October 2025

What’s the most unexpected place or situation where a lyric or melody for “Wish On You” first came to you?

The main melodies in this track are almost a decade old. Melodies come to me all the time — while out on runs or in line at the café. I record them quickly and file them away for safekeeping. I took several out of the archive for “Wish On You,” and the lyrics came to me quickly. I wanted to write a song that blurred the lines between sincere relationships and parasocial relationships, and while trying to work it out, I took my dog outside that night and saw a shooting star — true story!! — and knew that was the perfect allegory.

If “Wish On You” were a movie scene, what would be happening on screen when the song plays?

Oh, definitely someone screaming at their television or throwing something through it. I’m a big fan of drama like that!! This song is pretty messy and hyper-dramatic, but I use that to mask the real emotions in it. I’m my most sincere when I’m being ridiculous!

What’s one thing about your creative process that would probably surprise people?

When I’m writing my lyrics, I prefer total silence. I know the melody and notes in my head, and I write better in silence with the lights out! I’m a failed poet at heart, and my music is just another avenue for my ironic, angsty poetry!! Call it “performative masculinity poetry” or whatever — it works for me!!

If you could time-travel back to the peak blog-era days, which artist or band would you want to collaborate with and why?

OOOF, so many to choose from. I used to work for a college radio station during this era, and we were sent so many promotional tracks from amazing, truly indie artists. It was such a formative time for me, so I’m going to end up leaving so many out!! I think the top of my all-time-collab-dream list would definitely be Metronomy, Phoenix, Hot Chip, and Neon Indian!! They all have such an amazing approach to their music and lyrics — there’s something to all of them that feels almost hyper-real!! If any of them or their reps are reading this — you know where to find me!!

What’s the strangest or funniest reaction you’ve had from someone hearing your music for the first time?

My dad is probably my biggest fan, and I owe so much to him for curating my taste in music since I was an infant. He loves my music but likes to remind me that I sing like “Weird Al” Yankovic and that “Wish On You” really highlights this! Definitely not an insult in the least bit. I’ve often thought that when Weird Al retires, he’d be able to pretty easily pass the torch to me. He was my first concert growing up, and I have a pretty gosh darn good taste in polka!! Myron Floren? Come on!! Though that’s hardly a hot take.

How would you describe Bobo Gogo’s sound if you had to use three completely random objects instead of music terms?

I don’t want to spoil anything, but my sound is definitely going to change drastically and constantly. I have some things planned for 2026 that are… pretty wild!! I think the distinct through-line of all of my tracks is my approach to melodies and lyricism, and the objects that really capture my perspective are: an empty giant soda cup from a cliché American gas station, an unfinished crossword puzzle (Sudoku is an acceptable substitution), and infinitely tangled corded headphones that are more wound together than the Gordian Knot.

What’s a piece of pop culture — a film, a meme, a video game — that secretly inspired this track?

A lot of my little melodies and hooks are always going to sound a little retro video-gamey, especially for my first few singles. I get a lot of inspiration from Nintendo 64 soundtracks — they all have such a bright approach to instrumentation and composition that can’t help but excite you!!

If someone made a cocktail called “Wish On You,” what would be in it?

I’m actually a hardcore non-drinker — the people’s straight-edge pop star!! So I think the “Wish On You” would be a Sprite with sour mix and a ton of cherries. That’s my go-to drink when I’m out on the town, and it’s so zippy and sweet that it can’t help but get you into a manic state (which is pretty much required for this song).

What’s a lyric from the song that hits you the hardest when you perform it, and why?

“Can’t even watch a show without you on my TV screen” is the standout lyric to me in this song. It really captures the inescapable feelings you have for someone — whether you’re literally seeing them on screen because they’re now super famous (perhaps I’m talking from experience, perhaps not), or you’re figuratively projecting someone you miss onto characters in a show. Then all of a sudden you’re in your feelings about Michael Scott in The Office or something.

How do you want people to feel after blasting “Wish On You” on repeat?

Oh wow, I hope people listen to my music a lot, but maybe this isn’t good for the psyche!! I think “Wish On You” is an intense song that can evoke a lot of feelings, but by the end I hope people are releasing all of those pent-up emotions and dancing them away!! Or head-bopping or foot-tapping!!

WEBSITE

Primal Urges feels both introspective and lighthearted — what kind of headspace were you in while writing this record?

I’d say the blanket headspace was just being open to whatever came through, and a lot did – but there’s about an album’s worth of other songs that didn’t make it out of demo territory for good reason!

You’ve said the songs are more “outward focused” this time. What shifted in your perspective compared to Dreamworld?

I didn’t have the low hanging fruit of breakups or singledom breakdowns to pick from this time around.   Dreamworld was full of that stuff and it’s easier to write so it was nice to open up a bit and let other things in a bit more.  Speaking of – my partner Becky who does all the visual art for us have been juggling having baby born and raising him through all this.

There’s a warmth to this album that feels lived-in. How did you balance humour and melancholy without tipping too far either way?

I want the songs to be able to wash over the listener without the lyrics slamming them in the face, but if you want a bit more there is more.  It’s a part of that balance I think.

Working with Alex Markwell seems to have brought a certain polish while keeping your charm intact. What was that collaboration like in the studio?

He’s a lot of fun. He has a way of being so relaxed by doing all studio tasks at wizard pace.  We didn’t talk much about tones or anything, we all just did our thing and it worked pretty naturally.

“Blue Horizon” dives into an imagined love story between a bushranger and his lover — where did that idea come from, and what drew you to that era?

Ahem.. not imagined!  The part that is imagined is Frank convincing his lover to escape with him after the heist.  They did exactly that so one would assume there were convincing convos a plenty.

The album moves from hazy nostalgia to something almost cinematic by the end. Was that progression intentional?

Not at all but thanks for listening to it. I tried to put catchiest ones at the start so by the second half you feel obligated to stay on board.

You’ve been praised for your clever, observational lyrics. Do you start with words, or does melody usually lead the way?

Almost always chords then a loose melody then lyrics.  I’d love to change it up and do lyrics first but it hasn’t happened much yet. Maybe next time.

After your return to live shows with “Blue Horizon,” how did it feel reconnecting with audiences after a few quieter years?

A lot of fun. We’ve had Liam Gough on drums for this run of shows and we’ve never sounded better. I’m on the guitar for a change , so for Aiden (guitar) and Riz (bass) and I it’s been a Breath of fresh air and I think that translates live. People seem to enjoy it!

You’ve cited everyone from The Clientele to early Madonna as influences — how do you blend those references into something uniquely Redspencer?

I think I’m so locked into my songwriting style now that it’s hard to make anything that doesn’t sound like Redspencer.  So I guess I’m a blender.

Looking ahead, what do you hope listeners take away from Primal Urges — and where do you see the next creative chapter leading?

I want people to feel positively charged after hearing it, I tried not to write any filler moments in there, nothing too challenging. It’s a pop album and we’re very proud of it . I’m not sure what happens next because we are all so busy these days with kids and running businesses ect – so we’ll just enjoy this era for now and see what happens naturally!

Primal Urges is out now, with vinyl available for pre-order HERE

Listen on:

Spotify

Apple Music

YouTube Music

Amazon Music

Connect with Redspencer

Instagram | Facebook

“Tangerine” feels both intimate and cinematic — what moment or emotion first sparked its creation?

Oddly enough, the song was inspired by my best friend’s daughter, who was just days away from giving birth to her first child at 20. I remember sitting there, listening to the music I had so far, searching for a melody and lyrical direction. I started thinking about her—how brave and terrifying it must be to face something like that so young—and that’s when the first verse and the seed of the chorus, “Who’s gonna love you,” just kind of appeared.

The song wrestles with vulnerability and the fear of falling apart. When you were writing it, were you reflecting on a specific period in your life?

Yes and no. I was reflecting on my own life and how I tend to handle difficult moments—my craving for connection and community, especially when things get tough, and a time when that support wasn’t always there. That experience pushed me inward, to learn how to have my own back and give myself the love and reassurance I needed. In that way, the song became a personal reflection on the question, “Who’s gonna love you when you’re falling apart at the seams?”—something I think many people can relate to.

You’ve described “Tangerine” as a plea for unconditional love and support. What does that look like to you in real life — who stands by you when things unravel?

The phrase “You’re lucky if you can count your real friends on one hand” definitely comes to mind. I’m grateful to have a few solid friends who’ve stood by me through so many ups and downs. Over time, life has really whittled that number down, but I’ve learned it’s all about quality over quantity. And honestly, my little orange cat, Cali, has been a huge source of comfort too—an emotional support furball in every sense.

There’s such a vivid contrast between the song’s warmth and its emotional heaviness. How intentional was that balance between beauty and ache?

The overall vibe of the music came first—it naturally carried a sense of sweetness and warmth. The melody and lyrics came later, and while I didn’t set out to create a contrast between beauty and ache, it started to reveal itself as the song developed. In the studio, as we refined the instrumentation, the vocal delivery and harmonies really helped the lyrics define that balance between beauty and ache. One of my favorite moments is the bridge—it feels like a breath of fresh air, more uplifting and encouraging, almost like it’s saying, “Don’t be so hard on yourself. Keep going. You’ve got this.”

You wrote this track between Asheville and Los Angeles — how did those two worlds influence its sound and tone?

At the time, I was traveling back to Los Angeles often for work—(I do video game audio as wel)l—and ended up staying in my old stomping grounds in Venice Beach. I’m so glad the melody and lyrics for this song began there. Venice is pure magic to me. I lived there for ten years, and it will always be my happy place—the spot where I feel most creative. The raw, gritty, colorful, and free-spirited energy of Venice absolutely influenced where my mind went while writing. It’s a place that feels safe enough to be deeply vulnerable.

Asheville, on the other hand, has become my second home. Collaborating with my producer and some incredible local musicians here has really helped me find a creative community that values connection and collaboration. Recording the vocals, harmonies, and final instrumentation in Asheville brought a warmth and organic texture to the song that perfectly balanced the edge and grit I felt in Venice.

Working with Patrick Doyle and Phillip Shaw Bova brought some serious pedigree to the production. How did those collaborations shape the final version of “Tangerine”?

Patrick Doyle is incredible at what he does. You can tell he genuinely cares about his craft as a producer and engineer. I feel so lucky to work with someone who’s also a master of harmonies — something that’s still relatively new to me. Every time we added harmonies to Tangerine, it helped highlight the vulnerability and delicateness of the lyrics. Patrick is truly one of a kind, and I’m so grateful to have him helping me shape my sound as a new artist. 

Philip Shaw Bova is an amazing mastering engineer, and I was thrilled he agreed to take on my project. Having someone who’s worked with artists like Feist, Bahamas, and Lake Street Dive add his final touch to Tangerine — and the record as a whole — was such an honor.

The name Pretty Little Saturday has such a poetic, nostalgic feel. What does it represent to you as an artist and a person?

As I mentioned earlier, I spent ten years living in Venice Beach, CA — a vibrant melting pot of people, art, and energy. Those were some of the best years of my life. I’d wake with the sun, play beach volleyball with friends for hours, watch every sunset I could, and share family-style meals with travelers passing through. I rarely left my little ten-block radius of sun-soaked paradise. I walked, biked, and skated everywhere. Life was simple and spontaneous — it didn’t need much planning, just presence.

Pretty Little Saturday is a tribute to that time and place that shaped me so deeply. It captures the spirit of those days — light, free, and full of connection and creativity.

“Tangerine” explores isolation and the search for connection — how do you personally find grounding or stillness when life feels chaotic?

I find grounding and stillness in a few different ways. Recently, I’ve gotten back into meditation and yoga, which have both been really helpful. I’ve also started a habit of burning incense and putting on a calming playlist as I wind down in the evening.

Limiting my time on my phone — though it’s definitely a challenge — has helped open up more space for daydreaming and reflection, especially when I’m searching for lyrics or trying to understand what I want to say in a song. And lately, spending time with a new instrument has been grounding, too. Getting to know the Weissenborn guitar has helped me hear music in a fresh way — it’s brought me back to a beginner’s mind, and that’s been really inspiring.

Looking back at your debut and now this release, what’s changed most about your creative process or what you want to say through your music?

I’m already back in the studio working on my second album while continuing to promote singles from my debut and preparing for a big social media push leading up to the full album drop in early 2026. 

This next record leans more heavily into live drums, gritty guitars, and synths — a sound I’m really excited to explore. Also, As I mentioned earlier, I’ve been frothing over a new instrument: the Weissenborn guitar. An incredible luthier named Tim Kill is currently building a custom one for me in Australia. I’m hoping to fly over to pick it up in person — it’s been a dream of mine to visit Australia, and I can’t think of a better reason for a first trip. I plan to feature the Weissenborn on this second album; it has such a unique emotional character and brings a whole new texture to my sound. 

As for what I want to say with Album 2, I’m trying to stay open and let the songs guide me. Each one has its own story and energy. As long as I’m making music and pushing my creative boundaries, I’m happy.

You’ve hinted that “Tangerine” is a taste of what’s next — what can listeners expect from the next chapter of Pretty Little Saturday?

My debut album, Long Overdue, hasn’t been fully released yet — Tangerine is the second of two singles I’ve shared so far.

Since this is all new to me, I wanted to take some time to release a few singles first and really learn the ropes of putting music out independently. It’s been a great way to understand the process and connect with listeners along the way.

I’m planning to release a few more singles throughout the year, with Long Overdue set to arrive in full in early 2026.

INSTAGRAM

Photography @jared.kinley

You’ve just dropped ‘Heart Attack’ — can you take us inside the moment you knew this was the right song to mark your return?

After record two, I was searching for a new way to approach songs, a new tone, a fresh sound. ‘Heart Attack’ was one of those songs that just jumped out at me immediately. It felt like a new chapter had begun, the page turned.

‘Heart Attack’ feels both propulsive and vulnerable. How did you find that perfect balance between emotional storytelling and infectious energy?

I think I’m sort of obsessed with duality at the moment. I love blending the opposite spectrums of reality. This song is sort of a good example of that. I wanted the lyrics to feel vulnerable, but the song is this sort of driving force that counteracts with the melodies.

You worked closely with Taylor Johnson again on this track. What is it about your creative partnership that brings out your best work? 

When you get to make music with one of your best friends in the world, it creates an environment of encouragement and honesty where we can be real with each other. There’s no reading between the lines. He’s also an evil genius of sorts, Taylor. He is single handily the best musician I have ever been blessed to encounter in this life.

Cian Riordan’s mix gives the song a big, cinematic feel. How important was that mix in shaping the final sound? 

After we finished the track, I went on a deep dive search for a mixer. I was listening to all kinds of records; searching for this exact sound I was after. Cian’s name kept popping up as the mixer for a lot of the records I was listening to. He’s the perfect balance of this sort of 70’s saturation, whilst keeping the song sounding current with the times. I couldn’t have asked for a better mix. Cian is a legend.

HELLO STRANGER has been such a pivotal record for you. How did the experience of making that album influence this new chapter?

I poured my soul into ‘Hello Stranger.’ It was not an easy record for me to write. I was going through an identity crisis at the time and felt like I was in a constant fight with myself and the person who I wanted to be for the world. Once I came out the other side of that record, I wanted to create from a different perspective, I hate to this say this but I wanted to have fun again making records… And fun we did have again.

You’ve been named one of SXSW’s “Best 15 Acts” and sold out shows across the globe — how has the growing audience changed the way you approach live performance? 

The live show is everything to me. I write the songs based on how I am going to perform it live. The more the audience has grown, the more energy I feel like is being put into these songs and live shows. The songs have grown and changed as the crowds have grown and changed. It’s a beautiful ride to be a part of.

The HELLO STRANGER tour has been high energy. What’s been your favorite live moment so far this year? 

It has to be playing the SWR3 festival in Baden-Baden. It was a pretty surreal moment to sell that venue out to that size of crowd. I’m a kid from a small town in Oklahoma. It warmed my heart to look up to that crowd with my best friends behind me. It’s a moment I will never forget. Mom & Dad, I am really living my dream!!

This upcoming run includes both Europe and West Coast US shows — what can fans expect from the setlist and overall vibe of these gigs?

Sweat, tears and electricity.

With over 50 million streams and counting, what excites you most about where Thunder Jackson is headed next? 

The possibilities of the sound of Thunder Jackson are infinite. I want to continue to create and challenge the listener, with something fresh and something different. I’m about to start writing record three… prepare for a wild ride.

“Restless” is such a powerful debut. Can you take us inside the first spark — the moment you knew this song had to exist?

Thank you very much for the compliment, we appreciate it. It’s a pleasure to be with you today.

The original riff came from messing around on my travel Martin while living on 443 Kipling St. in Palo Alto during my Stanford days. I remember being lost in thought, playing around with a G to open C chord progression that felt a bit burlesque, almost cartoonish – like Johnny Cash meets Alan-a-Dale from Robin Hood. I loved the hypnotic back-and-forth/marching band quality it had, but it felt too pretty and predictable to me, so I added that B7 strummed aggressively to take us somewhere else, which instantly reminded me of Joshua’s guitar strumming in Songs for The Deaf (Queens of the Stone Age).

I then jammed it with my dear Australian friend Louis Stenmark at a dorm hangout, and in his phone notes I saw the words “Rest Less.” It instantly clicked – sonically it fit, emotionally it captured the tension I was chasing, and I thought that the juxtaposed wordplay of “I need to rest less, and I am feeling restless” would be a fun twist. A few nights later after hanging at the Patio, I showed the riff to my other dear friend Jack LeVant, and he started freestyling over it with this Mattafix-style flow. That is when it all made sense to me – hip-hop had just walked into the room. I saw country & big band rockabilly on the verses with a Hip-hop flow, then Green day, Social Distortion and Marshall amps on the choruses. I demoed it that night on my laptop on Logic Pro, my Les Paul, my Martin, MIDI drums & bass and my iPhone voice notes for vocals. Little did I know at the time, Rockabilly legend Slim Jim Phantom of the Stray Cats would end up actually playing drums on Restless with us for the final master recording.

When my brothers Paolo Zocco and Matteo Zocco heard the demo, they immediately helped shape the structure and lyrics, and added the grand piano, synth layers and vocal ideas. The guitars gave it drive, but the synth injected that manic edge – the sonic equivalent of being on a carousel spinning, which we would later literally use in the Official Music Video shot in Geneva, Switzerland. Critically, Matteo later came to me and said “It needs something more, like a woah or another vocal hook at the pinnacle”, which then became the Woah stadium chant hook from 2:19-2:31 in the track, which is one of my favourite moments in Restless.

At its core, Restless came from the universal tension between comfort and change. We wrote it in a period where we felt electrified by the idea of escaping and personal, societal or creative limitations. The song encapsulates the adrenaline rush of being restless not because something is inherently wrong, but because you’re striving for more and you’re ready for the next leap forward. To us, it is a fusion of freedom, rebellion, and creating your own path.

The track was a true family affair, co-written with your brothers Paolo and Matteo. How does creating music together shape the emotional core of ZOCO?

The heart of ZOCO is a familial bond. Making music with my brothers is deeply satisfying and organic. Growing up we always were obsessed with music, both creating and playing ideas to one another. Paolo is my closest day-to-day collaborator, an instinctive songwriter and pianist with a gift for melody and cinematic arrangements. Matteo, currently a master’s student at Stanford, has a brilliant sense for harmony and top-line composition. His contributions often take a track from great to timeless.

This combination of different talents is essential to complementing my songwriting. It gives our writing the emotional layers you hear. In my view, the fusion of our individual talents gives us depth, authenticity and emotion in our songs, and being so close as brothers means we can work honestly and efficiently together towards making the song as good as we can.

You’ve said “Restless” is about breaking free and living spontaneously. How do you personally press pause on autopilot in your own life?

That is a great question. Honestly I’m not sure that I pressed pause enough before I started to craft this debut record of ours (LUMANISTA) 2 years ago. I suppose we all dedicate our time to things to a point where it becomes a form of living autopilot i.e without intentionality, but to me as long as it’s intentional and you are aiming at something you are passionate about, that is the goal. Perhaps I conceived Restless as a reminder to myself to consciously choose to allocate my time towards making my dreams happen and creating a timeless album, as challenging as that would be, instead of losing time in the inertia of the day-to-day autopilot habits that, while comfortable, make you restless. This is because they are ultimately an opportunity cost, and not aligned with the self-actualization your spirit yearns for.

Since doing what I love full-time, my “autopilot” has changed. When it comes to my creative side, I have found that I am overly-obsessive with regards to my art, sometimes  to a fault. It is difficult for me to press pause on this day-to-day. I am constantly thinking about how to improve a song, an artwork, or a video concept, even once it’s clearly finished. When you love what you do it hardly feels like work, and it is deeply fulfilling, but now my challenge is avoiding burnout and making space for the other pillars of my life, namely friends and family. I am still working on an answer, but I have found that the best thing to help me pause my creator headspace is for someone in my circle to pull me out of it with a proposal for a hangout or an event. And ultimately, continuing to live is what fuels my writing, so I know that I need to strike the balance between building and living regardless of how caught up I may get in finishing a project. I could never or would never do this career alone for that reason. I thrive off collaboration and sharing the journey with others.

The all-star lineup includes legends like Carmine Rojas, Slim Jim Phantom, and London Hudson. How did those collaborations come together, and what did each bring to the song’s character?

On Restless specifically, we recorded with the great Carmine Rojas, Slim Jim Phantom, and London Hudson. It’s the only song on LUMANISTA (and maybe even in modern rock) that features two iconic drummers from different generations. Slim, synonymous with rockabilly as the drummer of the Stray Cats, brought that authentic rockabilly swing to the verses. London, from Return to Dust, to me represents the best of modern rock drumming, bringing power, space, wisdom in choosing what to emphasize rhythmically, and incredible natural talent.

I had originally demoed all the parts for Restless and the LUMANISTA album with my brothers and JJ Wallace, and it was our mentor Kerry Brown who first connected us with Carmine and Slim. I later met London through my dear friend and engineer for LUMANISTA, Jake Pace, who had a sixth sense that he would be a perfect fit for the final drum takes. When we called London to see if he could play on the record, I remember he only had a few days to learn the whole 9-song LUMANISTA record. And over 2 days, he played the whole album in 2-3 takes each, all in great spirit. I remember looking at Jake in the control room and thinking “Wow man, he is on another level”. His energy never flagged; he welcomed feedback, pushed himself, actively worked with me to come up with the best parts for each song, asking me between takes what I was hearing or wanted more of, and suggested awesome ideas.

I remember when he first did that La Grange style fill before the chorus of Restless, we both looked at each other and laughed – ZZ Top reference! I cannot say enough about London’s professionalism. He was an absolute pleasure to work with and his talent, professionalism, and kindness were inspiring. We are very happy to have him on the record and I am grateful to call him a friend. His band Return to Dust is crushing it right now on tour with Breaking Benjamin and Three Days Grace – definitely go check them out.

Then there’s Carmine. I’d be remiss not to emphasize how priceless Carmine’s mentorship and input was on the production and arrangement side too. Beyond playing nearly all the bass parts on LUMANISTA, including Restless, Carmine spent countless hours guiding me on how to sharpen my songwriting and arrangement choices. His musical knowledge is immense – his experience as the rhythmic backbone of Bowie classics like Let’s Dance and Modern Love was evident – yet he could effortlessly draw from different styles. On Restless, for example, he contrasted a straight bassline with a Motown-inspired walk and even a jazz upright outro, giving the song layers of flavor. He was incredibly generous, always challenging me to refine the presentation of my hooks, and reminding me: “You have to imagine it live – how people will see it on every level, visually and sonically, and don’t give away too much right at the beginning.” I feel deeply grateful to call him a mentor and friend, and want to thank him here for taking me under his wing on LUMANISTA.

That high bar carried through the rest of LUMANISTA. We brought in Gunnar Nelson (Nelson) and Kerry Brown (Smashing Pumpkins) on production, Stephen DeAcutis (Gladys Knight, Cyndi Lauper) on mixing, and the legendary Howie Weinberg (Nirvana, Beastie Boys, Metallica) on mastering. Our thinking was simple: if we want to carry rock forward, why not do it alongside the architects who built the foundation—while shaping a sound for 2025 and beyond?

Working with Gunnar Nelson and Kerry Brown must have been a unique experience. What was it like having their creative fingerprints on your debut?

Gunnar and Kerry have been nothing short of transformative for us. Gunnar brought in an exceptional legacy of melody, vocal harmonies, and rock craftsmanship. He approached our project with candor, fresh energy, and professionalism – treating our work with the seriousness of seasoned musicians even though we were new.

I recorded all the vocals for our LUMANISTA album with Gunnar in just a few days at his Nashville studio, and we wrapped Restless in only a few hours. His instincts were razor-sharp, knowing exactly which of my ideas added to the song and which were superfluous. Beyond being a gifted artist, he’s a phenomenal vocal producer. I’d always liked to octave layer my vocals à-la-Arctic-Monkeys and play with my range, and Gunnar saw the vision instantly. As a perfectionist myself, having a mentor of his caliber guiding final production decisions, and sitting in the room with me to actually cut the final takes – was invaluable. Vocals, harmonies and hooks are his bread and butter, and it was an honor to watch his wisdom elevate Restless and the entire LUMANISTA project as both producer and vocal producer.

Kerry is visionary, and as executive producer he helped scope the bigger musical picture and aided in bringing on Gunnar to help carve the song into its final form. He is fantastic in imagining and translating raw ideas into a polished, authentic final form. He knows exactly how to get the magic in the room. Together, both Kerry and Gunnar as collaborators and mentors, pushed us to elevate Restless beyond a great pop rock song into somewhat of a global anthem.

The track was recorded across Los Angeles, Milan, and Nashville. Did working in such diverse locations influence the sound or feel of “Restless”?

I’m really a product of many cultures. I have three nationalities, a ridiculously diverse music taste that runs from classical to electronica to death metal, and I grew up in Geneva, a city where almost two-thirds of residents have more than one citizenship. That international identity is baked into the ethos of ZOCO. So in true ZOCO fashion, Restless and the whole LUMANISTA record carry the imprint of people and places across the world, from the earliest sketches to the final mixes and masters.

Working in different locations absolutely shaped the sound, as it meant being able to collaborate with different artists internationally. In Milan, at Massive Arts Studios, we laid down the first skeletons of the songs with our fratello JJ Wallace (Jorja Smith’s drummer and 2018 UK Young Drummer of the Year). JJ is one of the most technically gifted drummers I’ve ever met. He hadn’t recorded much straightforward rock before our Milan sessions, so he brought this jazz-infused style that gave the early demos a very technical and unique flavor – ideas London would later re-interpret for the final takes. I still have those demos with JJ’s parts, and who knows, maybe they’ll see the light of day if enough people want to hear them.

Los Angeles was where the production really came alive. At Kerry Brown’s Rolling Live Studios, we recorded all our parts and the other instruments, and working with Carmine Rojas and Jake Pace on arrangements took everything to another level.

Finally, Nashville was the finishing touch. Gunnar Nelson helped re-record all of my final vocals, layered his own harmonies that gave the songs arena-ready power, and helped me find a vocal chain that brought out the best in my baritone. That was the icing on the cake that made Restless feel complete.

You’ve blended alternative rock with pop, metal, electronica, and blues. How do you strike the balance between technical musicianship and emotional storytelling?

That’s another great question, and something I think about constantly. As a true music lover, I’ve always been influenced by many genres. My classical background gives me an ear for simple, beautiful melodies, while my rock/metal guitar side pushes me toward technical intensity – so the emotional and technical side often complement each other naturally.

On the technical side, I see each genre as having its “incontournables” – those essential elements that define its character to me: phrygian runs in Flamenco, the clave in Latin music, distorted power chords in rock, crisp synths in electronica, or rhythmic vocal accents in hip-hop. I love pulling these colors together and painting around a musical idea like a canvas. The key is making it feel organic, so it doesn’t feel like a lazy crossover attempt. You cannot just throw sushi on pizza and call it great fusion food, it has to work toward a clear vision. With ZOCO, the idea always comes first, the genre touches only matter if they serve it.

Then emotionally, I always focus on the hook. Technique, arrangement, dynamics, and all of that should support the delivery of the hook, as the hook carries the emotional gravitas. Great melodies are infectious and are the perfect delivery vehicle for whatever message or feeling you want the listener to carry with them.

The EP LUMANISTA (Part 1) is on the way. How does “Restless” set the stage for the sound and themes we can expect from the full release?

I want ZOCO to be a conduit between past and future guitar-centric music, reimagining a sound fit for the red carpet in 2025 and beyond. To do this, the ZOCO sound needs to authentically homage the greats while bringing in our modern eclectic take, and so it was very important to us to actually feature some of the progenitors of the greatest records on every ZOCO record.

Our 2025-2026 debut album LUMANISTA, which features Restless, achieved this on the whole. It includes collaborations with Carmine Rojas (David Bowie, Tina Turner, Joe Bonamassa), GRAMMY-winner Theron “Neff-U” Feemster (Michael Jackson, Dr. Dre), London Hudson (Return to Dust), Katja Rieckermann (Rod Stewart), Guy Erez (Alan Parsons), Slim Jim Phantom (Stray Cats), JJ Wallace (Jorja Smith) & more across different songs.

LUMANISTA Part 1 is the opening chapter of a larger story we hope to share in full by next summer. The title itself is a wordplay on the Italian L’Umanista (“humanist”) and luminate (“to bring light into”), and that captures the heart of the record. It explores timeless values our generation needs to hear – romance, living more physically than digitally, and the search for purpose in 2025. Thematically, it leans toward optimism, balancing light and joy with wake-up calls and cautionary tales that push listeners to reflect on their own path.

Sonically, it jumps between genres and moods, with the guitar always at center stage. This EP will have a wide variety of different songs, as I want every record to be a diverse vintage, different shades and tones like in a fresco, collectively forming the larger story line of LUMANISTA. In Restless, we “painted” with country, rockabilly and punk brushstrokes on the sonic canvas. Once a style and idea is explored, I like it to stand on its own and move so they can never place us, I like to explore new territory. This sets the stage for ZOCO to not take on one distinct form but to pull and showcase different aspects of our musical variety.

You often play multiple instruments and take on writing, producing, and performing duties yourself. What drives you to keep such a hands-on approach to every part of the music?

Honestly, I’m a perfectionist. I want everything to reach the highest level possible. That instinct naturally leads me to take on multiple roles in writing, producing, and performing. For me, it’s about ensuring that what we create feels handcrafted and intentional, with real artistry and quality behind it. I cannot do it any other way.  I only strive  to make timeless records, not elevator music. I want to make songs that become part of people’s lives, that bring people together, that might even spark movements, especially at a time when music is so commodified and plentiful.

Of course, that doesn’t mean every experiment I try is “right,” but if an idea comes to me, I feel compelled to see it through. For example, while I was recording the guitars for LUMANISTA, I suddenly thought it would be amazing to layer 12-string parts to brighten certain melodies and add a Led Zeppelin-like shimmer. That led me to record and double every rhythm and lead part across the album (which took forever, lol). Not all of it made the final cut, but the textures added a new dimension and shine to the songs that I couldn’t have achieved otherwise.

Now that I’ve completed the first ZOCO record, I better understand what my perfectionist influences – artists like Prince or David Bowie – must have felt: that relentless urge to refine until the work feels complete. Being a multi-instrumentalist helps me quickly try out these impulses on my own before deciding what’s worth keeping, which makes the process both demanding and deeply rewarding.

ZOCO feels both international and deeply personal. Where do you see the project going next — sonically, creatively, and geographically?

ZOCO is about breaking borders – musically and culturally. Sonically, we’re blending rock with global textures; creatively, we’re pushing into cinematic storytelling; and geographically, we see ourselves performing everywhere from our roots in Geneva to the biggest stages worldwide.

One of the main reasons I’ve dedicated my life to launching ZOCO is to perform live – to create unforgettable shows for audiences that raise the bar on every level. The LUMANISTA record itself was conceived with the stage in mind, from the dramatic dynamics and genre twists within each track to the full album’s arc, which plays almost like a concept record.

To me, you don’t go to a concert just to hear and watch the songs being played live – you go for an earthshattering experience. Expect endless energy, dancing, drama, crowdsurfing, passion, headbanging, philosophy, cinema, and unity at a ZOCO show.

We would like to extend a heartfelt thank you to the Partae team for your time and interest in ZOCO. We’re delighted to share our journey with you today, and are excited to share more about our future releases with you again soon. We are releasing around 1 song from the LUMANISTA album a month for the next year, so many more updates to come.

Warm Regards, Marco & ZOCO

INTERVIEW