Music Interviews

“Deep Blue” captures the feeling of escaping the noise and pressure of everyday life. What does escapism look like for you personally, and why do you think that feeling resonates so strongly right now?

Escapism comes for us in the form of switching off, ironically from the online world. I think we’re all fatigued by the pressure of having an online presence, whether it’s socially or at work, as well as the impact of the current financial and political climate. I think that’s why escapism really resonates with everyone right now.

Across IRL (In Real Life), you explore feminism, internet culture and the contradictions of modern life while still leaving plenty of room for humour. How does humour help you approach subjects that might otherwise feel heavy?

There’s a lot of discourse in the world, and whilst we believe strongly in standing up for what you believe in, we also know that sometimes people need a break from all of the seriousness. At its core, it’s about staying true to ourselves, but doing it in a tongue-in-cheek way to cut through the noise.

The ocean plays a big role in the feeling behind “Deep Blue”. What is it about being near the ocean that allows you to switch off and see things differently?

There’s something so grounding about being in nature, and most of the time, you can’t take your phone swimming, and in summer your phone gets too hot to use. It’s a nice reminder that you can actually switch off. There’s also something about the sound of ocean waves, which is a form of pink noise, that can be super calming. I think all of those things together help you switch off and see things a little differently.

Calling the EP IRL feels particularly relevant for a band exploring internet culture. What does being “in real life” mean to Internet Romance in a world where so much of our lives happens online?

Being present in real life is a real priority to us. We know a lot of bands now use online interfaces to make music from completely separate places, but we prioritise the importance of connecting weekly, from band practice to blocking out days at a time to record these songs in person. At the end of it all, human connection makes music so therapeutic and adds a touch of magic. Especially in a world where AI music is going to rise, we love to hear the imperfections and the grit that make our sound unique.

The EP takes some satirical shots at the manosphere. What inspired you to explore that side of internet culture, and what do you think people often misunderstand about it?

Being a female-fronted band, manosphere culture feels particularly jarring and we see the danger of that particular rhetoric. Again, in a world where people take themselves so seriously, we thought it was important to highlight this in a way that was witty and showed the ignorance of that viewpoint.

There’s a strong sense of self awareness throughout Internet Romance. How do you make sure irony and humour don’t take away from the emotional honesty behind the songs?

I think it all comes down to our raw sound. You can hear the emotion through every explosive hit of the drums, the melodic guitar and bass riffs that at times feel heavy. The cadence of our words and the choices to emphasise certain phrases all lean into the rawness and realness of our music.

Blake Bashfield produced “Deep Blue”. What was the creative relationship like in the studio, and what did he bring to the track that you hadn’t initially imagined? Blake was great to work with. We were fans of his work in both Smartcasual and Sesame Girl, and when we heard his production style, what stood out to us was the way he worked with vocals. Being an alt rock band that leans into a heavy sound but with a melodic female vocalist, it felt like a really good match. He elevated parts of our sound during the process and challenged us to think about song structures in a way we hadn’t before, while still enabling us to stay true to our sound. We felt that working with him really helped us achieve the best versions of the songs.

The name Internet Romance feels like a collision between something deeply human and something inherently digital. What does the name represent to you now that the band has developed further?

The name Internet Romance is an ode to how we met, but as we’ve come together, we’ve realised the real-life connection and friendship we’ve forged. We have the opportunity to come together and create sound that we love, and that connection and communication keeps us together and is key to our continuous growth as a band.

You’re bringing IRL to The Evelyn for the EP launch in October. How are you imagining the live show, and what do you want people to experience when they walk into the room?

We can’t wait to showcase these songs. A lot of people have heard different iterations of these songs over time as they’ve developed, but it will be the first opportunity for people to hear them in their final form. We want this to be an opportunity for everyone in the room to forget the pressures of life, come together, have a kick-ass night and celebrate!

We’re playing alongside two incredible Melbourne bands too, In The Caverns of Death and Last Embers, it’s a privilege to share the stage with talented musicians. Plus, to end the night, we have the funkiest DJ in all of Melbourne, DJ Retro Red, spinning tunes and closing out the night. So good vibes are guaranteed!

Once people have heard IRL from beginning to end, what do you hope they understand about Internet Romance that they might not have understood from hearing just one song?

By the end of it, we think people will hear how dynamic our sound really is, from melodic shoegaze elements to driving heavy rock. We’re not limited to one particular box. We honour our creativity and put out music that, first and foremost, we like. We’re not here to please the masses. We know our songs will resonate with those they’re meant for.

I.R.L (In Real Life) is launching at @theevelynhotel on Friday 9 October 2026

INSTAGRAM

BPI (British Recorded Music Industry) Ltd is bringing a delegation of British music businesses to BIGSOUND this year. What made 2026 the right time to strengthen the connection between the UK and Australia?

The UK and Australia share deep cultural roots, and we are always looking to strengthen this valued connection. Music exports are hugely important to the UK as the world’s second largest music exporter after the U.S., and Australia has always been a commercially and culturally importantly market for us.

Australia in the UK’s 4th biggest market for recorded music exports so it’s significant for our BPI label members. The BPI had been present at other Australian events previously, but we thought it really was time to add to this presence by exploring what BigSound had to offer the UK delegation, as we’d heard great things.

How has your experience at BIGSOUND been so far, and what has stood out to you?

All of the BPI’s UK delegates were impressed with the sheer variety of both music and B2B opportunities available to them at BigSound. Our Breakfast with the Brits event was a real hit, a standout moment where we had a packed room of people networking and making instant connections right at the start of the event.

Having spent time meeting Australian artists and music businesses, what has impressed you most about the Australian music industry?

I think Brits and Aussies have the same can-do attitude along with a similar work ethic and sense of humour. It’s been great connecting and reconnecting with lots of different parts of the business in a really laid back, informal, fun atmosphere.

Queensland has an extraordinary music community. What opportunities do you see for Queensland artists and music businesses looking towards the UK?

The UK has a really strong connection to Australia and London has a huge community of Australians and of course all across the UK Aussies are liked. A great Australian artists have been coming to the UK for years to perform so there’s a great track record for new talent to follow.

What do British artists and music businesses sometimes misunderstand about trying to break into the Australian market?

The first thing is just how big Australia is! Roughly half the population of the UK but with 31 times the space! So touring artists especially find the sheer distance between some cities unfathomable!

Have you discovered any Australian artists at BIGSOUND 2026 that you think international audiences should be paying attention to?

There were quite a few. Catpiss, Sweatbaby, and Tusekah were all really interesting and I think have great potential although all the Brits I was with have about another 20–30 acts they were all pretty excited about.

The UK is one of Australia’s most important international music connections. What do you think makes the relationship between the two music industries so strong?

I think it’s the shared work ethic and sense of humour, but obviously our roots go deep and there are shared values and a common language.

BIGSOUND is built around creating connections that continue beyond the festival. What kinds of relationships are you hoping the UK delegation can build while you are here?

Personally for the BPI we are looking at potentially bringing over some UK artists in 2027 and it would be remiss of me not to mention that we are planning a multi year strategy in the lead up to the Olympics.

With streaming, AI and changing patterns of music discovery reshaping the industry, what do you think will have the biggest impact on independent artists over the next few years?

Change, however challenging, also creates opportunity, not least in a global digital industry that now makes it really exciting and possible for an artist from one part of the world looking to connect with other territories and build a global fanbase through their music. We have all read a lot about AI and the risks it represents, but it also offers a lot of potential benefits for industry growth if an effective licensed market can be developed.

If you met an Australian artist at BIGSOUND who genuinely wanted to build a career in the UK, what would you tell them to do first?

I would say research like crazy before you head over to the UK. For a small set of nations we have massively varied music scenes, often set in particular geographic areas, so make sure you know where you are likely to find your scene.

BIGSOUND INSTAGRAM

Psycho feels like one of your most vulnerable releases yet. What made you want to confront these parts of yourself through music?

I wrote Psycho in a deep spot of reflection, trying to find the root cause of why I sometimes I would speak to my people the way I would. Turns out your mind and body holds onto past trauma and life moments, and sometimes it comes out ways we not proud of.

The song explores how pain, anger, fear and insecurity can affect the people around us. Was there a particular moment or realisation that sparked the writing of Psycho?

Overtime it was a consistent theme of me not being told what I needed to change… and finally taking responsibility to change it.

There’s a strong contrast between the silky R&B production and the heavier subject matter. How did you approach creating that balance sonically?

I love it when you get a production and arrangement that is so good, it forces you dig deep into your toolkit and put everything into a song. This was one of those moments.

You worked with Melbourne producer R.F.P on Psycho. What did he bring to the track that helped shape it into the final version?

He’s a legend, working out of Naarm, Melbourne and I’ve been working with Rory for a couple of years. His production forced me dive deeper, and match his sonics and arrangement with truthful, honest storytelling.

You also co-produced and co-directed the music video with Richie Coburn. How did the visual concept develop alongside the song?

Richie Coburn has been a huge asset to have alongside me bringing my ideas to life. Working previously on ‘Blood in the Water’ and The Gift with Hilltop Hoods, we wanted to create a new age visualizer that accompanied the track nicely, I think we achieved that.

Psycho follows your debut single Blood in the Water. What did making that first release teach you that you carried into this new chapter?

Continue to be authentic and honest in your story telling. Theres so such growth to be had when I am authentically me, and stay aligned to my truth and values. Psycho is a representation of me staying to my commitment to honesty.

You’ve worked across hip hop, R&B and soul, while also collaborating with artists including Urthboy, A.B. Original, Birdz and Frank Leone. How have those experiences influenced the artist you’re becoming in your own right?

They’ve all shown me how to stay true to self and speak about what matters in the right way.

You came from a professional AFL background before moving further into music and creative work. What did your time in football teach you that you now carry into your creative life?

It taught me how to apply myself and prepare really well, and stay prepared. Alot of times as an independent artist, you never when your next opportunity is, so you need stay prepared, and that’s what I try to do each day. Work on my craft and stay ready.

Your music often connects personal experiences with culture, identity and socially conscious storytelling. How important is it for you to keep those elements present as your sound develops?

I feel as a First nations artist, we tend to feel like we’ve inherited a responsibility to truth telling through our art. That will always remain, and as my sound evolves, and gets to a place where it can live forever through the audience, the one thing that will remain is my authenticity and truth.

You’re working towards your debut album. What can you tell us about where Psycho fits into the bigger picture, and what you’re building towards with the album?

Psycho is integral part of the process towards a larger body of work. As i mentioned previously, it is most honest, reflective and piece off work, and since psycho was born, everything that has come after has elevated and pushed me to match that honesty, with no regard for self presevation. Resulting my growth as a writer, and artist.

PLAY/LISTEN

INSTAGRAM

What was going on creatively or personally when TRANCE first began taking shape, and what did you want the album to become?

When TRANCE first started taking shape, I was at a point where I wanted to make something that felt bigger and more complete than anything I had done before. I had a lot of different thoughts and emotions going on, and music was where I could put all of that. I did not want it to feel like just a collection of songs. I wanted it to feel like its own world that you could enter and stay in from beginning to end.

Much of the album was recorded inside your Tesla late at night. What was it about being in that space, alone and away from a traditional studio, that suited the music you were making?

There was something about being alone in the car late at night that made everything feel more focused. It was quiet, private, and I did not really have anything distracting me. I could just sit there with the music and let ideas come naturally. It also fit the feeling of TRANCE because a lot of the album is about being inside your own head and getting lost in a certain mood. Recording that way made the songs feel more personal.

With 20 tracks intended to feel like one continuous journey, how did you decide what belonged on the album and how each track should lead into the next?

A lot of it came down to whether a song felt like it belonged in the same world. Even if two tracks sounded different, they still needed to carry the same atmosphere or emotion. I paid a lot of attention to sequencing too. I wanted the energy to rise and fall naturally instead of feeling like twenty random songs placed next to each other. Sometimes the ending of one track would help me decide what needed to come immediately after it.

You handled the writing, production, arrangement and creative direction yourself. Was that complete creative control liberating, challenging, or a bit of both?

Definitely both. It was liberating because I could follow every idea exactly where I wanted it to go without having to compromise the vision. At the same time, it meant every decision came back to me. There was nobody else to blame if something was not working. It could get overwhelming, but I think that also made the finished album feel much more personal because almost every part of it came directly from my own decisions.

You’ve said you often started with a mood or feeling before building the vocals and production around it. How do you know when that initial feeling has become a finished song?

Usually I know when I can listen back and the song gives me the same feeling that made me start it in the first place. I do not really think of a song as finished because every technical detail is perfect. It is more about whether the emotion is there. Once adding more starts feeling like it would take away from the mood instead of making it stronger, that is usually when I know I should leave it alone.

The action figure in the visual identity represents the polished, artificial version of yourself presented to the outside world. How much of that idea reflects the person behind the music?

A lot of it does. Everybody has a version of themselves that people see from the outside, especially now with social media and how much of your life can become an image. The action figure represents that version of me that looks put together and controlled, while the actual music shows a lot more of what is happening underneath that. I liked the contrast because TRANCE is very internal, while the figure is almost like this manufactured exterior.

You’ve described your own artistic growth as the biggest influence on TRANCE rather than a particular artist or sound. What changed most in the way you approach making music?

I became more confident in trusting my own instincts. Earlier on, I think I was more focused on whether something sounded correct or whether it fit into a certain type of music. With TRANCE, I cared more about whether it felt right to me. I also started thinking about the full project instead of only individual songs. Production, sequencing, artwork, atmosphere, vocals, all of it became part of the same idea.

Across 20 tracks, was there a moment during the process where you surprised yourself with where the album was heading?

Yeah, especially when I started listening to multiple finished tracks back to back. At first I was making songs and following whatever ideas I had, but eventually I realized there was a much clearer world forming between them than I originally planned. That was probably when TRANCE stopped feeling like a group of songs I was working on and started feeling like an actual album.

TRANCE is centred around getting lost in thoughts, emotions and surroundings. What do you personally find yourself getting lost in most when you listen back to the album now?

Probably the memories connected to each song. I can remember where I was mentally when I made certain tracks, what I was thinking about, and even little moments surrounding the recording process. Listening now is almost like going back into that period of my life. Sometimes I am listening to the production, but other times one sound or lyric will immediately remind me of exactly where my head was when I made it.

You’ve said TRANCE represents how far you’ve come, but also how much further you want to go. What’s the next thing you want to challenge yourself to create?

I want to keep building projects that feel like complete worlds, but push the ideas even further. I do not want to make TRANCE again with a different title. I want the next project to have its own identity and make me approach writing, production, and visuals in ways I have not already done. The biggest challenge for me now is figuring out how to keep evolving without losing what makes the music feel like me.

INSTAGRAM

Going Nowhere Fast tackles breakups, burnout, loneliness and the frustrations of navigating the music industry. What was happening in your lives that shaped the album?

The album was not really something we went into the studio with, saying “we want to record a full length album”. We more so recorded a bunch of demos, some singles, band members went overseas, had a break from playing live, finished uni, had a relationship breakdown, it was a huge huge time of change in every part of life for me (lead singer Ryan Barwick). The one thing that seemed to not change, in probably a frustrating way, was where the band was sitting with external numbers and the wider respect. Having all this change yet seeing not much progression in possibly the most important part of my life was driving me insane.

The album feels like a step forward from your earlier surf-rock influences. How has Loose Goose’s sound evolved since the band first started?

All band members probably have had more influence on the songwriting because we jammed a lot of the songs in the studio rather than sitting and writing them. That brought out our natural tendencies, which isn’t really surf rock. This felt like us making the music we want to make, rather than chasing an Aussie popular sound. There wasn’t a lot of comparison going on in this process.

Was there a particular song on Going Nowhere Fast that pushed the band into new territory or changed the direction of the record?

I feel Sneezy probably being the first song recorded set the tone and a standard for us. We didn’t realise we could make music like that, and so that lead to more tracks like Achilles Heel and Bulls in the Arena leaning more in that direction. I think going forward that is the type of music we’ll continue to push into and experiment with. Bolivian Boogie Sugar also was kind of our first dabble with funk, and it certainly won’t be the last.

You recorded the album at Brooklet Studios in Byron Bay with Cameron Lockwood. What was the recording process like, and what did Cameron bring to the sound of the album?

Cam has seen through our whole journey, and he’s helped us shape out our ‘sound’ a few times now. He brings a calmness and ease to recording, nothing is ever stressful, even if we’ve got an entire song unwritten he just takes it and runs. We all have pretty open minds about recording, but are also quite new still to the song writing process, so his ability to bring different ideas to the table is really important. The fact we were able to record 6 tracks on the album in two days with little stress is a testament to the environment cam brings.

There’s a strong sense of frustration running through the record, but also a lot of energy. How do you turn those more difficult experiences into something creative?

I had struggled with writing in the past, particularly when you’re trying to sound ‘good’ or artsy. You tend to over do it. You sound like you’re trying to make a hit, and that never makes a hit. This album I just wanted to be blunt and write about completely real things that people can understand and relate to. The industry in particular is scared to be critical, and that’s why we continue to see it eat artists up and go nowhere. If we tow the line we’re just like everyone else, and the whole point of loose goose is to embrace difference.

What’s the story behind the album title Going Nowhere Fast?

Max out drummer came up with it. At first it revolved more so around the album cover with the people stuck on the side of the road, but what made it stick was the way it matched the double meaning of the songs. Feeling like you’re not progressing no matter what you do, and being frustrated with it at first, but ultimately realising that maybe it’s right where you need to be.

After spending years building Loose Goose, what have you learned about the realities of trying to make it in the Australian music industry?

I think the more time I spend in the music industry the more comfortable I am with rejecting the ideas of the music industry. You’re told to value streams, to value the ticket sales and the venues and the labels and the managers and the big lineups. The reality is those are all great, but they are nothing without the people who truely care about what you’re building. In my view, we have already made it. We have an amazing fan base of committed goslings, and if that continues to grow we are stoked, but we’re not putting an arbitrary “we made it” ceiling when we’re already succeeding with so many great people.

How do the four of you approach songwriting? Does everyone contribute differently, and has that process changed over time?

I will write the foundation of the song typically on an acoustic, and then we’ll write the music, then I write the lyrics. That was changed a bit for this album, tracks like Bolivian Boogie Sugar, Bulls in the Are a and Stressed were complete jams thrown together, yelling at the mic and seeing what came out. We work much better this way, and having each other throw their input on others instruments has been a learning curve that we’ve really had to improve on. We feel it’s paid off.

If someone has never heard Loose Goose before, which three songs from Going Nowhere Fast would you tell them to start with and why?

I’d say listen to Bolivian Boogie Sugar first, if that throws them off then they be able to handle the bipolar genre switching of the rest. Distance for the softer side, and then a bit of Sneezy for the rockier alt vibes that were going forward with.

What’s next for Loose Goose? What are you hoping to achieve with the album, and where do you want to take the band from here?

Our goal with this album was to reward the fans that had contributed so much to the band in the past three years. To do so we’re playing a series of shows as well so they have an opportunity to sing along to the whole album, but outside that is largely out of our control. We’ll keep rewarding the close fans, and anyone that comes to the party is welcome to join.

25.09.26 — LENNOX HEADS — Lennox Hotel
10.10.26 — GOOSEMANIA PERTH — Indian Ocean Hotel

LOOSE GOOSE:| Instagram | YouTube | TikTok | Facebook | Unearthed

How did it feel seeing your name on We Are Deadbeats Vol. 7, especially as the label celebrates ten years?

It’s a label I respect and love so much even on a fan level. So it’s definitely special getting to work with them again. So happy for Zeds Dead and the whole Deadbeats team about hitting this milestone and the fact I get to be part of such a landmark moment for them is truly something that isn’t lost on me.

How did “RiGHT TiME” with Mary Droppinz come together, and what was the creative process like?

Honestly it all happened pretty effortlessly. I had the original demo for a little bit and never quite knew what to do with it. I had the little techno/hardstyle intro part and a skeleton of the main drop but never really fleshed it out. So when Mary hit me up to work on something I knew she was a multigenre queen and immediately thought of this tune. After her adding some flavor and bouncing back and forth once or twice the tune was done. The stars really aligned on this one.

You’ve had support from Skrillex and Excision. What did that recognition mean to you at the time?

Honestly, I’m a dubstep and bass music fan first. So when support comes I get super excited about it. I got into this because of some of the people I’ve been lucky enough to be supported by. But I also go through massive feelings of imposter syndrome about my music. So I try to take those moments in and remind myself that maybe im not shit hahaha.

What makes Deadbeats stand out to you compared with other labels in the bass music space?

With Deadbeats I’ve always found it to be quality over quantity. Obviously Zeds Dead are top of the game and have been for a long ass time, they have an amazing ear for what works. Pair that with the team they have running it and it’s just a homerun. Whenever a Deadbeats release makes its way into my inbox even if I don’t know the artist I know I need to check it out.

How has growing up and making music in Sydney shaped your sound?

I consider myself extremely lucky to have been shaped by the Australian scene. Getting to call iconic venues like Chinese Laundry my home club and be part of a scene that embraced bass music and all its weirdness was something I’ll always hold close. Hell, I may not even be around now if that wasn’t the case. I started in this making wobbly fidget house and transitioned into dubstep and the Aussie scene was always open to it. I think it’s that freedom that allowed me to grow as an artist.

What do you think makes the Australian electronic music scene so strong right now?

The Aussie scene is a funny one. We have so much talent and really all support one another and want to see each other succeed. It’s a real sense of pride in our countrymates. Plus we are so segregated from the American bass music scene over here. It often feels like we are on the outside looking in. I think it’s not being engulfed in it but capturing glimpses of the American scene, European scene, Asia scene that we kind of become this melting pot. haha

You’re playing huge shows like Red Rocks and Lost Lands. How does that compare with playing clubs back home?

Those shows are always so crazy to me. We really don’t have much if anything like that in Australia. It’s so big and grand and feels like a circus in the best way possible. And I love that. But there is something about the smaller low ceiling nightclubs where the crowd is right in your face and the sweat is pouring that just feels like home and has a crazy energy about it. No pyro, no LED wall, just a dope system and a crowd that sings pretty much every drop nearly as loud as the music itself.

Your sound crosses dubstep, bass and experimental territory. How important is it to you to keep pushing outside one particular sound?

I feel like I used to really push so many different styles. And sometimes it sounded like a different artist from song to song. I still want to push different genres and styles as I love all bass music. But recently I’ve really been trying to build my own little world. I want to push and write different stuff but still have it all be unmistakenly Hydraulix. WUB

Has moving into the international scene changed how you see yourself as an Australian artist?

I don’t think too much, no. I spend the majority of my time in Australia and I’ll always see myself as an Aussie artist. I think being so segregated out here has really kept me pretty humble with things. I’m obviously super grateful to be included in the international scene and I’ll never take that for granted but I will probably always see myself as the outsider looking in.

What’s the next big goal for Hydraulix, and what are you chasing creatively right now?

For me at the moment I’ve been really focused on a bigger project for next year. I want to continue to grow and build my little Hydraulix world and hopefully continue bringing people into that world. I’ve been really enjoying creating at the moment and just want to continue doing that.

SOCIALS

https://www.facebook.com/itshydraulix/

https://www.instagram.com/itshydraulix/

https://open.spotify.com/artist/0v6pkn5nWfqK3vgeg0gl0W

https://soundcloud.com/itshydraulix

https://www.youtube.com/channel/UCv86WzYEvZftEvjplyHPteQ

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.

Follow Eyes of Bel
Tiktok: @eyesofbel
Instagram: @eyesofbel
Facebook: eyesofbel
Spotify
Apple Music

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.

INSTAGRAM

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.

Follow Any Young Mechanic:
​WEBSITE | INSTAGRAM | TIKTOK | FACEBOOK | YOUTUBE

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

­ ­

“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.

INSTAGRAM