Music Interviews

Congratulations on the release of Melt. Looking back now that it’s out in the world, what has the response meant to you personally?

Thank you. Every single person who takes time out of their day to send me a message, listen to the song or share it with their friends holds a special place in my heart.

Melt explores vulnerability, surrender and putting someone else first. Was there a particular moment or experience that inspired you to write the song?

I have always been a giver. There wasn’t one particular moment that inspired the song. My entire existence revolves around making sure other people are happy, often at my own expense. It’s so entwined in my DNA to sacrifice so it only felt natural to write something that pays homage not only to my love, but to what I bring to loving.

The lyric, “I’ll walk behind you, just because I care,” is incredibly powerful. Why was it important for you to express love in that way?

I’m guilty of being a people pleaser in the past. Now I selectively share that part of me as I’ve managed to set fantastic boundaries. This was a simple and effortless way to share what it truly means to put someone else ahead of you.

You co-produced Melt with Cheekbone. What did that creative partnership bring to the song that helped shape its final sound?

Adib (Cheekbone) is one of my best friends, and also one of the most talented multi-instrumentals and producers I’ve ever had the pleasure of working with. He is a charismatic guitar player, and this song required lots of tension in the instrumentation. It wouldn’t be the same without his input.

The official video feels incredibly intimate, especially with your fiancée appearing alongside you. What was it like sharing such a personal part of your life on screen?

Kind of weird, to be honest. Initially we had a model hired, but she had to pull out at the last minute. I am however so glad it turned out the way it did. When we are older I’m sure we will look back on this fondly.

Your music often balances delicate moments with emotional intensity. How do you approach creating that contrast both musically and lyrically?

It’s just the way I have always liked to do it. Not sure, for my own project, I could do it any other way.

As an artist, have you found that embracing vulnerability has changed the way you write or perform compared to when you first started making music?

It’s made my writing consistently clearer and better. When you lose track of yourself, you lose control of the process.

The production on Melt gives the lyrics plenty of room to breathe. Was it a conscious decision to keep the arrangement minimal so the emotion could take centre stage?

Yes it was definitely a conscious decision, and something you’ll notice more of this year.

For listeners discovering Eyes of Bel through Melt, what do you hope they take away from the song after hearing it for the first time?

Firstly, I hope that you vibe it and love to listen to it. I find it quite cathartic and beautiful like that. On a deeper level, if you are anything like me and have a tendency to sacrifice a little too much of yourself sometimes, I hope that this song teaches you that there’s a time and a place, and it feels utterly nourishing when it’s for the right person.

What’s next for Eyes of Bel? Can fans expect more music exploring this new creative chapter, and are there any live performances or upcoming projects you can share with us?

Yes to all of the above. Follow @eyesofbel for the updates.

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What made this feel like the right moment to revisit B-Grade University, rather than waiting for a rounder anniversary number?

I really wanted to do something to celebrate not just 10 years of this record, but also 10 years of me as an artist. When you’re doing this job you find that a lot of milestones and big moments pass you by when you’re in it in real time. I very much felt an acute sense of achievement upon realising that I have been a working musician for a decade, largely thanks to B-Grade University kicking things off for me. I’m so grateful to be here and I wanted to celebrate that not just for myself, but for the fans and people who have made these songs their own over the years.

The reissue includes a reworked version of “You Don’t Think You Like People Like Me” with Tegan and Sara. How did that collaboration come together, and what did it feel like to sing it with them after they’d watched you perform it from the side of the stage years ago?

I have been a Tegan and Sara fan since I was a kid and getting to meet them and tour with them in 2017 was a dream come true. I say, “never meet your heroes…..unless they’re Tegan and Sara”. When the concept for this special edition of B-Grade came about, the idea of having them feature on it was a no-brainer. They championed YDTYLPLM when it came out and it felt right to have them feature on the new version of the track. When I received their vocal takes it felt surreal – dream come true type of stuff.

Looking back, how do you hear your own songwriting differently now compared to when you first wrote these tracks?

Of course my approach to songwriting has morphed and developed since writing B-Grade University, but I do feel like the essence of what I do is pretty consistent. If anything, listening back to these songs reminds me not to lose the fun and humour in what I do. When things get too serious, it can be easy to lose the thread and message. It also reminds me to just write for the sake of writing, not because you have a record to write.

You’ve talked about writing the EP in your childhood bedroom and selling your car to afford studio time. What does it feel like to revisit that period of your life through this reissue?

It has been a privilege to look back on that time with such fondness and gratitude – I would do it all again in a heartbeat. If anything, it reminds me that even if the EP never found its audience in the way it did that I would still be making music today in some shape or form. It’s a part of who I am.

The tracklist mixes original songs with alternate and live versions, including a triple j Like A Version recording. How did you decide what belonged on this edition versus what to leave out?

Since the original EP came out, there have been many versions of these songs put out into the ether. It was really cool to collate some of these and pick a handful to put on this edition. I deliberately picked versions that I felt gave a different approach to the original recordings.

Early reviewers picked up on themes like the messiness of modern romance and the comedy in heartbreak. Do those songs still resonate the same way with you now?

I think that’s probably a question for those reviewers! As far as I’m concerned, these songs were like journal entries from my early-20’s talking about navigating relationships, pushing boundaries and figuring out where I belong. Listening back to them now, I feel like I am able to reflect on that time with more clarity than if I didn’t write those songs, which is pretty cool. Records are called records for a reason – they’re amazing documents of time and place – and I feel so lucky to have moments of my own life captured in that format.

What was it like re-recording “Let’s Go Out” with Slowly Slowly, and what did that pairing bring out of the song?

I love Slowly Slowly so much. Ben Stewart and I are both born and raised Melburnians of a similar age who play rock music, have heaps of mutual friends and had somehow never met until a couple of years ago. I just cold DM’d him one day and just said “it’s so weird we don’t know each other. Let’s get coffee”. From there a friendship that I hold very dear blossomed. When Ben and I decided to do a version of Let’s Go Out together, my only instruction was for him to just do “the Slowly Slowly thing” and he bloody did it. I admire Ben’s sense of artistry, work ethic and raw talent. Slowly Slowly have generated an amazing community of fans for good reason – they are a band that cares about their people and I am so honoured to be one of them.

How do you think the response to this EP shaped the direction of your career, in ways you maybe didn’t expect at the time?
Absolutely. Never in my wildest dreams did I expect these songs to have the reach that they have had and continue to have. They opened so many doors for me and took me to some crazy places. More importantly, they enabled me to make the next thing, which is the greatest gift of all. With time I have deduced that songwriting and artistry is an act of humility – you are making something that takes on a life of its own and you just have to roll with it. I am proud of the lives these songs have made for themselves and I am more than happy to be their mouthpiece for as long as they’ll have me.

You’re heading out on a run of Australian shows for the reunion tour. How are you approaching performing these older songs live now, compared to a decade ago?

With gratitude and excitement. I’m pumped to play these songs to people who love them and have attached their own memories and associations with them. My band and I are gagging to get on stage.

For fans who’ve grown up with this EP, what do you hope they take away from hearing it again in this new form?

I hope they find joy in the way they still connect or even reconnect to this EP in its reunion edition. One of the biggest privileges of doing what I do is growing up with the people who have supported the music from the jump – it’s like we’re all on the journey together.

ALEX LAHEY B-GRADE UNIVERSITY REUNION TOUR

THU 20 AUG – THE TRIFFID, BRISBANE
FRI 21 AUG – CORNER HOTEL, MELBOURNE
SAT 22 AUG – MANNING BAR, SYDNEY
FRI 28 AUG – THE ROSEMOUNT HOTEL, PERTH
SAT 29 AUG – JIVE, ADELAIDE

All tickets at www.alexlahey.com.au  Threekingstouring.com.au

What was the first spark behind “5 Lovely Seconds”? Was there a specific feeling, memory, or visual that inspired the song before it became music?

I wanted to motivate myself to stop thinking about what others think because I came to the realisation that everything is subjective. “What is good” and “What is bad” are different for everyone. What often sells is our confidence and our own belief in what we do and who we are.

To be honest, my initial idea was to write a book. The lyrics from this song were just a small fragment of that book. The book would take too long to finish, so I thought, “Why don’t I just create a song using those ideas?” That is why this song is special to me, because it has a layered story behind its production.

The track has a very cinematic quality, almost like a scene from a film. Do you usually imagine stories or visuals when creating music, and how does that influence your production process?

I always imagine visuals when making songs. Visuals are what drive the message. For this song, I imagined a theatre or circus. I wanted to make it clear that we are all living in our own movie.

“5 Lovely Seconds” feels like it captures a fleeting moment. What does that title represent for you personally?

Exactly that: a fleeting, freeing moment. The title is a reminder that no one’s life revolves around us. Everybody is primarily focused on themselves, their own problems, and their own wins. So hopefully, the song can motivate us to enjoy our lives regardless of others.

You describe finding freedom through this cinematic world. What does creative freedom mean to you, and did this song mark a turning point in how you approach making music?

Have you ever heard of the book The Subtle Art of Not Giving a F@ck? The message is exactly that. Real freedom is when you feel fully confident in yourself, when you love yourself and do not seek others’ approval. Creative freedom, for me, means being fully myself. Allowing myself to be strange.

I am not sure I had one single song that was a turning point for me. I think life is a sequence of events that can shape the creative journey. It is much more complex. However, “5 Lovely Seconds” marked my growing confidence in myself and my ideas.

Your sound blends emotion, atmosphere, and detailed production. How do you balance creating something that feels personal while still allowing listeners to bring their own experiences into it?

Usually, the way to do that is to give just enough. It is always about balance. That is the thing about feelings. When we feel something in the moment, we do not fully analyse what it is. We just catch glimpses of memories, projections, fantasies, and thoughts. It is not fully formed, even if, in the moment, it feels like it is. Music is the same.

Were there any films, artists, places, or visual experiences that influenced the mood and universe around this release?

Yes. One of my favourite movies, Fight Club, was something that was in my head during the writing process. I like how the movie is rebellious and challenges the fake image portrayed by almost everyone because of the environment we are shaped by.

When building a track like this, do you start from a melody, a sound, an emotion, or a story? Has your creative process changed over time?

I start from a thought and a feeling. Usually, most of my songs are based on emotions I have already processed. When an emotion is not fully processed, I tend to be all over the place. So usually, it starts with a thought about an emotion I experienced in the past, something that is no longer completely fresh. I am too emotional as a person, so I prefer to take time with it.

There is a sense of nostalgia and beauty within “5 Lovely Seconds.” Why do you think we are often drawn to moments that are temporary or impossible to hold onto?

Some moments make us feel good. We are all hedonistic by nature. Of course, we are drawn to moments that are temporary. But that is normal. I used to be very idealistic. To be honest, I still am. But everything in life is a moment, and every moment is temporary. We need to accept that. What I am saying is: “Own your moment.” Be in it. Do it for yourself.

What have you learned about yourself through creating this project that you didn’t expect when you first started?

I have learnt that I can create various styles of music. I have also learnt that I can deliver complex ideas, and not just concepts. Some of my music is based more on atmosphere than lyrics. It is the same as modern art: you interpret it in your own way because of the “mysterious, unfinished lyrics.”

However, the writing process is what I enjoy the most. I am a deep thinker, so I naturally express myself through thoughts. “5 Lovely Seconds” is an example of that.

Looking ahead, how do you hope listeners experience your music, and what other worlds or emotions do you want to explore next?

In general, my music has a darker feel than this song. The world I am building is based on identity, the struggles that come with it, and conflicting feelings. It is about the internal battles that no one usually talks about. When we want to go in one direction but can be pulled in a different one. When we think we need to be one version of ourselves but show the world a different one.

It is about the complex nature of humans. So I want to explore emotions of dissociation and reconnecting with yourself. I want to use surreal, chaotic, and minimalistic visuals, with a little bit of humour, to express that.

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The Modern Shoe Is Ruining The Foot is a striking title. What is the idea behind it and how does it connect to the themes running through the album?

Thea: The title came from a real thing our friend said after too much time spent scrolling on his phone one night, exclaiming as he threw it across the room in disgust, “I keep getting ads that say things like the modern shoe is ruining the foot!” Sam heard that and filed it away as being a useful phrase. If you spend enough time thinking about a phrase or word, they will often end up in your art somehow. We’re not really talking about shoes, if that helps give some context for how it connects to the album’s themes.

Capturing the album live with no edits is a bold choice. What led you toward that approach and what did it demand from you as a band?

Thea: We made the record in late 2023. Part of the reason for recording live was that it’s not as time intensive as doing a bunch of overdubs. Three days in the studio was what we could afford at the time. The main reason for recording live and with no cuts, though, was to create something that could be made only by people in a room together, to resist the onslaught of messaging pushed on artists that generative AI could supposedly be a useful artistic tool. Three years on, we see how that lie has been used to consistently steal and devalue artists’ work.

The process of making the record was so special. You have to have a pretty strong foundation of trust in and support for each other to make a record in that way. Inevitably there will be takes where people make mistakes or aren’t as happy with how they played, but we were all so committed to the idea of how we wanted to make the record that we got used to sitting with and embracing the mistakes, subtleties, imperfections and quirks. We really believe in the artistic value of leaving the mistakes in.

How did the sound of Any Young Mechanic take shape through writing, rehearsal, and time on the road?

Jay: Sam was listening to a lot of Blood On The Tracks when writing this album’s batch of songs, so the open tuned acoustic guitar and formal pop structures were present from the get go. But as a band arranging our parts in the room, we infused the record with our individual tastes throughout the few months of rehearsal in 2023, introducing influences such as BCNR, Thelonious Monk and Swirlies. Seeing Big Thief on their Dragon New Warm Mountain tour, with their perfectly hewn arrangements, had a particularly big influence on how we approached sonic construction. I definitely went for a James Krivchenia inspired approach on several of the songs on Modern Shoe (especially New Place).

The album moves through a wide emotional and sonic range. Did you begin with a concept or narrative in mind, or did it emerge naturally as the songs developed?

Sam: I think narratives always emerge from collections of songs regardless of whether or not they’re intended that way. I wrote something like 15 songs between January and June 2023 and then Jay and I talked about the songs we liked best from that bunch and brought them to the band to arrange. So the 12 songs that ended up on The Modern Shoe were finalised by the time we started rehearsing and workshopping arrangements all together. No other songs were recorded or rehearsed during the sessions.

I was writing with certain structural aims and influences in mind (mainly Bob Dylan), and the record was being arranged within very specific parameters (live only recording, no electric instruments, no edits, no overdubs), so I imagine that made the album sound conceptual without it feeling like a rock opera.

Jay sequenced the album and tried a bunch of different orders until it felt right. I think that was probably the most “narrative” part of the process. It’s like editing a film. The songs are just scenes. I think I knew that I wanted to end with Atlas, Here You Are, but that was about it.

With such a distinctive instrumentation mix including upright bass, violin, banjo and electric guitar, how do you decide who leads a musical idea when arranging a song?

Thea: It’s often a bit of a pruning process. Sam brings a song to the group that’s mostly formed in terms of lyrics, chords and structure. We have a jam together to get a feel for the song, and then start to take things out. I think you feel the song re emerge through the removal of elements. As we made the record with no overdubs, we knew that we only had six possible instrumental textures available to us at any one time, so we learnt to be really selective with arrangement, when to introduce new textures and timbres, when to take them out, and ways to pair sounds for different dynamic effects. Since making The Modern Shoe, we’ve loosened up our self imposed creative restraints, experimenting with additional instruments like synth, clarinet and electric bass and guitar. The arrangement process is becoming increasingly fluid and collaborative, which is a really great place to be in as a group.

The record has been described as grounded in trust and instinct. How do you maintain openness and vulnerability within a five piece dynamic?

Allan: I think we all believe trust is one of the most important things about playing in a band. When we started rehearsing The Modern Shoe, I didn’t know everyone in the band nearly as well as I do now, but we started with a firm musical understanding because we all admired each other’s playing. You need to feel a certain level of security in the rehearsal environment to be comfortable contributing ideas.

It works the other way too. Trust affirms that whatever your personal vision of how a song should go can be improved by collaboration. We all felt comfortable surrendering control because we knew that this exchange of ideas led to a more interesting result.

As we’ve gotten to know each other better this trust has definitely deepened, and I’ve learned more and more that this process is the really rewarding thing about playing music, the risk of vulnerability in sharing musical ideas.

You had already built a strong live reputation before releasing music. How has that early touring experience shaped the evolution of these songs?

Thea: Because the recording process was finished so long ago, the album itself sits in its own kind of world. It’s a real time capsule. The songs have naturally shifted as we play them live. It can be a strange experience listening to the record now and realising you’ve gotten used to playing a part in a slightly different way. It was fantastic but also odd getting the opportunity to tour overseas before we released the songs. I think it confused audiences a bit that we didn’t have music out, but we are so grateful that a lot of people who heard those songs before they were released have stuck around to hear the record now that it’s properly out in the world.

Allan referenced influences like Richard Davis on Astral Weeks. How do individual influences come into the group without disrupting the collective identity?

Thea: The best part of being in a band is that your sound becomes a reflection of who you are individually and collectively. We don’t have too many conversations about what we want to reference specifically in terms of influences during the rehearsal and arrangement period, but you can definitely feel people’s musical identities imprint themselves on the songs as they develop. I think we’re more concerned about how we can each use our individual musicianship to best service the song and support what everyone else is playing than attempting pastiche or being overly referential. With some exceptions, of course. Sometimes referencing a motif or style of playing is a lot of fun. I try to get a bit of Warren Ellis-esque noisy violin in where I can. When we’re not rehearsing, we talk about and listen to a lot of music together. I’ve been introduced to so many artists I otherwise wouldn’t have encountered through my bandmates. It’s a privilege to get to expand each other’s musical worlds together.

The track titles on The Modern Shoe Is Ruining The Foot feel cinematic and vivid. How important is imagery and storytelling in your writing process?

Sam: Incredibly important! Imagery is the name of the game for me. Generally speaking, I don’t want things to be too obvious in my writing, so imagery is a great way of communicating a mood or event without spelling out what the listener is supposed to be feeling. A lot of the songs on this record start with me trying to describe the characteristics of a room where something significant is happening. It’s a very domestic record until Barn Burning, because to some degree that’s where I think a lot of people experience very important things. It can be hard to describe those places so they glow in your mind’s eye in the right way. I try to work off kilter images in as much as I can without making something feel wacky for the sake of it. Usually a weird detail placed sensitively makes an image feel more truthful.

To tell the truth, I try not to spend too much time on titles as long as they appropriately communicate or deliberately miscommunicate what is within a song. If a line from the chorus works as a title, there’s nothing wrong with that. If it doesn’t, there’s probably something else in the lyrics that will guide you to a title that feels right.

Now that the album is out via Warner Records and 23 Recordings, what does the next phase look like for the band creatively and practically?

Luka: We’re all hoping to just keep playing lots of shows. We get very restless. We’re currently working on some Australian dates in the next few months including Bigsound, Yours and Owls Festival and Townfolk in Castlemaine. Also some non Australia dates in October and November. Lots more shows in 2027!

The next creative phase has kind of already happened. We’ve got another album in the tank, which we’re all very excited about. Never have we had more regard for the STEREO IMAGE. We’re getting weirder, but better. Like soup that’s been simmering for much longer than necessary. Some of those songs have been live fixtures for a little while, which has been great in order to understand them more intimately. We honestly could play for two hours at this point.

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What was the defining moment when you realised HYPNOSIS THERAPY had become something far beyond a traditional music project?

Both of us had been making hip-hop and R&B for a long time, but we were looking for something more exciting. That led us to explore electronic music, a genre neither of us had really worked with before. Around that time, we became fascinated by the limitless possibilities that electronic music offered, and that’s where we decided to focus our creative energy.

Every HYPNOSIS THERAPY show seems to encourage complete freedom rather than passive watching. What do you hope people discover about themselves when they step into one of your live performances?

A lot of people discover us through our live shows. What we try to deliver on stage is pure energy and confidence. We perform with the hope that this energy will stay with people long after the show and become part of their everyday lives.

It’s almost like an unspoken message: we made it happen, so you can too.

You’ve built a reputation in Korea’s underground while increasingly connecting with audiences around the world. How has travelling and performing internationally changed your perspective on what makes your music unique?

From the very beginning, HYPNOSIS THERAPY was created with the international scene in mind. We felt the Korean market alone was too small for what we wanted to achieve. We wanted to reach a much bigger world.

That’s also one of the reasons we shifted toward electronic music. We see it as one of the most inclusive and universal genres. At the same time, we believed that by expressing it from our perspective as Korean artists, we could create something genuinely fresh and unique.

Returning to Australia, what stood out to you most about Australian crowds during your previous visit, and has that influenced what fans can expect from these upcoming shows?

Australia was the first country we visited through SXSW Sydney in 2023. It was also the festival’s inaugural year, so everything felt especially exciting and ambitious. As well as performing at SXSW Sydney, we played a show in Melbourne and even held a listening party there for our second album, which was about to be released.

That trip gave us real confidence that there was a future for us in the international market. Every show we played was incredible, and the response from Australian audiences left a lasting impression on us.

Your music balances chaos with precision. When you’re creating together, how do you know when a track has reached the perfect point between control and complete surrender?

We know a track is finished when it starts to feel primal. If you ask what “primal” means to us, it’s when all those instinctive, almost animalistic elements come together naturally, and the music simply feels alive.

That’s why finishing a song often takes much longer than people expect. Writing it is only one part of the process. We spend a huge amount of time listening back over and over, making tiny adjustments until every detail feels completely natural.

HYPNOSIS THERAPY often feels driven by instinct rather than trends. In an era where artists can easily chase algorithms, how do you protect your creative identity?

We simply make records inspired by the sounds and cultures we’re genuinely into at that moment. Whether that happens to align with current trends or not doesn’t really matter to us.

Our confidence in our own taste and our curiosity are the biggest driving forces behind our music. We release albums almost every year because we see each one as a document of where we are creatively and mentally at that point in our lives.

Both of you came from different musical backgrounds before forming HYPNOSIS THERAPY. What qualities do you each bring to the partnership that couldn’t exist if either of you were working alone?

We’ve both spent years working in different groups and different genres, so we’ve each built our own audiences. When we came together, that naturally created a strong synergy. It also expanded our musical range and made us much more open to different genres and ideas.

More importantly, we’ve been through a lot together, and that has built an incredible level of trust between us. We’ve never really fought. We trust each other completely and keep moving forward together. If one of us feels strongly about an idea, the other is willing to follow because we know there’s always a reason behind it.

HYPNOSIS THERAPY is both our individual expression and something we create together. At this point, it’s become more than just a project. It’s a part of our lives.

Korea’s underground electronic scene is receiving more international attention than ever before. What excites you most about the current movement, and which artists should global listeners be paying attention to?

Not just Korea, but Japan, China, and many other parts of Asia are seeing exciting new movements emerge right now. It feels like Asian artists are finding fresh ways to blend their own perspectives into established genres, and that’s creating something genuinely new.

As for an artist, the world should be paying attention to… honestly, we’d say us.

Looking back at where HYPNOSIS THERAPY began, what’s one lesson you’ve learned about taking creative risks that you wish you’d known from day one?

Honestly, we don’t have many regrets about the path we’ve taken.

But if we had to give our younger selves one piece of advice, it would simply be: be even bolder. Push harder, take bigger risks, and don’t hesitate.

As your audience continues to grow across different countries, what vision do you have for HYPNOSIS THERAPY over the next few years, and what would success look like beyond streams and sold-out shows?

We’ve already completed three European tours, and today we actually have more listeners overseas than we do in Korea. That’s exactly the future we imagined when we started this project.

We want those numbers to keep growing, but more importantly, we want to become the kind of artist who plays the main stages of the world’s biggest music festivals.

And we believe we’ll get there. We believe in ourselves, and we believe in everything we’ve built so far. We see it as a snowball; once it starts rolling, it only gets bigger.

We’ll keep moving forward. Keep an eye on what we’re doing.

Thank you so much for your support, and please keep listening to our music.

HYPNOSIS THERAPY, Alex Wilcox ‘UMJIGYEO! (MOVE!)

Tiny Minds Agency presents: HYPNOSIS THERAPY AUSTRALIAN TOUR DATES

Thursday 16 July – The Grace Darling Naarm, Melbourne
Doors: 7.30 pm
Porcelain Boy: 8.00 pm – 8.40 pm
HYPNOSIS THERAPY: 9.00 pm – 10.00 pm

Friday 17 July – The Lord Gladstone Eora, Sydney
With Blair Romance
Doors: 8.30 pm
Blair Romance: 9.00 pm – 9.40 pm
HYPNOSIS THERAPY: 10.00 pm – 11.00 pm

Saturday 18 July – The Tivoli Meanjin, Brisbane
Special guest performance at the Full Flower Moon Band after-party
Time: 10.45 pm

Tickets are available via linktr.ee/TinyMindsAgency

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“LTMFG” started as a post-breakup idea but evolved into something much bigger. At what point did you realize this wasn’t just a song about letting go of someone else but about reclaiming yourself?

I think I realized that while writing it. What started as a breakup song slowly became a mirror for every area of my life where I was holding on too tightly. It wasn’t just about a relationship anymore, it was about letting go of old stories, fear, expectations, and the belief that my happiness depended on someone or something outside of me. That’s when I knew this song had become much bigger than heartbreak. It has become a reminder that sometimes the greatest thing we can reclaim is ourselves.

A lot of people know they should let go of what’s hurting them, yet they hold on anyway. What was the hardest thing you’ve personally had to release in order to find peace?

Honestly, the need to control the outcome. Whether it was relationships, my career or trying to fix situations that weren’t mine to fix, I spent a lot of energy believing that if I just tried a little harder, everything would work out. Finding peace came when I realized that letting go isn’t giving up, it’s trusting that what’s meant for you won’t require you to abandon yourself.

The video captures people smashing symbols of their past pain. Was there a moment during filming that felt surprisingly emotional or cathartic for you?

Absolutely! It was amazing to watch everyone write down things they were ready to let go of before smashing them. There was so much laughter, but there were also these quiet moments where you could tell people were releasing something real. I felt a huge release from my body when I took the first swing and smashed the vase. In the video you can almost see the energy rushing through my veins and instantly, I felt lighter.

It reminded me that healing doesn’t always have to be heavy, sometimes it looks like your friends cheering you on while you swing a gold baseball bat at an old story you’ve been carrying for way too long.

You’ve experienced the highs and lows of the music industry, from Nashville opportunities to building your career independently back home. What has that journey taught you about resilience?

It’s taught me that resilience isn’t about never feeling discouraged, it’s about continuing to show up anyway. There have been incredible highs and some really difficult seasons, but every chapter has taught me something valuable. Looking back, I wouldn’t change the journey because it’s shaped not only the artist I am today but the person I am too.

Looking back at your younger self chasing big dreams, what’s something you wish she understood that you only learned through experience?

I’d tell her that success isn’t something you arrive at one day, it’s who you become while you’re pursuing your dreams. I spent so many years believing I’d finally feel enough once I reached the next milestone. What I’ve learned is that confidence doesn’t come from accomplishments. It comes from learning to like the person looking back at you in the mirror.

There’s a strong message of self-worth running through this release. Was there a defining moment in your life when you stopped seeking validation from others and started trusting yourself?

I don’t think it was one defining moment, I think it was a compilation of many little ones. Every time I chose my intuition over someone else’s opinion, every boundary I set, every time I walked away from something that wasn’t aligned, I built more trust in myself.

Looking back, I realize self-worth isn’t something you suddenly find. It’s something you practice every single day.

You’ve described “LTMFG” as being about surrender. In a world where we’re constantly told to fight harder and push more, what does surrender actually mean to you?

To me, surrender isn’t quitting, it’s releasing the need to force what isn’t meant for you. It’s trusting that life sometimes has a better plan than the one we’ve been desperately trying to control. Ironically, the more I’ve surrendered, the more freedom I’ve found. That’s really what “LTMFG” is about.

Your upcoming book focuses on self-love. Was writing a book always part of the plan, or did you realize there were conversations you wanted to have that couldn’t fit into a three-minute song?

I’ve always loved storytelling, so writing a book felt like a natural extension of my music. Songs have this incredible ability to make people feel seen in just a few minutes, but there were conversations about healing, boundaries, wellness, relationships and self-worth that deserved more space.

The book lets me dive deeper while still carrying the same heart behind my music.

Country music has traditionally explored heartbreak from a place of sadness. Do you think we’re entering an era where artists are more interested in telling stories about healing and personal growth?

I do, and I think that’s a beautiful thing. Heartbreak will always be part of country music because it’s part of being human, but I think people are also craving hope.

We still want songs that acknowledge the pain, but we also want songs that remind us we can heal, grow and come out stronger on the other side. That’s definitely the message I wanted “LTMFG” to live in.

If someone is listening to “LTMFG” while going through one of the toughest periods of their life, what would you want them to hear between the lines of the lyrics?

I’d want them to know that letting go doesn’t mean you’ve failed, it means you’re making room for something better. Whatever you’re holding onto, you don’t have to carry it forever.

I hope the song reminds people that they’re stronger than they think, worthy exactly as they are and that sometimes the most courageous thing you can do is choose yourself and take one small step toward a new beginning.

As a matter of fact, I received a message from a beautiful friend of mine who was in the “LTMFG” music video. She let me know that a friend of hers had reached out to thank her for sharing the song, as she had a best friend going through a very trying time with an ex.

She passed along the song to her quiet, introverted friend who was dealing with heartache, and the next thing she knew this woman felt a weight lifted and had viewed her unfortunate connection in a different light. She’s now simply choosing to “Let the Motherf*cker Go” and has said that it’s brought her so much peace.

This is why I do what I do, and this is success for me: to help lift and inspire those around me who need it the most.

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What was the first real image or moment that became “Shampoo” before it ever became a song?

Shampoo came from an emotion I’ve experienced a few times toward the end of a relationship. There is this inconceivable notion that you and your partner will inevitably be intimate with other people, and each time I’ve found that such a scary image. You know that it’s totally acceptable and that there is nothing you can do about it, the commitment that was made between two people is now broken and you just have to accept that. That feeling is where the initial idea for Shampoo was born.

What draws you to that grey area where nothing has fully collapsed yet?

I think the grey area is more interesting. I like to bask in the happy and sad of it all. I don’t think one truly views anything clearly at the beginning or the end. Clarity comes with time and time makes you neutral, so it is easier to admit fault and understand pain.

At what point does intuition tell you a relationship is already over, even when everything on the surface is still functioning?

Most of my breakups have been friendships, which I think are worse than romantic endings. So with that context, in my experience, no two endings of any human relationship are the same. Being blindsided, not wanting to admit it’s over, or being the one to pull the trigger, I think broadly they are all the same. Once it’s over, it’s over.

“Shampoo” turns something ordinary into a trigger for emotional recognition. Why do small details feel more honest to you than big dramatic moments?

The ordinary can be harder to come to terms with than the drama, because sometimes the ordinary operates within helplessness. I’ve been in situations where there is no fixing the fact that two people aren’t meant to exist in each other’s reality forever. Nothing big happens, it just fizzles. Big drama fueled blowouts can generally be fixed because usually someone is in the wrong, but the ordinary lives somewhere so much deeper. I’ve found it hurts much more.

Do you think people recognise endings in real time, or only ever in hindsight like the version described in “Shampoo”?

For me it’s always hindsight. When things end in real time, adrenaline takes over to help you survive. Hindsight gives clarity, and clarity is how you move on.

When you were building this EP, what emotional truth did you feel yourself returning to again and again without trying to?

When I was writing this body of work, I was in this very strange period of my life where my deep relationships were coming and going, and I found it very all consuming. The only way I knew how to deal with it was to write about it. The emotional core of the EP is the title Without You Is Hard. I truly realised how hard life is without friends, family, and love.

The Hospital exists as both a project and a place. How does “Shampoo” expand or change that place emotionally?

The intention with any music I make as The Hospital is for it to be relatable and enjoyable. The point of the name is how healing music is for me. I want it to be a companion for those who need it.

What is something about love or connection that you now understand in a more complicated way than when you started this project?

That love is never a guarantee and it’s not to be taken for granted. I honestly believe you have to love yourself to be loved. This is not to be confused with vanity or ego.

In “Shampoo,” familiarity becomes slightly unsettling rather than comforting. What do you think makes recognition turn that way?

If you get lazy in love, that fire dims. I’ve always found this unsettling because sometimes you don’t see it coming. Life has its own plan for you. I believe you just have to be the best version of yourself for you and others. The rest you can’t control.

If someone listens to “Shampoo” at the exact wrong moment in their life, what do you hope it quietly reveals to them about their own experience?

My music is an offering from me to the listener to share my experience in the hopes they recognise a part of their own story in mine, to feel less alone. I want you to be thinking about your loved ones when listening to my music, not mine.

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What began as a deeply personal diary entry has evolved into one of OH! Daisy’s most emotionally explosive songs yet. With ‘Just Say’, the Melbourne punk outfit pushes further into vulnerability, pairing raw honesty with soaring intensity. We caught up with Bambi O’Kelly, Nick Dordevic and Emma Friday to talk about the song’s origins, Australian gothic visuals, unforgettable live moments and where the band is heading next.

‘Just Say’ began as a diary style piece before evolving into an anthem for anyone who’s felt they had to beg for the bare minimum in a relationship. What was the turning point that transformed it into the song we hear today?

Bambi O’Kelly: There’s a beauty the band have always found in saying the most unhinged thoughts, knowing that someone somewhere will relate. Finding a way of relaying that feeling of craziness and isolation you feel when you’re in that kind of relationship in such a literal, upfront and unsettling way was such an exciting exploration for us. The second we realised that we had to scream that whole chorus the way it feels, with our whole chest, was the moment we knew we’d cracked it.

Bambi, you’ve said, “You shouldn’t need to beg someone for more for the rest of your life.” Was there a specific moment or experience that inspired those words, and how difficult was it to revisit those emotions while writing?

Bambi O’Kelly: I find songwriting and performing incredibly cathartic. It’s been so nice the way this song has allowed me to reflect and heal. Some songs are difficult, and I think this is one of those ones that just flowed out of me. I knew what needed to be done, and I was so glad to get it out of my system.

Your music balances vulnerability with an explosive punk energy. How do you decide when a song needs to be delicate and when it needs to lose control completely?

Nick Dordevic: A big part of approaching our chaotic and heavy energy has been trying to find the right moments to show that side of our sound, but also not relying on it to push us forward. The song really needs to call for the crash out for us to go there, because I feel like that mirrors how these feelings actually come across in our lives. It’s more honest somehow.

Emma, you directed the ‘Just Say’ video yourself. What inspired the Australian gothic aesthetic, and were there any films, photographers or artists that influenced the visual direction?

Emma Friday: Bambi and I got together to brainstorm, and ultimately decided to use a setting that would allow us to explore a visual style that sits outside our genre. A punk band from the city, basically playing these Australian gothic characters intermittently. We used those personas to tell a story, as if the rest of the band were these ghostly spirits, frantically and expressively moving around Bambi, who feels they are pent up with feelings they cannot express.

Personally, my biggest references for the visuals were Picnic at Hanging Rock, Days of Heaven by Terence Malick, the visual universe of Nick Cave, as well as the Australian outback in general. Growing up I spent a lot of time in the Victorian countryside, soaking in both the landscapes and the melancholic, gothic paintings I saw in art galleries.

OH! Daisy has been building a reputation for unforgettable live shows. What’s the wildest or most memorable moment you’ve experienced on stage so far?

Bambi O’Kelly: Recently we did a secret show for our friends and family at The Evelyn Hotel in Fitzroy. It was an opportunity for us to trial our new set in a space that felt safe, and we also used it to showcase and celebrate all of the physical media artists that are a part of our family. It ended up being a huge celebration of everything we have achieved so far, with over 100 people turning up on a secret Tuesday night. I truly believe it was one of the best sets we’ve ever played. It felt crazy to pull that off.

Sappy answer aside, there have also been times where Izzy has played her guitar on the ceiling above the stage and broken her fingers. She’s the real trooper who gives our live shows that rock and roll spirit.

You’ve shared stages with artists like Keli Holiday, DZ Deathrays, Sly Withers, Origami Angel and Cry Club. Which support slot taught you the most about being a band, and why?

Bambi O’Kelly: Earlier in the year we got to jump on a small run of the Playlunch regional shows around Victoria. They have such an electric audience and energy as a band. More than anything, those shows inspired us to leave it all out on stage every set.

As a support band it’s easy to forget that you’re warming up the crowd, and that means you’ve got to sell it. Those crowds were packed into small rooms that felt like arenas, and we wanted to give them a show to match that energy no matter how long we’d driven to get there.

Your debut EP, It’s Okay I’m Ugly Too, tackled themes of insecurity, identity and emotional chaos. How has your songwriting evolved since that release, and what does ‘Just Say’ reveal about where OH! Daisy is heading next?

Bambi O’Kelly: I think if the EP was us baring our skin, Just Say is us showing our guts and bones. It is something even more unhinged and more raw that we’ve been working towards for a long time, and we’re still excitedly exploring that direction in what comes next. It set a new gold standard for us.

There’s a theatrical quality to everything OH! Daisy creates, from the music to the visuals and live performances. How important is storytelling to the band’s identity, and what do you want audiences to feel when they leave one of your shows?

Nick Dordevic: Storytelling is super important to us, but at the same time it can easily overpower a track if you let it. We’ve been focusing on conveying the feelings we want through our music while making sure subtlety remains a priority.

While we don’t shy away from darker and heavier themes, we always want to tell those stories in a relatable and realistic way. We might feel sad, angry and erratic, but that’s just one piece of a fuller picture. Being ourselves on stage and off helps with this, because coming across as the real people we are makes our music feel more genuine.

The chemistry within the band comes across as incredibly natural. Emma has described it as a “quasi psychic connection.” How does that creative relationship work in practice when you’re writing songs or developing concepts together?

Emma Friday: The first thing I noticed about being in this band is that we would often show up dressed in seamlessly complementary outfits without any planning. I laughed it off at first, but after a while the synchronicity of our live playing had me convinced some sort of cosmic fate was at play. It genuinely feels like this is the band I’m meant to be in.

If someone had never heard OH! Daisy before and ‘Just Say’ was the first song they played, what do you hope they would understand about the band by the time the final chorus fades out?

OH! Daisy: We aren’t afraid to show that we care a lot and that this means everything to us.

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When you were writing Belladonna (This Is How You Die), was there a moment where you realised the song had become something much bigger or darker than you originally intended?

Yes… Initially I was a bit scared of the song. I felt like it was too big for me. It felt like we’d created this beast. I was still working myself out as an artist at the time—not that I’m not still figuring that out—but I was very new to making music and I genuinely thought, shit, this is too big. The drums kicking in with that guitar riff were terrifying! It’s not remotely subtle in the least, and that’s scary!

Low-key now, fast forward to the present day, it’s the song I absolutely can’t wait to unleash live. I love that we went there with the sound and that I did it so early on in my career as well. I feel like Lady Gaga would totally approve though, I think, and that is enough for me!

The title feels both beautiful and unsettling. What made you decide to lean into that contrast rather than play it safe?

This is something I say a lot, but honestly it’s just intuition and wherever the muse chooses to take me at the time I’m writing. I’m a vessel and whatever comes through, that’s what I do. I sometimes have an idea, or sonically something can come to mind, and I can write four other songs on top of the same production and I’ll hate all of them. Then, at the end of the day, something will come over me and it’ll all go down the way it’s meant to, and that’s what I’ll record.

With this song, it actually did occur to me that it was unsettling, and I found that exciting.

Was there a particular scene, memory, or person that stayed in your mind throughout the writing process, even if it never made it directly into the lyrics?

Oh okay, straight to the tea! I mean… yes.

This first chapter of my story as an artist really follows an old relationship. Every song, in one way or another, is about that same story. It’s a very star-crossed, huge-heartbreak, to-the-death story that I’ll probably never truly quite get over.

I think the Whiteheart line is probably a good one to point out as something specific. There’s a bar in the city that I’d always venture to with the same person. We’d start our nights there and then end up at 100 different other places. I’ve not been back there since, to be honest. I’ve been in the vicinity of it, but I’ve never gone back. Same with the other bars from that time.

Usually though, I will say that if I am dying to say something in the lyrics that is true to the story, I will move heaven and earth to get it in there. So you’ll generally know from the lyrics—I don’t shy away from it.

What part of this song do you think listeners are most likely to misunderstand on a first listen?

You know, I generally leave it up to the listener to take what they want to take from each of my songs and have it mean something to them in their own way. I try not to correct or influence them on the lyrics.

I suppose something that can be misunderstood from my personal perspective is the intention behind the lyric, “this is how you die.” I’m not, in the literal sense, saying someone is going to “die.” It is a metaphor. Death is something I talk about a lot in my songs, and sometimes it is a double entendre or a metaphor for something else.

Every release teaches an artist something. What did Belladonna (This Is How You Die) teach you about yourself as a songwriter?

To be bold, to be brave, to be myself and to speak up. Belladonna taught me I should say it with my whole chest and stand on it, consequences be damned.

I tend to internalise my emotions a lot. For someone who talks as much as I do, I don’t really get into my emotions. That’s what all my songs give me—they give me the cathartic space to be honest and the solace that comes with that.

If you could sit in a room and watch people react to one line from the song for the first time, which line would you choose and why?

Depends on the people in the room at the time…

Some people might hear the lines in the second verse about Whiteheart and think, oh, she didn’t… And that would honestly be a lot of fun for me. I’m not even going to lie.

The most memorable songs often come from taking creative risks. What was the biggest risk you took with this release?

This whole release and concept was a risk. I was very truthful and specific with the subject matter, for one.

But also, Belladonna needed to be its own thing. It’s not a conventional pop song. I lean into some pretty dark themes and dramatic imagery. My influences come from everywhere—grunge, rock, pop, film, fashion and pop culture—and Belladonna embraces all of that in one song rather than just choosing one lane.

I guess it would’ve been easier to release something “safer,” but this is who I am as an artist and I’m inviting people into my world. I didn’t dilute it to fit expectations, and I truly believe the right audience will connect with it.

How do you know when a song is emotionally honest enough to share with the world rather than just keep for yourself?

You know, that is a good question.

I always forget that I’m releasing these things into the world, so I always get this wave of anxiety before releasing, like I’m letting people into my diary or something.

But then I think, well, if I’m feeling like this, then maybe that’s something other people can see in themselves too. My experience might be personal, but the emotion is universal. I think once you have a song that can stand on its own and also invite other people into the feeling, it should be shared.

If someone discovers your music through Belladonna (This Is How You Die), what do you hope they understand about Sasha Summers before the song ends?

That I’m not really interested in following a formula and that my music is about creating a world, not just releasing songs.

That I am an artist who loves to embrace contrasts. Belladonna lives in this space of darkness and glamour, vulnerability and strength, and also grit and beauty.

So if someone finishes Belladonna and they want to step further into my world, then I’ve done my job.

What excites you most about where your music is heading right now that fans haven’t seen yet?

Sorry, firstly… “fans”? Me?! My 15-year-old self would sob hearing that, let me tell you.

I will say that I am very excited for fans to realise that these songs aren’t just isolated moments in time. With every release, people will begin to put together little connections between the songs, stories and themes.

Right now, they’re just getting to know me and seeing the beginning of the picture. I’m just so excited to invite them deeper into my world.

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How did the idea of turning your inner critic into a character come about, and what did you discover about yourself through that process?

Firstly, I love these questions – they’re so big! I’m wondering how to answer this without giving away all my secrets! The concept of internal characters is something I’ve been thinking about for a while now. I absolutely adore the movie Inside Out, which I think could explain this better than I can, but this song comes from a similar place. A lot of my songwriting explores pieces of my identity a bit more cryptically, but with Alice, I decided it would be fun to quite literally build a character. I imagined my inner critic as a best friend/frenemy, and the song illustrates this dysfunctional partnership story, as though we can never get to the bottom of who’s in charge. We fight like crazy, but deep down, we each need something that the other has to offer.

There’s a real sense of release running through Alice Says. Was there a particular moment in your life that pushed you to stop listening to fear and start trusting your creative instincts?

I would say not one moment, but many little moments, and I definitely still listen to fear a LOT! I think, though, I’ve found that the more I trust, choose and practice creativity, the more comfortable I get with the uncertainty that comes with it. And generally speaking, each time I’ve done something that feels brave and scary, it’s led to something else really magical – so that helps too.

You’ve described the song as a conversation between different parts of yourself. Has your relationship with that fearful voice changed since writing the track?

For sure – in a way, this song was the perspective shift I needed. Rather than fighting, burying or running away from it, I got a bit more curious about why this fear is here, where did it start and what it is teaching me. Somehow, creating a silly character made this much easier to unpack!

The song leans into a much louder, more distorted sound than some of your previous work. What was it like stepping into that more unapologetic side of your artistry?

The most fun!! I have lots of ideas in my head for big, bold, energetic sounds, but because I so often write sitting quietly at the piano with a cup of tea, I’ve struggled to translate that into my songwriting. A very clever mentor suggested I change my environment and try writing with a sense of playfulness, so before I wrote this song, I actually put on some rock songs, jumped around the house a bit, then picked up the guitar. It was very cool to see that if I change my energy beforehand, it can open a different creative door.

Working with Oscar Dawson seems to have encouraged some creative risk-taking. What did he bring to the project that helped unlock the energy of the song?

Oscar is a master translator. I am honestly in awe; it’s a crazy skill. I’m a mostly self-taught musician, and that can feel really limiting when I don’t have the right words or references or technical tools to describe the sounds I’m imagining, or create them myself. Oscar has a really incredible way of understanding how a song should feel in order to deliver its message, whether that’s through words, instruments or energy. This song needed to feel a bit messy and a bit scruffy, which is always a challenge for me as a reforming perfectionist, but through some combination of storytelling, overdrive pedals and amp sims, we unlocked a new level!

You’ve spoken about the original lyrics being far more confrontational. What made you decide that understanding your fears was more important than fighting them?

I think there’s a lot we can learn from our fears. I suppose at the end of the day, they’re just trying to keep us safe, and if we ignore them, they can get more persistent. A lot of my fears are tied up with being a performer, which feels kinda strange when it’s also the thing that I love doing the most. But I’ve found the more I understand where the fear is coming from, the easier it is to keep moving forward – like I’m saying ‘I hear you, but I’m going to do this anyway, and I think it’ll be okay’.

Your songwriting often feels very honest and personal. Do you ever worry about revealing too much of yourself, or has vulnerability become a strength in your creative process?

All the time! But it’s also probably my favourite thing, finding the thread of a feeling, unravelling it, then piecing it back together into something new that’s a little bit raw and maybe a little bit sparkly. I love that vulnerability can create such potent moments of connection and understanding. I’ve felt this myself at concerts when an artist shares something so honest that it rocks you to your core in the best possible way.

So far, it’s always been the songs I’m most nervous to write or share that have led to the most special connections with listeners and audiences, and I think it’s so cool that songs can bring people together like that.

After earning recognition as a Top Global Emerging Songwriter in the Vanda & Young competition, has that validation changed the way you approach writing and releasing music?

More than anything, it has just made me really excited to share everything I’ve been working on. It’s a competition I’ve applied to almost annually since I was a teenager, and it was always a way to keep myself accountable and watch my songwriting grow from year to year. I never had any expectations, but the song I submitted this year is one that felt really, really special – to find out that it resonated so strongly was pretty amazing. I’m now wrangling with wanting to share everything immediately right this second, and wanting to do my bigger vision justice, but it’s a fun time either way.

You first saw Kim Churchill perform as a teenager, and now you’re sharing a stage with him. Does that experience make you reflect on how far you’ve come in your own journey?

It’s a very surreal dream come true moment, for sure. My dad took me to see Kim when he played in my hometown, and it was probably the first time I realised that you could really just go out and forge your own path in music, instead of waiting for some mystical industry person to choose you, and also that there are so many different ways a music career can look. There were a lot of detours for me between then and now, including a long period where I’d stopped playing music altogether, but being able to play alongside Kim now makes me so grateful that I found my way back.

As this single introduces a new chapter in your sound, what excites you most about what listeners are going to hear from you next?

This song is just one piece of a very intricate puzzle I’ve been building for the last few years. There’s definitely still a familiar link back to my old work and writing style, but I’ve been able to explore a new depth in my sound, which has been really fulfilling. I love a good mystery, so I’m probably most excited about getting to reveal little surprises one piece at a time (and perhaps, more characters too!)

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