Your “Willfire” tour combines your classical training with electronic music. How did your classical background influence your approach to creating “future club” music?
My classical music training probably influenced me in subconscious ways. Whilst I don’t intentionally rely on it when creating club music, I’m sure there are things I take for granted as common knowledge. I think all artists are shaped by the music they were exposed to in their formative years, whether they like it or not.
Can you tell us about the meaning behind “Willfire” and how it relates to both your music and your personal journey as an artist?
I used the term “Willfire” because it’s so powerful! It’s a word that evokes intent as well as energy. As an artist, it’s always important to approach my practice with intention – a disciplined method. Most people think that creativity just happens magically, but there’s a lot of focused preparation involved: from setting up my workspace to having a clear purpose and selecting my tools (whether it’s the plugins I use in my DAW or AI). I find that having this preparation enables greater creative freedom because the intention focuses the creative energy (like a lens) instead of dispersing it. In the end, I think this approach creates a foundation for my passions to shine through my music. And there’s no doubt that my music has PLENTY of energy!
Your live shows are known for their immersive combination of live instrumentation, vocals, and synchronized visuals. What is the creative process like when designing a live performance?
I start with the question “What do I want my audience to experience?” I’ve always been a believer that attending a live show should be a different experience from listening to a recording at home. So I always find ways to bring something more to a live show than a listener would get just from listening to my music from Spotify, for example.
From a technical perspective, it’s a lot of reverse engineering because I write all my music on the computer and I’ve got to figure out what the best way of presenting it live is. There are moments during the preparation for my Willfire Tour where I’m like, “Why did I write such a difficult passage to play on the violin???” haha
In your EP’s deluxe edition, you’ve worked with several cutting-edge producers for remixes. How did you choose these artists, and what did each bring to the table creatively?
These were producers who were doing interesting production, who weren’t necessarily the best known names… yet. I like the idea of being able to present something very underground and niche to my fans. When I got the remixes back, I was blown away by how much transmutation happened – they each turned the tracks into something completely different from the original.
You’ve described your music as a fusion of the organic and electronic. How do you ensure both elements are given space to shine during your live shows?
Obviously, the sonic signature of my music that is heard in the live shows is electronic, but when I perform live… it’s LIVE which means there’s always an element of risk, of the unexpected happening. I create live edits for my shows – so the versions audiences experience at my show sound different to the version they’re used to hearing on Spotify. Again, this goes back to me wanting to bring a live experience that is only possible in a live setting.
For example, I’m going to be mashing up some songs together to create new versions. Centre of the Universe is a track from the Willfire Deluxe EP, and it’s getting a live edit that combines elements of the original track with Lucid Letters’ Remix!
The Willfire tour includes appearances at events like the Adelaide Fringe Festival and the Ara Ara Rave by Mirai Nights. What makes these events special for you, and how do they shape your performance?
Okay, I gotta talk about each show because I’ve got something different planned for each city!
First up Sydney, which is going to be held at FBR Cafe, but it’s no ordinary cafe. The cafe is run by FBR ROM who are doing some really cool research and development into reducing waste in the coffee industry. I’m taking over their CUPS & CUTS series, curating a lineup and throwing a daytime rave where coffee and food will be served.
Adelaide Fringe Festival is one where I’m partnering with local game developers, where they’ll premiere a brand new Virtual Reality Game at my show. We’ll be providing VR headsets and controllers so that audiences can play the game while a DJ spins video game soundtracks. This will be a world premiere event… meaning audiences will be the very first in the world to play the game. Oh, and I also wrote some music for the game, so there’s that too!
Then in Brisbane, we have the otaku rave – so there’s gonna be anime, idol performances, a kandi making station, Japanese sweets, a gaming corner… it’s gonna be so much fun.
Finally, the tour will end in Melbourne and I’ve invited my friends Horlin and Mayari to be on the lineup. I went to see Horlin perform live in Brisbane a few years ago and it was one of my favourite performances from a local artist, so I wanted to have him on the lineup. Mayari put out an EP last year that I enjoyed immensely, AND she’s a fellow Asian girlie, so I am so proud to have her on the lineup too.
As a multi-instrumentalist, you often transition between instruments during your sets. Which instrument do you feel the most connected to, and why?
Playing the Erae Touch is sooooo much fun. If you look at my Instagram there’s lots of clips of me playing this light up pad.
You’ve mentioned the concept of “Zhì” (志) and “Zhì Huǒ” (Willfire) as inspirations behind your music. How do these concepts manifest in your tracks or visuals during your live performances?
“Zhì (志)” essentially represents a driven sense of purpose and determination, while “Zhì Huǒ” (Willfire) channels that raw spark of creative energy into tangible action. In my music, this interplay comes through in contrasting sonic textures—otherworldly synth pads woven together with propulsive bass lines, for example. I want listeners to feel that surging momentum that pushes them to keep going, no matter the odds.
Visually, I use fiery color palettes—bursts of red, orange, and gold—across my stage projections and lighting design. These vivid flashes represent that fierce, internal spark igniting everything from the beats to my own performance energy. During more intimate moments of the set (like the verse of ‘Centre of the Universe’, or the beginning of ‘I Need U’), I strip it all back to let the concept of “Zhì” (志) breathe, creating a space where the audience can reflect on their own aspirations. Then, as the bass drops or the tempo shifts upward, we shift gears into the full force of “Zhì Huǒ,” layering eruptive visuals that match the music’s intensity. Ultimately, it’s about immersing everyone in this cycle of reflective stillness and explosive willpower, so they leave feeling inspired to chase their own willfires.
How has the global electronic scene influenced your sound, and what role do you see technology playing in the future of live music experiences?
I love digging through the IDs and tracklists of DJs I love… and go on a rabbit hole from there. Recently I realised that whilst in my head my references are obvious, I think my love for and the influence of underground electronic music in my work has positioned me as an “experimental” artist. I was somewhat confused at first but I’ve come to embrace it. That said, I don’t think “innovation” and “experimental” should be conflated. At the same time, it is exciting to see artists like FKA Twigs gain more recognition for their groundbreaking work.
I’m hoping that there will be technology that allows more accessibility to live music experiences. Whilst being physically present at a show is amazing, the truth is, for so many people living in geographically-distanced places or for folks with a disability, sometimes the only way they get to experience live music is virtually.
I know many artists and even fans don’t like mobile phones at gigs, filming everything. I get where they’re coming from, but as someone who isn’t based in the epicentre of electronic music culture (like Europe or the United States) AND lives with a chronic illness, 90% of the live music I experience is thanks to some hero uploading a recording onto YouTube. Also, due to my physical stature, most of the time when I’m fortunate enough to make it to a live show, I have to use my phone camera to even see past the heads in front of me anyway! So my unpopular opinion is that asking people not to film in live music events is able-ist.
Looking ahead, what’s next for you after the Willfire tour? Do you have any upcoming projects or collaborations that fans can look forward to?
This is my chance to give shout outs to Lonelyspeck and Gaszia (of X&G) because I think people need to check out their music if they haven’t already. Yeah, I’ve been doing collabs with them, but that’s all I’ll say for now.
Willfire Tour Dates 2025
Saturday 8 February
FBR Cafe, Sydney
CUTS and CUPS Takeover
Friday 21 February
Nexus Arts Venue, Adelaide
Adelaide Fringe Festival
Friday 14 March
Wonderland, Brisbane
Ara Ara Rave by Mirai Nights
Thursday 27 March
MISCELLANIA, Melbourne
Supports: Horlin and Mayari
All Tickets are on sale now via lalka.online
