Why highlight that it is your 11th album by calling it 11?

I liked the idea of calling the album 11, because it is my eleventh album of completely original music — outside of unplugged records and live records and soundtrack albums that were obviously part of some other project. And so there is something also about the graphic element looking at the number 11 which I really liked as well.

When I was playing with the idea of what to call the album, I was working with a designer and I mentioned maybe calling it 11. He sent me something back to look at, and I immediately thought it looked great. It’s that simple.

When writing this album I was thinking about life and how there are times when you realise that the sensible thing to do is actually the reckless thing. For example, DON’T save things for a rainy day is the feeling of this record.

Also, there are those times when you have to embrace the mystery that enters your life, instead of trying to make sense of it, or God forbid, rejecting it because it doesn’t quite “fit”. It’s that sense of mystery that makes life compelling, awe-inspiring and keeps us humble and open. All of my albums are simply the best songs I could write during a year or two. Many songs were written, then re-written in a moment of reflection or clarity. I’ve decided the clue to songwriting is not to be precious about things...

It’s almost like a reunion album with some of your long-time collaborators coming back. Does that make the album even more special?

Definitely, but I’ve always surrounded myself with a good team, and to be honest the only difference was asking Jim Vallance to collaborate. We used to work together and wrote many good songs.

How did the collaboration with Jim happen again? How nostalgic was it working with him?

I always call Jim and ask him if he wants to do something, as he is one of the finest musicians I’ve ever worked with. This is not to say other people I’ve worked with aren’t as talented, because they are, it’s just that Jim and I created a kind of sound together. Plus he can play so many instruments so well. I remember when we first started writing in the 70s, I was blown away with how he could play drums and bass with so much ease, not to mention piano and guitar. It was like working with a one-man band. I’m super happy to have him included on this latest album.

Now that 11 is doing so well everywhere, do you think it could have worked even better as an acoustic album?

I’ll never know the answer to that question! It may have. I think certain songs work really well acoustically… in fact some of them surprise me that way. It’s a dynamic thing to be able to make a song work in such a simple setting, but I think that is ultimately the secret to a good song — if you can play it live by yourself and make it work, then it must be ok. Right now I’m touring in America and doing all the shows acoustically and the new ones work really well.

Eleven days in 11 cities tour... Doesn’t that make it too hectic?

I started off doing that in Europe… I’ve since done it in South America and I’m doing the same thing in the USA… Actually even more shows here in a row. For me, I’d rather be busy and work every day while I’m out here, than to be sitting waiting for the next day somewhere I don’t know anyone.

Much of the album is kind of a throwback to your earlier albums. Do you get more pleasure by singing classic rock tracks like Flower Grown Wild?

A throwback, that’s funny, I think honestly what you hear is just my sound. I can’t help it, it’s what comes out of my mouth. As soon as I sing something, it sounds like an Adams song.

The first single I Thought I’d Seen Everything leads to the rest of the album. Do you want to say you are starting all over again?

Actually what I’m saying is keep an open mind. You never know what is around the corner and it’s good to be open to change.

Why do you keep your videos so simple, just studio shots of you singing? Is there any research that’s gone behind this, like they just want to see you sing?

Keeping things simple is how I’ve always been, and also because I’ve done concept videos in the past and most of them didn’t work, except for a couple. The idea of marriage of film and music is a great one, and when the concept is great and the director is able to make his ideas work, the results can be wonderful. For the most part, whenever I see my videos I want to dive behind the sofa, at least with live videos of me singing, I can only watch with one eye open.

Most of your songs are about still looking for that elusive woman. Fact or fiction?

I’ve never thought of it that way, but it’s probably fact as I still haven’t found the right one.... I may have even met her, but I’ve just not recognised her.

You have a great fan following everywhere but in India they are just mad about you. Do you find a special connection with this part of the world?

I’ve always felt a deep connection with India without a doubt. When I first went to do a concert in Mumbai there was no infrastructure for bands to tour there. We were the first to open the door to Western artistes, and they followed. We played in the cricket ground, I’m sure many of your readers may remember that night. It was wonderful and odd at the same time, because the cricket club had divided the pitch so they could watch on one side and all the local people (who were having all the fun) were on the other side. The lighting was done with a gentleman who simple turned each light on and off with a light switch. It was amazing!

Where do you go from here Bryan Adams? Is there anything left to achieve?

I’m off to Ohio to play a show, but right now I wouldn’t mind some supper. Do you know a good place in Rochester, NY?

Pratim D. Gupta