the partae

It’s been over a decade since you last played in Australia. What made now the right  time to come back —and how does it feel to return after all this time?  

Yes. Too long. I’m excited to be back and explore new parts of Australia like Perth and  Adelaide. So much has happened in our lives since then. There’s so much to catch up on —now is always the right time, isn’t it? 

You’re jumping on Bloc Party’s 20th anniversary tour — how did that connection  happen, and what drew you to the idea of joining them?  

We’ve always been fans of Bloc Party. Silent Alarm is a seminal record for this band. We’re  honoured to be a part of it. I think we just saw the opportunity and said, “Fuck. We have  to go back.” 

Both you and Bloc Party have always pushed genre boundaries in your own ways.  How do you see your sound fitting into this tour alongside theirs?  

It just feels natural. There are many shades to both of our bands so it’ll be interesting to  see it all happen in real time. Musicians feed off of one another when they share the same  stage, and that energy will only reveal itself the first night in Sydney. 

Songs like “Cough Syrup” and “My Body” still hit hard with fans. With a shorter  support slot, how do you decide what makes the cut for your setlist?  

They’re on the set list! 

You’re hitting major cities across Australia and New Zealand — is there a particular  show or city you’re most looking forward to playing?  

I’m excited to go everywhere. I know it’s a cop out to say it, but it’s true. We’re always up  for new experiences. We hope this is the second of hopefully many more trips out here. I  could probably answer your question better, when that happens.

You’ve built a reputation for powerful, high-energy live shows. Can fans expect  anything new or different from this run of performances?  

We are going to try new things and old. Experiment and switch around—not get too  precious. We’ll honour the songs that got us here, but first and foremost, we will honour  our creative spirit.  

Does your mindset or prep change when you’re supporting another band versus  headlining your own tour?  

Each set tells the story; it’s just a matter of how fast you’re getting there. This time, we’ll  just have to cut a few scenes. 

Bloc Party’s Silent Alarm is such a cornerstone for indie rock fans. Was that album  ever on your radar growing up or early in the band’s life?  

Absolutely: I had the entirety of Silent Alarm on my first ever iPod. It just becomes a part  of the bloodstream that young. 

There’s a huge fanbase for you down here — do you see this tour as a bit of a  reintroduction, and could it lead to a full headline tour soon?  

Definitely a reintroduction. This is not the end of the story between Australia/NZ and us.  

What’s coming next for Young the Giant after this tour — any new music, projects, or  surprises on the horizon?  

I guess you’ll have to come to the show to find out?

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You’ve worked with incredible producers like Kyle McCammon and the team at Evoke Sounds. How do you approach collaboration in the studio — are you more of a vision-first artist, or do you like to build the concept together from scratch?

Yes, they’re the best  Every song and producer I work with is different, but I love starting from whatever I’m feeling or is top of mind at that moment and building the song from there. Sometimes with a melody or a musical hook, other times it’s just a lyric I jotted down in a note on my phone. I’ve been lucky to work with producers who are open to following the creative process wherever it takes us, even when it leads us somewhere totally unexpected. In collaborations, I try to stay open and curious. The best work happens when there’s trust and no ego in the room.
There’s a cinematic quality to your music — especially in “Stone Cold.” How intentional is that storytelling lens when you’re writing or producing? Are you visualizing scenes as you create?

I wouldn’t say I necessarily set out with that intention, but I come from a background in acting and before pursuing music, studied Acting at the Victorian College of the Arts so storytelling feels second nature to me. I write music from my own lived experience, so naturally there’s always some sort of a narrative- a character, a moment, a shift. Whether intentional or not, it’s all storytelling and I think that’s what brings the songs to life.

The official video for “Stone Cold,” shot at Archie Brothers, is vibrant and unexpected. What drew you to that location, and how did that playful aesthetic contrast or complement the song’s deeper message?

I had many long brainstorming sessions with the Director Frederick McHenry before we came up with the idea for the “Stone Cold” music video. We kept coming back to this idea of “playing games” and loved the idea of shooting it in an arcade or something similar.

Once we found Archie Brothers it was perfect- we even used one of their escape rooms that was Rubik’s Cube-themed, which felt symbolic in all the right ways. We knew we wanted it set at night, but we were drawn to the contrast of bright colours, slow-motion action shots and something a little dreamlike, almost intoxicating.

My good friend Ed McCullough, who studied with me at VCA, kindly stepped in to play the “love interest,” which added a whole new layer. Amid all the chaos and neon beauty, it’s the quiet looks between us that hint at something shifting… like things could change in an instant… could turn stone cold.

You’ve already achieved impressive chart success with tracks like “Beautiful Liar” and “Hold Me.” How do you mentally and creatively handle the pressure of following up high-performing singles?

That’s a great question and honestly I think I’ll always feel that pressure- but I put it on myself! However, I’ve been incredibly lucky and proud that so far each release has outperformed the last…phew! Hopefully I can keep it that way.

While I’d be lying if I said things like streams or chart success don’t matter, I’ve learned not to let the numbers define the work. At the end of the day, they’re out of my control. What is in my control is the quality of the music. So I try to focus on creating songs I’m proud of, music that feels honest and intentional. I’ve learned so much in the relatively short time I’ve been releasing music and with each track, I try to offer something fresh and meaningful. Especially in an industry that’s as fast-moving as this one.

Your sound blends R&B, soul, and pop with an international polish. How do you stay grounded in your Australian roots while building a global identity as an artist?

Australia, and Melbourne in particular, has such a rich live music culture and I love testing out new music there and watching how people respond in real time. There’s a special magic in live music which always reminds me why I love doing it.

In Australia, we are influenced by so many different cultures and music genres which is amazing. While I think my sound is global, there’s something inherently “Aussie” about music that is straight to the point, real and a little rough around the edges…I don’t know if I’ll ever stray too far from that.

There’s a noticeable thread of emotional honesty in your work — even when the production is sleek and upbeat. How do you balance vulnerability with musical confidence in your songwriting?

For me, vulnerability is the foundation. I can’t create without it. It’s the honesty in the lyrics that gives me the confidence to share the music with the world. If I’ve lived it, felt it, and can articulate it in a way that feels true then I trust that someone else will connect to it, too.

Having been endorsed by tastemakers like Hernán Cattáneo and featured on major platforms, how do you decide which aspects of your artistry to evolve and which to protect as core to your identity?
Yes that support was amazing and a huge confirmation that I was heading in the right direction. I think as artists (and as people) we’re always evolving but I try to stay rooted in what made me start in the first place: real lyrics, emotive melodies, and a connection to story. That core doesn’t change, even if the sound around it does.

Your upcoming EP is titled Reasons I Can’t Sleep — a striking concept. Can you share some insight into the overarching themes of the EP and how “Stone Cold” fits into that emotional landscape?
I love that you asked that. The title came out of a conversation with my manager almost a year ago- we were talking about how so many of the songs on the EP were quite different in their vibe, but the themes were all things that kept me up at night. If you know me well, you’d know I’ve struggled with sleep my whole life- whether it’s from jet lag, being out too late, overthinking, disappointment, or hope. Reasons I Can’t Sleep is a collection of the things that have kept my mind racing at 2AM (the title of my previous release). “Stone Cold” is one of those reasons I couldn’t sleep for a while- you only have to listen to the lyrics to figure out why.

Looking ahead, what does “success” mean to you now — especially after seeing early international traction? Are there new markers of growth you’re chasing, creatively or personally?

Honestly, seeing “Stone Cold” land on playlists and charts around the world has been surreal. It’s one thing to make music that you love, but it’s another to know that people in places I’ve never been to are connecting with it. That kind of reach has definitely shifted my idea of success and I’d really love to tour my music. I’ve done original shows in Melbourne, but now I’m dreaming about how audiences might respond in other countries. That’s the next chapter I’m chasing.

Creatively and personally, I feel like I’ve found my stride and I just want to keep that momentum going. Keep releasing music, stay inspired by other artists, places, and people, and build something that lasts.

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Arcadia feels like a deeply personal journey through light and darkness. What inspired you to explore themes of the afterlife and transformation in this album?

Not to be morbid, but we are all going to die. It’s a reality that we all live with each day, and we see ourselves aging as those close to us are doing the same. I think it’s important to acknowledge this reality, and to make your peace with it in the here-and-now. I believe that there is a universal consciousness that we are all a part of—a consciousness that exists outside of space and time. Each of us is a unique expression of that universal consciousness, and we each have our own mind and consciousness that is unique to us. When we die, we shed our physical bodies and minds, and we return to the current of universal consciousness that we all came from. For me, that is the “afterlife”.

You blend plainchant melodies with ambient electronics in a really unique way. How do you approach balancing ancient musical traditions with modern sound design?

I guess I don’t really think of it that way when I’m writing. To me, it’s all part of a greater continuum, whether it’s from the 12th century or the 21st century. I’m always searching for the right combination, and this was the one that spoke to me as I was creating “Arcadia”.

The vocal performances by Sofía Campoamor are hauntingly beautiful. How did you come to collaborate with her, and what did she bring to the emotional core of the album?

Sofía Campoamor and I met in 2023 just after “Evensong” was released. I had recently performed at a monthly music salon in Brooklyn called Soundshop, and Sofía performed at the following month’s salon. I fell in love with her voice and her spirit, and she and I became friends over the following year, attending each other’s shows and getting to know each other. At the end of 2024, I asked Sofía if she would be interested in working with me on a new album called “Arcadia”, and she was all-in on both singing and collaborating. This album was the first time that I collaborated with another composer, and together we developed 3 of the 8 tracks on the album. Sofía also helped me with the other tracks by coming into my studio and recording demos as I was writing. The resulting sound is unique because it’s a combination of our two musical voices.

Several tracks feature Latin texts—some original, some traditional. What drew you to Latin as a language for expressing the ideas in Arcadia?

I started with texts from Revelations, and from the traditional Requiem mass, and these are used in the first 2 tracks and on “Et lux perpetua”. For the bulk of the album, I wrote original texts and had them translated into Latin. Since “Evensong” was all in Latin, I wanted to maintain that narrative consistency, as I feel like Latin gives the music a sense of timelessness.

The album moves through a clear narrative arc from darkness to light. Did you have a story in mind as you composed, or did the journey reveal itself as you worked?

It’s funny—the narrative arc of “Arcadia” didn’t fully materialize until the album was done. Before that, I had an idea of what the album was about, but this changed once I heard the whole thing together. Originally, I had thought that the whole story takes place in Arcadia, a mythical paradise where everything is perfect and peaceful. I thought that the album would be about this idyllic paradise, but somewhere along the way, the story developed and became quite dark and dramatic, and I realized that the album is about the journey from death to Arcadia. We don’t actually arrive in paradise until the very last track. Everything leading up to that moment is more like the medieval concept of Purgatory, where the soul goes through a final test and a cleansing before entering Heaven.

Can you share a specific moment during the recording or production of Arcadia that was particularly meaningful or challenging for you?

My favorite part was getting to work with everyone again, in the same studio (Reservoir Studio in NYC), and with the same engineer (Robert L. Smith). We had such a great time making “Evensong” in that environment, and it was a real thrill to be back there 2 years later to make the follow-up album. We’ve become a well-oiled machine at this point!

The instrumentation blends strings, piano, synths, and layered vocals. How did you decide on this particular sonic palette, and how did it evolve during the creative process?

Over the 30+ years that I’ve been releasing music, I’ve always tried to innovate with each new album. I’m always looking for new sonic combinations, and new ways of expressing these big ideas of life and death and existence. Each album builds on the previous one, while also adding something new. Piano, synthesizer, and keyboards have always played a major role in my sound, along with live strings. On “Evensong”, I took the big step of incorporating live vocals in the sound, and “Arcadia” takes this a step further.

Arcadia is described as a sequel to Evensong. How does this album build on or differ from that earlier work, both musically and thematically?

“Arcadia” was written 2 years after the completion of “Evensong”. The music of “Evensong” expressed the journey from conception to death, and it had an open ending that could either return to the beginning of the life cycle or to some other place beyond death. After its release, “Evensong” also became the score for a full-length ballet by choreographer Maria Caruso. Maria’s choreography added a new level of depth to the music, and when I saw the ballet premier in late 2024, I was inspired to create a follow-up. Maria’s dance piece ended with the main dancer disappearing into the wings as the lights faded to black, and I found myself asking “Where did she go?” So, “Arcadia” answers this question.

Ambient music often invites listeners into a contemplative space. What do you hope listeners feel or take away from experiencing Arcadia?

I’m always aiming to take people on a journey. It’s my hope that they are inspired by “Arcadia”, and that it conjures up images and emotions for them.

Finally, as an artist who has worked across many styles and projects, how does Arcadia reflect your growth or shift in creative direction at this point in your career?

“Arcadia” really feels like a pinnacle for me. It feels like the culmination of everything I’ve done since 1994, while also being the start of something brand new. I have a feeling that there will be more music coming in the future from me and Sofia, since this album was such a joy to make.

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