‘All Good When I’m With You’ feels like such a warm, healing song — what was the moment or inspiration that first sparked its creation?
“All Good When I’m With You” was written on my 8-string ukulele while I was reflecting on my purpose as a songwriter: to bring comfort and joy to the world. I wrote this song two years ago after I had just finished reading Mozart’s Sister, a book about Nannerl Mozart and her passion for music in a male-dominated society. I wanted this song to be easy for my audience to sing along with, while also expressing what I hope to offer through my music—joy, comfort, and resilience in the face of challenges. When the audience sings it back to me during live shows, I feel a profound sense of belonging and purpose. It reminds me why I do what I do: to share joy and connection through music.
The track blends folk roots with cinematic strings and guzheng, creating a beautiful sense of cultural fusion. How did you approach blending those sounds in a way that felt authentic to you?
I’ve always been drawn to classical and instrumental music since I was little. Honestly, instrumental music soothes me more than lyrical music. My neurodivergence (AuDHD) always keeps my brain busy and noisy, so listening to instrumental music stops me from overthinking. My producer, Louis Montgomery, helped me layer different instruments and vocal tracks in a way that creates a soothing sense of fusion that helps listeners feel comfortable enough to settle into the lyrics.
You’ve said this song captures the healing power of music and connection. What role has songwriting played in your own healing process?
I care about feelings. My mum was a hardworking single parent, and silence was usually the norm when we had dinner together after her long hours of work. Sometimes I would make silly noises just to make my mum and sister laugh and break the ice. There’s still sadness and pain from my childhood that was never mentioned or resolved. I didn’t start writing music until my late 20s, so there were many things left unsaid that I finally had a space to release through songwriting. Most of my songs come from personal experience — those are the feelings I know most deeply, and they are what I feel most genuine sharing with my listeners. I know many people carry similar emotions that need to be heard. That’s why I love the post-gig chats with my listeners, when we share our stories and realise we’re not alone.
The guzheng adds such an intimate texture to the track. What does that instrument mean to you personally, and how did it find its way into the final recording?
The addition of a Guzheng was an authentic reflection of my life journey. Growing up in Taiwan, I had always heard of the Guzheng but did not have access to one. Right now, I am living in China for my partner’s work, and I fell into some Guzheng lessons, then decided to integrate the sound into my song. While recording in Louis’s studio in Melbourne, I put a call out on social media to borrow a guzheng, and my friend told me his auntie had one. Louis and I went to her house and helped dig out an old guzheng from her shed. We took it back to the studio, tuned it up, and then captured a recording that made it onto the final mix.
You worked with producer Louis Montgomery, known for his work with SAFIA and Peking Duk. What did he bring to the sound and emotion of this song?
I went to Louis for a fresh sound for my upcoming album with some electronic elements and sound-scaping to elevate my acoustic sounds. Louis has a classical piano background as well, so he was able to add subtle keys and extra chord progression in the music to bring some surprises for listeners’ ear buds. The song sounded balanced with his specific selections of overdubbed violins and cello. I was asked to play several layers of ukulele to make the song more like a lullaby in the 2nd verse. All the parts came together so well in the end.
The video feels cozy and natural, showing moments of creativity and connection. What was it like filming that with Seán O’Gorman, and how did you want the visuals to complement the song’s message?
I told Sean that I wanted to create a warm and simple video that follows my lyrics, which is songwriting with friends and get soaked up in the sun. Having friends accompany each other is a therapy. I was able to film the video at a friend’s place, and we made some tea together. We shot the video with just one camera since Sean operates solo most of the time, so seeing him doing all his work is amazing. It was stress free, since Sean just made it so easy. We only needed three – four takes to complete the video.
You’re about to tour Taiwan with other singer-songwriters from across Asia for your ‘Between Shores’ tour. What does performing these songs in your birth country mean to you?
This tour means a lot to me since I’ve always wanted to share myself in music and reconnect with my folks in Taiwan. My mum never understood my job as an artist, and I wanted to show her how I work at my shows. Performing in Taiwan is also loaded for me. I appeared on a Taiwan talent show, ‘Super Idol’ 16 years ago, which brought me a recording contract, but also brought me fear because of public criticism due to a small percentage of negative public comments. So it’s a full-circle moment to come back home to share my music journey and stories. I want the audience to know that I’m back in Taiwan now and am confident enough to tell my story.
Your music often bridges cultures and emotions from Taiwan to Australia and beyond. How has living between those worlds shaped the stories you tell through your songs?
My upbringing is reserved since my family rarely talks about feelings. Living in Australia and understanding my partner’s family has made me realise that open communication brings people closer and gains more trust amongst each other. I value the connection that I built with people I met in Australia. I write songs about tough feelings to start my own healing.
You’ve performed everywhere from Woodford Folk Festival to Cambridge Folk Festival. How do you think your live shows have evolved alongside your songwriting?
When I first started performing publicly on the street, I never had enough confidence to call myself a musician, but I knew I had something to give the world. I see music as the channel for me to show people who I am. From playing festivals, I have gained more confidence on stage and know I see that most festival crowds love interactions with the musicians to feel the connection and to take a piece of good memory home with them. Now I love to encourage my audience more singalongs, even in Mandarin!
Looking ahead to your upcoming body of work in 2026, what can listeners expect from this next chapter in your musical journey?
2026 will be the biggest year of my music career to date. The second single of my debut album will be released in February, followed by the third single in April and the full album in May. I’ve been building towards this release for the last three years of my life and am super excited to share it with everyone. The release will be followed by gigs around Australia in the first half of the year, and gigs in Europe and abroad in the second half of the year.
