Jackson's departure. The Living Return (1994) was co-produced by Connell and under the moniker, with Connell also arranging all tracks and playing keyboards. Released amid a move toward influences, it did not chart in the UK but received praise for its funky, experimental edge, including covers like "La La (Means I Love You)." Connell's production marked a hands-on for the duo. Shapes and Patterns (1997), initially released only in , explored bold sonic textures with O'Duffy back on production duties; Connell co-wrote and arranged much of the material, incorporating trip-hop and electronic elements. The album's innovative approach, though commercially limited outside , underscored Connell's versatility in blending pop with sounds. The Japan-exclusive Filth and Dreams (1999) was fully produced by Connell, who also handled arrangements and keyboards, delving into moody, atmospheric jazz-pop with dark lyrical themes. This self-directed effort reflected the duo's creative independence during a period of label constraints in the West. Somewhere Deep in the Night (2001), another Japan-only release produced by O'Duffy, featured Connell's keyboards, backing vocals, and orchestral arrangements, creating a cinematic, lush . The album's orchestral depth highlighted his skill in crafting immersive pop-jazz hybrids, though it remained under the internationally. Where Our Love Grows (2004), released initially in and later internationally, was produced by Connell, who also arranged and played keyboards on the album. It blended jazz-pop with lush, romantic themes, receiving positive reviews but no major chart placements outside niche markets. Beautiful Mess (2008) was produced entirely by Connell, reaching number five on the Jazz Albums chart in the . With Connell on keyboards and arrangements, the album returned to jazzy pop roots, earning acclaim for its warm, intimate production and tracks like "Beautiful Mess." It signified the duo's resurgence on niche charts. Private View (2011), a self-released acoustic reimagining of past hits, was produced by Connell, who arranged the stripped-down versions emphasizing intimacy. Available initially via direct sales, it captured the duo's live energy in studio form without major impact. Finally, Almost Persuaded (2017), self-produced by Connell and funded via , peaked at number seven on the US Albums chart. Connell's arrangements and multi-instrumental work on this release blended soul- with pop, reinforcing the duo's enduring collaborative dynamic.

Singles and Other Releases

Prior to forming Swing Out Sister, Andy Connell contributed keyboards to A Certain Ratio's 1982 single "Life's a Bitch," marking his early involvement in and scenes. In 1984, Connell co-produced and contributed to the electronic UK Electro (also known as Street Sounds Electro), alongside drummer , featuring tracks like "XXXO" by Equip and experimental demos that showcased his emerging production style in the electro movement. With , Connell's keyboard work underpinned several chart-topping and influential singles. The band's debut single "Breakout" (1986) from It's Better to Travel reached number four on the and on the US chart, blending with elements. "Surrender" followed in 1987, peaking at number five in the UK and highlighting Connell's lush arrangements. From Kaleidoscope World, "You On My Mind" (1989) achieved number 28 in the UK, noted for its upbeat pop hooks and Connell's prominent synth layers. The 1990s brought further singles like "Am I the Same Girl?" (1992) from , a that reached number 21 in the UK and emphasized Connell's bossa nova-inspired keyboards. "La La (Means I Love You)" (1994), a from The Living Return, peaked at number 37 in the UK, featuring Connell's string-like synth textures. More recent releases include promotional singles from Almost Persuaded (2017), such as "Almost Persuaded" and "Don't Give the Game Away," which reflect Connell's continued evolution toward jazz-infused pop without major chart success but strong fan reception. Connell is also credited on compilations like 20th Century Masters: The Millennium Collection: The Best of (2001), which collects key tracks including "" and "Twilight World," underscoring his role in the band's enduring catalog. No live albums or EPs featuring Connell have been released post-2017, though the duo's output remains active through studio work.

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