Your new album Electric Transport feels like a heartfelt return to form. What was the turning point that made you decide to get back into music after losing your mentors?
Spencer P. Jones & Brian Henry Hooper had always been there with me on my musical journey, so after they died, I had to reframe what my music would look like without them. Whilst my grief overshadowed everything for a while, I worked hard to reach a point where the reminder of their memory didn’t trigger sadness but instead made me want to go on and do what they loved doing.
This process took nearly two years, but once I started writing again amid the COVID lockdowns, I never looked back.
You were mentored by Spencer P. Jones early in your career. What’s something he taught you that still guides your songwriting today?
He taught me early on that I hate tequila that’s for sure haha.
When you saw Spencer play as much as I did, it’s obvious to anyone how great he was at working a room and getting the audience along for the ride. I have absolutely tried to do that in my own way as a performer, and one of the best pieces of advice he ever gave me regarding that was: “play to the people listening”.
However, it was more the life lessons that Spencer taught me, which guide me as a musician.
The man badly wanted to live, and he had a lot to live for, but it was years of alcohol and drug abuse which took its toll in the end and finally caught up to him.
All he wanted during his final years was to be able to play a gig and do what he loved.
We’re both the kinds of people who were put on Earth to do this and only this, so seeing that taken away from him, galvanised in me that I cannot let addictions, illness, or anything stop me from playing music.
Whilst I’ve had my own bumps in the road, I feel that I am truly turning that into actions these days. I just hope wherever he is, he’s proud.
How did forming The Boundary Riders change the way you approached writing and recording this record?
Joe and James showed me all the beautiful possibilities within my songs.
The songs all started life as solo country songs, but the way that the guys rocked them up (and in some cases quietened them down) meant I was always surprised and energised by their takes on them.
It’s made what we do live and, in the studio, much more of a team effort.
You’ve mentioned that the album captures the raw energy of your live set — what were some key moments in the studio that made that happen?
It was less about moments, and more about an atmosphere of comfort where we could relax into the recording of each song.
Our drummer James’s studio in Coburg was the perfect place for this to happen as we could all tune out if we needed to. For example, we could have a beer and watch the footy if a song wasn’t working, or simply just hang out for a while if we were all a bit tired after work and needed to wind down.
“Tramways In My Mind” has been with you for a decade. What made you feel like now was the right time to finally release it?
‘Tramways’ was a song which always needed a band to make it work, so when I got The Boundary Riders together, I immediately knew that the three of us could make that song absolutely rock. After a few rehearsals it was a no-brainer that it would be on the next album.
There’s a strong sense of nostalgia and place in your lyrics. How important is Melbourne — and its trams — to your identity as an artist?
Melbourne raised me along with my Mum, Dad, and Granny.
This city is amazing, fun, poetic, and has influenced every aspect of who I am.
Whilst yes, Melbourne is a big part of my artistic identity, there is a pragmatism to my references, as I have lived here and only here for my entire life.
It’s my only backdrop, and if I tried to reference anywhere else with the same sense of nostalgia, it would be fake and forced.
The trams and nostalgia attached to them are a funny one, as it’s all to do with comfort and happiness.
I have ADHD and (pending an expensive screening test) am probably autistic too.
When your brain is wired as mine is, your favourite subjects tend to be things which represent when you felt true comfort and safety as a kid.
My moment of safety, and its associated subject, is Trams.
School hadn’t started yet, so there was nothing and no one to tell me my brain was differently put together in how it saw the world.
Riding on the old green and yellow MET livery W class trams with my family and dreaming of being a Tram conductor, are moments I return to as an adult when I’m feeling lost, as they are truly beautiful and comforting memories.
“The Uncles” is a touching tribute to Spencer P. Jones and Brian Henry Hooper. What emotions did you experience while writing and recording it?
A sense of release in all honesty.
Songwriting is a catharsis for me, so it was deeply therapeutic writing and recording it.
Immortalising them in a song also just seemed like the right thing to do. If someone listens to that song and then delves into their back catalogues, then I truly feel like I have helped keep their memories alive.
You explore everything from heartbreak to writer’s block to growing old. Was there a particular message or emotion you wanted listeners to take away from the album as a whole?
This album is incredibly eclectic, so when it comes to the themes in particular songs, there is no real continuity.
But from the get-go, I wanted to make an album which evokes the records I adore.
There are bits of Hi-Fi Way by You Am I, John Prine’s first album, Paul Westerberg’s solo stuff, Robyn Hitchcock’s esoteric strangeness, and Spencer’s work floating around in ‘Electric Transport’, that I wanted included as a loving tribute to these seminal artists.
Your music blends alt-country, punk, and rock in a very natural way. How do you balance those influences without overthinking the sound?
It’s something which shouldn’t even come to mind when you’re writing or recording music. For it to sound honest, spontaneous, and like you, then you need to throw caution to the wind, and just let a song happen and speak for itself.
You’ve been part of the Australian indie scene since you were 15. Looking back now, what keeps you inspired to keep creating and performing?
I can safely say that at 33 years of age I love writing songs, singing, and performing more than I ever have before.
I am incredibly grateful to music as it’s given me purpose, identity, community, and belonging.
The only place on this planet, where a neurodivergent wreck like me feels normal, is on stage singing my songs, and I am very lucky to have a wife, family, and friends who all understand that completely.
There is a necessity to what I do, and that’s why I want to be on tour all the time and make a living off this. The world is quite hostile to differently wired folks like me and we are generally forced to adapt and mask, instead of being ourselves.
This is a survival mode tactic.
In music, I can thrive on my terms alone and eschew every mask I have.
ALBUM LAUNCH TOUR
JULES SHELDON – SOLO AND WITH THE BOUNDARY RIDERS
I also think there was a lot more unknown when I was going into the studio. Which is fun. Feels very exploratory.
When listeners reach the final track, “Song For A Ghost,” what do you hope lingers with them after the album ends?
AL MATCOTT AND THE FOREVER BAND
ALBUM LAUNCH
Friday November 14 @ Stay Gold, Brunswick VIC
w/ Alex Hamilton And His Band + Tambourine Jesus
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This project feels like a new chapter built on two decades of creative chemistry — how did Lounge of the Flamingo first come to life?
Paris: Thank you! Finley and I had been talking about this sound for ages, but we kept getting distracted by our various dance music projects. When the opportunity to record at Frying Pan came along, it was like the record wrote itself.
The record carries this slow-burning calm — part Latin lounge, part late-night jazz bar. What led you to explore that sound at this point in your journey?
Finley: Our chats about a jazz-inspired album kept circling, but I didn’t want to do a swing record! Eventually, we landed on the lounge era — elegant, stylish, smooth, and moody, but still rhythmic. It opened the door to exploring more complex harmonies and textures… and off we went.
You’ve both moved through so many styles over the years. What did this album let you express that you hadn’t captured before?
Paris: For me, it was about intimacy. I’d rarely had the chance to explore close-mic vocals — everyone always wanted big notes and big sounds, but I knew there was a tenderness I wanted to capture. Slowing things down and letting the space breathe took real discipline. I’ve also always loved the sound of the soprano sax, so being able to weave that in was such a joy.
Recording live at MONA’s Frying Pan Studios must’ve been a rare experience. How did that environment shape the sessions?
Paris: Aside from being pregnant and needing to pee every hour, walking in there every day made me feel like a working artist again — and that’s a rare feeling these days! We’d take the ferry each morning, debrief on the water on the way home, and the whole process felt calm and purposeful. The vista from the studio really seeped into the music. I love Tazzie.
Paris, you’ve described this as an album rooted in humour, calm, and family. How did being a married mum influence what came out creatively this time?
Paris: I’d love to say my house is always calm (lol), but it’s really the moments of calm I wanted to capture. Those flashes between the chaos. I’ve always written with a bit of social commentary too — I was writing songs about “Karens” before the term even existed!
Finley, reconnecting with your Afro-Latin jazz beginnings seems to have reignited something deeper. What was that rediscovery like for you?
Finley: My whole journey with piano began with Latin jazz compilations — samba, bossa nova, and jazz improvisation completely captivated me. Those CDs were on heavy rotation. At the same time, I was hearing those same jazz elements in electronic records I was DJing. It was an amazing era of discovery and curiosity as a young musician.
With voices like Kylie Auldist and the strings of Dean Stevenson woven in, the record feels rich and cinematic. How did those collaborations unfold?
Paris: Kylie and I have supported each other for years — we’re all about girl power! Dean is such a core part of MONA’s music scene, and we got to know each other while I was down there. When I asked him for some instrumentals, he sent a huge batch, and one of them became Strange Days. That song just poured out.
There’s an effortless confidence throughout these tracks — unhurried and self-assured. Was that an intentional approach or just chemistry doing its thing?
Paris: Fin musically directed the players and got about 70% of the recording done in a single day — it was magic. My husband made amazing sandwiches, I kept everyone caffeinated, and Fin was large and in charge! The confidence came from preparation and from knowing exactly who we are. I focused on the right character for each tune — the delivery sets the scene and tells the story.
Finley: This album was all intentional. Paris and I had long chats about what we wanted to create. The brief came down to moods and times of day — pre-dinner apéritif cocktails, beachside evenings, post-dinner single-cask sips.
After years performing on major stages alongside global names, what’s it like now stepping into something so intimate and textured together?
Paris: The best. Dinner music is back.
And for everyone coming to George Lane on November 27 — what kind of atmosphere should they expect when Lounge of the Flamingo comes alive on stage?
Paris: St Kilda always delivers a perfect musical summer night. We’ve got guest vocalists, backup singers, incredible local jazz players — and yes, everyone gets a flamingo in their drink. You’ll leave slightly buzzed, your ears won’t be ringing, your taste buds will crave one more cocktail… and you’ll still be home by 11.
ALBUM LAUNCH
Thursday November 27 George Lane Melbourne VIC
TICKETS
Paris Wells: Facebook | Instagram | YouTube
Finley François: Facebook | Instagram | YouTube
Lounge Of The Flamingo: Official Website | Facebook | Instagram
What first inspired you to create “Japanese Onsen,” and how did your trip to Japan with your son shape its emotional core?
Upon my son’s college graduation, we decided to take a trip to Japan. I had never been to Asia before, and we wanted to experience both big-city life and small towns. One of my friends recommended Kinosaki since I was interested in its Onsen culture. While researching the trip, a month before we left, the main melody you hear in Japanese Onsen came to me, and I recorded it in my studio. The title came later, after the trip — which turned out to be deeply magical and emotional. The heart of it was spending time with my son, who would soon be moving away for work.
Can you describe the moment in Japan when you knew this experience would become music?
Walking around the shrines and forests in Kyoto, and later experiencing the Onsen and Ryokan life in Kinosaki, solidified the musical vision. It was peaceful, quiet, and completely different from the energy of big cities. My next project captures Tokyo’s urban pulse — with a traditional cultural twist.
How did the sounds and atmosphere of Kinosaki’s hot spring villages influence your approach to rhythm and texture?
While composing, I dimmed the lights in my studio, bathed the room in red light, and played a video of hot springs. It brought me straight back to that atmosphere.
In what ways did Kyoto’s temples and shrines inform the tone or spiritual feeling of the composition?
I bought a small Torii gate for my studio — like the ones at Fushimi Inari Shrine. My son and I avoided the main crowds and stumbled upon a quiet bamboo forest where I began forming new melodies in my head. That stillness found its way into the song.
You’ve explored a wide range of sonic worlds as Monster Taxi — what makes “Japanese Onsen” stand apart from your previous work?
A lot of my recent songs are inspired by places and family experiences. Reflect came from a trip to Arizona with my father. Field of Dreams was born from a journey through rural America with my daughter. Pacifica was inspired by Oregon’s coastlines. Japanese Onsen continues that pattern — rooted in emotional travel memories. I wanted this one to authentically reflect Japan’s landscapes and culture. Danny Rein’s video brings it to life beautifully, transforming my photos into anime-like visions. Everything shown in that video really happened. And yes, I still owe my mother a song — and Iceland may be next!
Was there a particular sound or field recording from your travels that made it into the final piece?
I recorded train station sounds for a future Tokyo-inspired track, but not for Japanese Onsen. Everything you hear was crafted with my synths, instruments, and sound libraries — especially Arturia, which provided many of the Asian tones.
How do you balance capturing the authenticity of a place while still translating it into your own musical language?
Honestly, a lot of it is instinct. I experiment until it feels right. Many of the best parts were happy accidents — like the improvised middle solo, done in one take. I considered bringing in traditional Japanese instruments like the Shamisen and Shakuhachi, but what I had already felt authentic and complete.
What role does family connection play in your creative process, especially in translating shared experiences into sound?
Family and friendship are my creative fuel. They bring the magic and emotion that turn ideas into melodies.
How do you hope listeners feel when they immerse themselves in “Japanese Onsen” for the first time?
I hope they find peace and beauty in the song — and maybe feel inspired to travel to Japan themselves.
If you could return to one moment from that trip with your son, where would it be — and what sound would you want to capture there?
Sitting with my son in the ancient Onsen of Goshono-Yu in Kinosaki, followed by our Kaiseki dinner in Kyoto’s Geisha district. The central section of the song captures the Onsen, while the middle reflects that intimate Kaiseki experience.
What first drew you toward the darker, more introspective territory explored in “Occulent,” and how did that vision evolve during its creation?
Lyrically, this subject is hard for me to get away from – and I’m not sure I want to. While it’s dark and difficult at times, it’s also a way I continue to remember my friend who I lost: what we went through, both the incredible fun we had and the dark last few years while he battled cancer. Musically, it all came very organically. My favourite songs always seem to click the fastest.
How did collaborating with Simon Grove and Mitta Norath influence the sonic weight and emotional intensity of the track?
Mitta is just such a great energy to have around while recording – super passionate and always keeping the vibes high. Simon was integral in developing our sound. We knew we didn’t want to go down the same path as a lot of metalcore bands. We wanted something polished yet raw at its heart. Simon made that happen for us and delivered something beyond our expectations.
“Occulent” touches on illness, mortality, and the fragility of connection — what personal or shared experiences inspired those themes?
It really stems from a relationship with my best mate who passed away a few years ago. His battle with cancer was horrific, yet his life was so colourful and joyous. There’s a real dichotomy there. I remember the crazy and loving relationship we had as mates, but also how tough it got towards the end and how that affected everyone differently. I know for other members of the band, this subject hits differently because of their own experiences with loss.
There’s a haunting beauty in how the song balances heaviness and vulnerability — was that contrast something you consciously aimed for?
I think that’s something we’re always conscious of. Some of the members of nightdive are the best at their craft – I saw that as a personal admirer of their skill. However, everyone in the band is constantly focused on emotion and feel rather than showing off technique. That’s something I find really special about this band and the musicians I’m playing with.
As a band that only formed this year, how have you managed to carve such a defined sound and identity so quickly?
What we learned pretty quickly is that we share a lot of common interests in the music we love and grew up on. There was about a two-month period where we really dialed in our sound and found what works for us. Fortunately, we’ve all been around music for a while, so we know how to work with each other to get the best results.
Your first show as nightdive is coming up, supporting Ladders on Tables. How does it feel to debut so strong so early in your journey?
It feels amazing. The response has been really incredible – not just from an industry standpoint, but from people who genuinely seem to be enjoying what we’re doing. That means so much to us.
How do you each approach songwriting when dealing with deeply emotional or existential subject matter like this?
I think it’s just an opportunity to explore your own grief, or to take a step back and look at things from multiple points of view to understand how we all deal with things differently. In that way, it’s really cathartic.
Your sound evokes comparisons to Deftones and Thornhill — what influences do you draw from, both musically and beyond music itself?
We’re all kids of alternative metal and grew up on it, so there’s a deep love there. But we’ve also explored other genres like indie rock and EDM, so there are multiple influences in our music that happen organically. That’s really what makes all musicians unique in the end – no two people have the exact same taste.
How do you see the band evolving as you continue working on your upcoming four-track collection?
Every song, or collection of songs, seems to take us closer to understanding who we are as a band and where we want to go sonically – at least in the short term. Who knows where we’ll end up.
What do you hope listeners take away from “Occulent”?
We hope it hits on an emotional level and gives people an outlet for some of the tough things going on in their lives.
SHOWS
WED 12TH NOV – KING ST WAREHOUSE, NEWCASTLE (18+)
SUPPORTING LADDERS ON TABLES
THURS 13TH NOV – CROWBAR, SYDNEY (18+)
SUPPORTING LADDERS ON TABLES WITH DAYS LIKE THESE
Up Until Now feels like a confident leap forward from your earlier work. How did making a full-length album change your approach to songwriting and sound?
It was really exciting to have the opportunity to release a full length album as supposed to releasing singles one at a time. It meant I had to think about which songs would work well together both sonically and thematically. These songs were all written in the past couple of years so it was really a matter of choosing which 8 I wanted out in the world.
There’s a real 90s indie energy running through these tracks — who or what shaped that direction most while you were recording?
Yes definitely, I love Britpop and British guitar music so I think that’s always been a heavy influence on my sound. I write all of my songs on acoustic guitar to start with and I think that traditional songwriting method is reflected in how they turn out.
You tracked the record in Notting Hill. What was special about that studio and the team that helped bring the songs to life?
I love Notting Hill, it’s such a fun and interesting place to be in London. Fun fact – my album photoshoot was done outside some of the coloured houses there. I recorded the whole album at AudioHaus where I really enjoy working. I had a lot of fun recording the three singles there last year and knew that’s where I wanted to finish the record.
Your lyrics move between new love, heartbreak and everything in between. Was there a particular moment or relationship that tied the record together emotionally?
I’m aware. I think the hopeful and optimistic themes of the first track ‘A Lucky Day’ are the ones I relate to most currently but I wanted to include the more tearful heartbreak tracks like ‘I Can’t Do It’ to show a wide range of feelings which people will relate to at different relationship stages.
You started gigging at just sixteen in Reading pubs. How did those early experiences shape the performer and writer you are today?
I think cultivating my sound through live pub gigs and open mic nights means I always put the actual bones of the song first as supposed to production sounds and effects. I’d like to learn more about music production and writing in alternative ways but I think I’ll always be guitar focused.
There are flashes of Oasis and The Cranberries in the sound, yet it still feels distinctly yours. How do you balance nostalgia with originality?
I think it’s probably to do with the range of music I listen to. I love classic gems from past decades but I like to stay on top of what’s trending whether that be on TikTok or the charts. I think modern pop music is really exciting at the moment and I hope that influences my own songs.
Which song from Up Until Now feels closest to who you are right now, and why?
I really love ‘Skeptical’. I wrote that song ages ago and to now be able to listen to it with a full band production is amazing. It’s the album track I’m probably pushing the most in my promotion. I think it’s a song most people can relate to as it discusses being wary of changes in your life/ relationship status.
Your singles So Sky Blue, Hard to Take and Movie Night all found strong support from BBC Introducing and Amazing Radio. How has that early recognition influenced your confidence as an artist?
I had support for the lead single from this album ‘So Sky Blue’ from BBC Introducing which was lovely. The chance to hear my music on radio never gets old. It definitely makes me feel confident in what I’m doing and that people still want to hear this style of music. I’ll keep going then.
You’ve played everywhere from Brighton to Glasgow — how does the live energy feed back into your writing?
Yes, I love to travel and perform. I was at the open mic at King Tuts in Glasgow earlier this year. I love feedback from the audience about which songs in my set stood out to them. It definitely influences my decision on what to record and release. Just seeing other artists perform at these sorts of shows inspires me to write and tell more stories.
Now that Up Until Now is out in the world, what do you want listeners to feel or take away after hearing it front to back?
I hope people enjoy listening to my album and feel the kaleidoscope of emotions on it. I think indie has a reputation for being under the radar but I hope it can reach people who may discover that they enjoy guitar music more than they originally thought.
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What inspired you to revisit such an iconic song like “Imagine” and present it through your own artistic lens?
It just happened organically. I was listening to an electronic track that my childhood friend and I had created over 20 years ago and noticed it would fit with the verses of John Lennon’s classic. I checked with my friend and he was game to use our old track for a new version of “Imagine,” so then I started figuring out what else was needed to make a complete version of the song.
How did you approach balancing faithfulness to John Lennon’s original with creating a version that feels uniquely yours?
This was done with the help of Adam Rossi, my co-producer on the song. We were recording my lead vocals and Adam had to coach me along to find my own truth with these lyrics. It took hours to find my voice. The lyrics seem simple but they go deep, and I needed to do them justice.
The track blends acoustic elements, electronic textures, and orchestral arrangements — how did that sonic vision come together?
It started with the electronic track that my friend and I had made. John Lennon’s original has been so beloved by millions around the world that it seemed like this version needed to acknowledge how epic the song is. So I started thinking about an orchestra, and how that would help bring some heft to the track.
What was it like working with the Budapest Symphony Orchestra and vocalist Hyunju Lee on this project?
I had never worked with an orchestra before and when I sat in on the 50-piece orchestra recording session for this, I couldn’t believe it was happening. It was over pretty fast—they were such pros. Hyunju Lee, I can’t say enough about her work on this. She took hours of precise, dedicated work to get this right, and her voice adds such beautiful textures to the song and really supports the lead vocals in such a gentle yet solid way.
Do you remember the first time you heard “Imagine”? How has your relationship with the song evolved since then?
I was 13 years old, living in the Himalayas in India. A friend had returned from England with some cassettes—including “Double Fantasy” by John Lennon and Yoko Ono, as well as the album “Imagine.” I listened to them on repeat for months. I remember at the time my mother telling me that the first time she’d heard “Imagine,” in 1971, she was driving and had to pull her car over because she was so moved by the song. So I knew it was an important song.
Over the years, I’ve considered the lyrics more and more, and during the process of creating this version, the lyrics hit home in a powerful way. The first line of the second verse—”Imagine there’s no countries”—reminds me that I was an illegal immigrant in India when I first heard the song, and now, living in the U.S., those words are especially meaningful. The line “Imagine all the people, living for today” makes me feel like we have such potential—that there’s real opportunity for humans to act from kindness and goodwill, which I experienced firsthand from the Indian people while living there illegally.
I’ve noticed that everywhere I go, most people have an innate response to help when they see others in need. One of the challenges is that we’re often in our own digital bubbles, but deep down, when not manipulated by division, people have a natural tendency toward compassion. That line, “living for today,” feels like an invitation to invest in our communities right here, right now.
Your version feels deeply emotional and hopeful — what message do you hope listeners take away from it today?
I was born in 1969, a time of change and hope, in spite of great difficulties. It’s difficult to feel hopeful when I look at comment sections online, but when I’m face to face with people—no matter our differences—I feel hope again. When I first started creating this version of “Imagine,” I wasn’t thinking about what I wanted to achieve with it, and now it just feels like the spirit of the original wanted to remind people of the possibilities for fellowship and brotherhood, and just used me as an instrument to make that happen. I hope people can take heart in this song and remember our potential.
This is your first-ever cover release. What made “Imagine” the song you wanted to reinterpret?
It really wasn’t an intentional effort. I just noticed that it would work well with the old electronica track that my friend and I had never released. I then noticed that John Lennon’s birthday, October 9th, was just a few months away, and I wanted to release it on his birthday—so I went to work with that deadline, something I never do!
How has your background as a songwriter shaped the way you approach reimagining a legendary track?
The songwriting part of this was done, so I didn’t really use my songwriting tools. Instead, this was about being a producer—figuring out the sound that was called for, the elements that would fit well together.
Who or what influenced the creative direction of this arrangement, both musically and thematically?
My initial ideas for it probably had something to do with listening to The Moody Blues and The Beatles when I was a kid, because both groups had orchestras in some of their songs. I’m forever influenced by Pink Floyd, who were doing such incredible things 60 years ago. The electronica of the ’90s, which often had lush melodies while also being great to dance to, really left a mark on me. Adam Rossi, who co-produced this with me, recognized what I was going for and made the all-important choice to have Hyunju Lee’s background vocals play a crucial part in the song.
With this release now out in the world, how do you see it fitting into the larger story of your music and where you’re headed next?
This is the second release of mine that veers into the world of electronica (“Commercial Break” is the other). I think a lot of my music will continue to have some element of electronica. I’ll continue to aim to write meaningful lyrics. Many of my songs—like “You’ll Do Fine,” “A Beautiful Life,” and an upcoming track, “Orion”—are about taking heart and keeping going.
My relationship with music has really evolved alongside my life. I started in classical training and ensemble work, where it was all about discipline, technique, and blending with others — which taught me structure and respect for the craft. As a child and teenager, I was singing jazz, country and Rock n Roll, but as I’ve grown and gone through my own experiences — love, heartbreak, resilience — music has become something far more personal. With ‘The Songbook of My Heart,’ I stepped fully into storytelling. It’s not about perfection anymore — it’s about truth. Every note, every lyric comes from lived experience. It’s my voice, my emotions, my story. I think that’s the beauty of music — it grows with you. Where once I sang to perform, now I sing to connect, to heal, and to remind others that they’re not alone in their own stories.
What does this album represent for you on a personal level, and how does it reflect the chapters of your life you’ve lived through?
This album represents a lifetime of love, heartbreak, loss, growth, and ultimately — self-rediscovery. Every song reflects a chapter of my life — the moments where I lost myself, the times I had to rebuild, and the beautiful, unexpected ways love kept showing up — even when I thought it was gone for good.
‘The Songbook of My Heart’ is really about finding strength in vulnerability. It’s about acknowledging the pain but choosing to keep your heart open anyway. For me, it’s a closing of some chapters and the beginning of a new one — one where I finally sing for me, not for anyone else. When I listen back, I hear the woman I’ve become — softer, wiser, braver — and I’m proud of her. This album is my truth, wrapped in music.
You’ve described Linda Ronstadt’s music as a companion — how has her work influenced your voice and the way you interpret songs in this project?
Linda’s music has been a companion to me through so many stages of my life. She had this incredible ability to move between strength and vulnerability — and that really shaped the way I approach my own singing. When I was creating ‘The Songbook of My Heart,’ I wasn’t trying to be Linda — no one ever could. Linda Ronstadt is her own force, her own magic. I don’t compare myself to her because I’m here to bring my own truth — my own authentic voice and lived experience.
For me, this project was about honouring her artistry while also allowing who I am to come through — the woman, the heart, and the stories behind every note. In many ways, Linda helped me find the courage to be myself.
When reimagining these iconic tracks, how do you strike a balance between honouring their legacy and infusing them with your own soul and perspective?
When I approached these songs, I wanted to honour their legacy with the deepest respect — because they’ve meant so much to so many people, including me. But I also knew I couldn’t just recreate what Linda had already done so perfectly. My responsibility was to find my truth within them.
So, I spent a lot of time sitting with the lyrics, really connecting to the stories and how they related to my own life. I asked myself, “What does this line mean to me now, as the woman I’ve become?”
What do you hope audiences feel as they experience these songs live?
When people come to my shows, I really want them to feel — to go on the journey with me. I want them to feel how I lived through these experiences, because every song in ‘The Songbook of My Heart’ is a true reflection of my life. Each one carries a story — the hurt, the tears, the love, and the strength that shaped who I am today. My hope is that the audience not only connects emotionally but also feels recharged — like the music has helped them release something or remember their own resilience. These songs were my way of healing, and now I want to share that energy so others can feel a little more open, a little more hopeful, and reminded that no matter what we go through, our hearts can always sing again.
Many of these tracks are tied to pivotal moments in your life. Is there one song in particular that holds a deeper meaning than the others?
Yes — ‘Long, Long Time’ holds the deepest meaning for me. It really represents the closure of my marriage and that experience of loving someone who doesn’t truly see you. There’s a heartbreak in that song that’s so honest — it’s the quiet kind of pain that stays with you long after the moment has passed.
When I sing it now, it’s no longer about sadness; it’s about acceptance. It’s about finding peace and strength in letting go. That song became a way of closing one chapter of my life and opening another — one where I love myself first, and where I can sing from a place of truth, not longing.
You’ve channelled your platform into powerful advocacy — from literacy to ovarian cancer research. How do these causes intertwine with your work as an artist?
My main focus has always been literacy — because I believe it’s the foundation for empowerment. For me, literacy isn’t just about reading; it’s about giving children and women the tools to find their voice, to make informed choices, and to shape their own futures. That’s why my work combines reading, music, wellness, and financial literacy — they’re all forms of expression and self-belief.
At the same time, I’ve lost someone very dear to me to ovarian cancer, and I have close friends who’ve been affected. It’s deeply personal — and as a mother of girls and a son. I feel a responsibility to do whatever I can to raise awareness and support research. For me, advocacy and artistry go hand in hand. Music connects the heart, and advocacy gives that connection purpose. Together, they’re how I try to make a difference.
After stepping away for personal reasons, you’ve spoken about finding your voice again. What has that process of rediscovery taught you about yourself?
Stepping away from music was one of the hardest but most necessary decisions I’ve ever made. During that time, I had to face a lot — to heal, to rebuild, and to find the courage to trust my own voice again.
That process of rediscovery taught me resilience — that even when life quiets you, your true voice never disappears, it just waits for you to be ready. It also reminded me to never give up on a dream, no matter how far away it might seem.
Coming back to music has been about freedom and self-belief — realising that my voice isn’t just something I sing with, it’s who I am. And once you reclaim that, no one can take it from you.
Beyond this project, you’re working on a full-length album of original songs. How will that body of work expand on the story you’re telling now?
The full-length album of original songs is really the next chapter of my story. ‘The Songbook of My Heart’ was about honouring where I’ve been — the loves, the losses, and the lessons that shaped me. But this new body of work is about where I’m going. It expands on that story by moving from reflection to rebirth — it’s more confident, more open, and filled with hope. These songs come from a place of strength and freedom, written from my own experiences and truths. It’s about stepping fully into my voice as a songwriter and a woman — still tender, still real, but now completely my own. If The Songbook was about healing, this next album is about becoming. So, watch this space!
Looking ahead, how do you see music and activism continuing to shape your legacy — and what impact do you hope your art leaves behind?
Looking ahead, I see music and activism continuing to work hand in hand. For me, art has never been separate from purpose — it’s a way to shine a light, to empower, and to create change.
Through my focus on literacy — empowering children and women through reading, music, wellness, and financial understanding — I hope to help others find their own voices, just as I’ve found mine. And through supporting ovarian cancer research, I honour those I’ve lost and protect the next generation, including my girls.
Ultimately, I hope my legacy is one of impact and authenticity — that people feel I used my platform to lift others, to remind them of their strength, and to never give up on their dreams. If my art can touch hearts, open minds, and leave the world a little better, then I’ve done what I came here to do.
It started with an awareness, a need to understand ourselves and to express emotion in a way that truly connects. Guardians of the Multiverse became that outlet, a reflection of the battles we all face internally. It’s more than a song; it’s a statement of self-recognition, of letting what’s buried rise to the surface in sound.The mythology around the Guardians and the Architects is rich and complex. What sparked the creation of this universe and its deeper story?
Guardian III had a dream, Luna spoke to them. They shared that vision with the rest of us, and from that moment, the world of the Guardians and the Architects began to take shape. The lore wrote itself through that inspiration, and the rest, as they say, is history.The Resonance Manuscript plays a big role in this project. How does the written lore shape the way you approach the music?
The Resonance Manuscript was written by Guardian III to serve as a foundation, a guide to help us understand Luna’s evolution and the purpose of the masks. It’s not just a story; it’s a reflection of the emotional and spiritual architecture behind what we create. Every line in the book connects to a sound, a lyric, or a visual. It gives the music meaning beyond melody, it gives it memory.Your decision to stay masked strips away the individual identity behind the art. What does anonymity allow you to express that you couldn’t otherwise?
Anonymity frees us. It removes ego, expectation, and pressure. Behind the masks, we can fully immerse ourselves in the purpose, not the performance. It allows us to write without thinking about how we look or how we’ll be perceived. Instead, we focus purely on the message, the energy, and the emotion we want to deliver. It’s not about hiding, it’s about becoming what the music demands.There’s a powerful tension between aggression and atmosphere in the track. How did you strike that balance in the studio?
We wanted to demonstrate both our musicianship and our production depth. Forrester Productions gave us the foundation to shape our sound, but ultimately, we built it ourselves. Once we understood the story we were telling, the balance came naturally, the aggression of collapse against the serenity of rebirth. The synth motif became Luna’s voice throughout, threading the chaos together into something cohesive.Each element, from the drums to the synth layers, seems to serve the story. Can you talk about how sound design became part of the narrative?
The music always came first. Guardian III created the initial concept and shared it with the others, letting the sound sculpt the story before lyrics were even written. Every instrument had a role to play, the drums as the heartbeat of the universe, the guitars as the pulse of creation, and the synths as Luna’s lingering presence. Once the emotion was built sonically, the lyrics followed to anchor the lore and the feeling together.You describe Luna Returns as more of a vessel than a band. What does that philosophy mean to you in practice?
Luna Returns is not a collection of individuals, it’s a channel. A vessel that carries messages from a place beyond ourselves. The three Guardians represent aspects of that energy, but Luna is the constant, the guiding consciousness. In practice, that means everything we create is done with purpose and intention, as if we’re receiving rather than inventing. We’re simply conduits for something larger than us.The song explores ideas of collapse and rebirth. How do those themes connect to the current moment in your own life or in the world at large?
We all face moments where the world feels like it’s falling apart, personally, globally, spiritually. Guardians of the Multiverse is about finding light in that collapse, seeing that destruction isn’t always the end but the beginning of understanding. Pain, grief, and struggle can all lead to awakening. It’s universal, and we wanted that message to resonate no matter who’s listening.For listeners diving into this project for the first time, what do you hope they feel or question by the end of “Guardians of the Multiverse”?
Whatever they need to feel. Whether that’s anger, peace, sadness, or defiance, any emotional response means connection. We don’t want people to force themselves to like us; we want them to interpret the music in their own way. The meanings are flexible. The song becomes theirs the moment they listen, that’s the true essence of resonance.How far ahead have you mapped out this universe, and how do you see the story evolving across future releases?
“Mirage” feels both intimate and expansive. How did that vision first take shape when you sat down to write it?
Honestly, it started really naturally, more as a feeling than an idea. Tomcbumpz and I were just vibing in the studio. I told him I wanted something that felt psychedelic but still emotional, something that pulls you in. He started playing around with melodies on the Prophet 6, I added more layers, he added drums, and then I freestyled, singing it in one take. The first demo came together super fast, and it just had that dreamy, floating energy that I connected to right away.
You’ve described the track as psychedelic R&B. What draws you to that sound, and how do you make it your own?
I’ve always loved R&B, but I’m also obsessed with texture — sounds that feel hazy or surreal. Psychedelic R&B lets me merge those worlds. I think what makes it my own is how I build space in the production. I love layers, harmonies, and ambient synths that make you feel like you’re in a memory instead of just listening to a song.
Tell us about your creative dynamic with tomcbumpz — what clicked between you two in the studio?
We actually met through Instagram. I had taken him to a rooftop to shoot some photos since I also do urban photography. I told him I make music, and we ended up hitting the studio after. He has a great ear for synths and I loved his sound design, so it felt easy to create together. The chemistry was instant — I think we just understood each other’s creative language.
The song dives into the complexities of personal relationships. Was there a particular moment or experience that inspired those lyrics?
Yeah, “mirage” came from a past relationship I was in. There was still love, but everything felt uncertain, like we were trying to hold onto something that was already slipping away. The lyric “We went back and forth back and forth for days / Trying to display our love / But it was never the same yeah never the same” really captures that. It’s about the exhausting push and pull, the moments where you’re giving your all, trying to make it work, and yet realizing deep down that the connection has shifted. It’s that feeling of repeatedly trying to show love, but knowing that things can’t go back to what they once were. The song is about acknowledging that truth while still holding on to the memories and emotions that made it meaningful.
You mixed and mastered “mirage” yourself, which is rare. What does having that level of control mean to you as an artist?
It means everything. I’ve been producing since I was 8, and I grew up around music — my grandpa is an audio engineer, so I learned from the best. I’ve always cared about every detail, from the vocals to the smallest reverb. Mixing it myself lets me protect the feeling of the song. It’s not just about making it sound clean, it’s about making sure it still feels the way it did when I wrote it.
The visuals — from the Queensborough Bridge to the subway tunnels — feel like an extension of the music. How do you see the relationship between your sound and your visual storytelling?
For me, visuals and sound are one and the same. I see music in images, colors, movement, places. Climbing the Queensborough Bridge and shooting in the subway tunnels was my way of showing the duality of “mirage.” It’s about illusion and perspective, and I wanted to capture that visually — the beauty and the chaos coexisting. The bridge represents distance and longing, while the tunnels represent being trapped in his maze, running and trying to find a way out. I like using real environments to reflect emotional states, because my world and my art are deeply connected. Every location tells part of the story — it’s not just where the video takes place, it’s what the emotion feels like.
You’ve cited artists like Jhené Aiko and SZA as influences. What have you learned from their work that shaped this track?
I think Jhené and SZA both taught me how to blend softness with strength. They create such emotional worlds through sound; it’s honest but still dreamlike. That inspired me to embrace vulnerability in my music, but also to not overthink — to just flow.
The studio where you recorded “mirage” seems to hold special meaning for you. How does the space you create in affect the final result?
Totally. Tom’s studio in Brooklyn has this cozy, safe energy. It’s warm and low-key, and that makes it easy to be creative. I’ve made a lot of good memories there, so the environment definitely shaped how open I was when recording.
You’ve said music is a reflection of life’s illusions and realities. What illusion are you exploring most deeply right now?
Lately, I’ve been exploring the illusion of connection — not just in love, but with friends and family too. Especially since I just moved, I’ve been feeling the push and pull of relationships, and just trying to make sense of everything. In “mirage,” that illusion shows up in the push and pull of love that’s fading, when you’re trying to read someone’s eyes for a truth that isn’t there anymore. It’s that space between what you wish something was and what it’s actually become.
What do you hope listeners feel or think about after they’ve heard “mirage” and watched the visuals?
I hope listeners reflect on their own relationships, especially if they’re caught in that in-between, illusion state — the back-and-forth where you’re chasing something that feels real but keeps slipping away. The song and visuals are about facing that truth and recognizing the reality of shifting love. Even when love changes or fades, the emotion was still real, and I want them to recognize that sometimes love changes, and even if it will never be the same, that doesn’t make it any less meaningful. I want listeners to feel the weight of that — the ache, but also the acceptance. I hope they feel encouraged to face the complexity of love with awareness and to find growth and meaning even in the moments that may not last.
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What’s the most unexpected place or situation where a lyric or melody for “Wish On You” first came to you?
The main melodies in this track are almost a decade old. Melodies come to me all the time — while out on runs or in line at the café. I record them quickly and file them away for safekeeping. I took several out of the archive for “Wish On You,” and the lyrics came to me quickly. I wanted to write a song that blurred the lines between sincere relationships and parasocial relationships, and while trying to work it out, I took my dog outside that night and saw a shooting star — true story!! — and knew that was the perfect allegory.
If “Wish On You” were a movie scene, what would be happening on screen when the song plays?
Oh, definitely someone screaming at their television or throwing something through it. I’m a big fan of drama like that!! This song is pretty messy and hyper-dramatic, but I use that to mask the real emotions in it. I’m my most sincere when I’m being ridiculous!
What’s one thing about your creative process that would probably surprise people?
When I’m writing my lyrics, I prefer total silence. I know the melody and notes in my head, and I write better in silence with the lights out! I’m a failed poet at heart, and my music is just another avenue for my ironic, angsty poetry!! Call it “performative masculinity poetry” or whatever — it works for me!!
If you could time-travel back to the peak blog-era days, which artist or band would you want to collaborate with and why?
OOOF, so many to choose from. I used to work for a college radio station during this era, and we were sent so many promotional tracks from amazing, truly indie artists. It was such a formative time for me, so I’m going to end up leaving so many out!! I think the top of my all-time-collab-dream list would definitely be Metronomy, Phoenix, Hot Chip, and Neon Indian!! They all have such an amazing approach to their music and lyrics — there’s something to all of them that feels almost hyper-real!! If any of them or their reps are reading this — you know where to find me!!
What’s the strangest or funniest reaction you’ve had from someone hearing your music for the first time?
My dad is probably my biggest fan, and I owe so much to him for curating my taste in music since I was an infant. He loves my music but likes to remind me that I sing like “Weird Al” Yankovic and that “Wish On You” really highlights this! Definitely not an insult in the least bit. I’ve often thought that when Weird Al retires, he’d be able to pretty easily pass the torch to me. He was my first concert growing up, and I have a pretty gosh darn good taste in polka!! Myron Floren? Come on!! Though that’s hardly a hot take.
How would you describe Bobo Gogo’s sound if you had to use three completely random objects instead of music terms?
I don’t want to spoil anything, but my sound is definitely going to change drastically and constantly. I have some things planned for 2026 that are… pretty wild!! I think the distinct through-line of all of my tracks is my approach to melodies and lyricism, and the objects that really capture my perspective are: an empty giant soda cup from a cliché American gas station, an unfinished crossword puzzle (Sudoku is an acceptable substitution), and infinitely tangled corded headphones that are more wound together than the Gordian Knot.
What’s a piece of pop culture — a film, a meme, a video game — that secretly inspired this track?
A lot of my little melodies and hooks are always going to sound a little retro video-gamey, especially for my first few singles. I get a lot of inspiration from Nintendo 64 soundtracks — they all have such a bright approach to instrumentation and composition that can’t help but excite you!!
If someone made a cocktail called “Wish On You,” what would be in it?
I’m actually a hardcore non-drinker — the people’s straight-edge pop star!! So I think the “Wish On You” would be a Sprite with sour mix and a ton of cherries. That’s my go-to drink when I’m out on the town, and it’s so zippy and sweet that it can’t help but get you into a manic state (which is pretty much required for this song).
What’s a lyric from the song that hits you the hardest when you perform it, and why?
“Can’t even watch a show without you on my TV screen” is the standout lyric to me in this song. It really captures the inescapable feelings you have for someone — whether you’re literally seeing them on screen because they’re now super famous (perhaps I’m talking from experience, perhaps not), or you’re figuratively projecting someone you miss onto characters in a show. Then all of a sudden you’re in your feelings about Michael Scott in The Office or something.
How do you want people to feel after blasting “Wish On You” on repeat?
Oh wow, I hope people listen to my music a lot, but maybe this isn’t good for the psyche!! I think “Wish On You” is an intense song that can evoke a lot of feelings, but by the end I hope people are releasing all of those pent-up emotions and dancing them away!! Or head-bopping or foot-tapping!!
Primal Urges feels both introspective and lighthearted — what kind of headspace were you in while writing this record?
I’d say the blanket headspace was just being open to whatever came through, and a lot did – but there’s about an album’s worth of other songs that didn’t make it out of demo territory for good reason!
You’ve said the songs are more “outward focused” this time. What shifted in your perspective compared to Dreamworld?
I didn’t have the low hanging fruit of breakups or singledom breakdowns to pick from this time around. Dreamworld was full of that stuff and it’s easier to write so it was nice to open up a bit and let other things in a bit more. Speaking of – my partner Becky who does all the visual art for us have been juggling having baby born and raising him through all this.
There’s a warmth to this album that feels lived-in. How did you balance humour and melancholy without tipping too far either way?
I want the songs to be able to wash over the listener without the lyrics slamming them in the face, but if you want a bit more there is more. It’s a part of that balance I think.
Working with Alex Markwell seems to have brought a certain polish while keeping your charm intact. What was that collaboration like in the studio?
He’s a lot of fun. He has a way of being so relaxed by doing all studio tasks at wizard pace. We didn’t talk much about tones or anything, we all just did our thing and it worked pretty naturally.
“Blue Horizon” dives into an imagined love story between a bushranger and his lover — where did that idea come from, and what drew you to that era?
Ahem.. not imagined! The part that is imagined is Frank convincing his lover to escape with him after the heist. They did exactly that so one would assume there were convincing convos a plenty.
The album moves from hazy nostalgia to something almost cinematic by the end. Was that progression intentional?
Not at all but thanks for listening to it. I tried to put catchiest ones at the start so by the second half you feel obligated to stay on board.
You’ve been praised for your clever, observational lyrics. Do you start with words, or does melody usually lead the way?
Almost always chords then a loose melody then lyrics. I’d love to change it up and do lyrics first but it hasn’t happened much yet. Maybe next time.
After your return to live shows with “Blue Horizon,” how did it feel reconnecting with audiences after a few quieter years?
A lot of fun. We’ve had Liam Gough on drums for this run of shows and we’ve never sounded better. I’m on the guitar for a change , so for Aiden (guitar) and Riz (bass) and I it’s been a Breath of fresh air and I think that translates live. People seem to enjoy it!
You’ve cited everyone from The Clientele to early Madonna as influences — how do you blend those references into something uniquely Redspencer?
I think I’m so locked into my songwriting style now that it’s hard to make anything that doesn’t sound like Redspencer. So I guess I’m a blender.
Looking ahead, what do you hope listeners take away from Primal Urges — and where do you see the next creative chapter leading?
I want people to feel positively charged after hearing it, I tried not to write any filler moments in there, nothing too challenging. It’s a pop album and we’re very proud of it . I’m not sure what happens next because we are all so busy these days with kids and running businesses ect – so we’ll just enjoy this era for now and see what happens naturally!
Primal Urges is out now, with vinyl available for pre-order HERE
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“Tangerine” feels both intimate and cinematic — what moment or emotion first sparked its creation?
Oddly enough, the song was inspired by my best friend’s daughter, who was just days away from giving birth to her first child at 20. I remember sitting there, listening to the music I had so far, searching for a melody and lyrical direction. I started thinking about her—how brave and terrifying it must be to face something like that so young—and that’s when the first verse and the seed of the chorus, “Who’s gonna love you,” just kind of appeared.
The song wrestles with vulnerability and the fear of falling apart. When you were writing it, were you reflecting on a specific period in your life?
Yes and no. I was reflecting on my own life and how I tend to handle difficult moments—my craving for connection and community, especially when things get tough, and a time when that support wasn’t always there. That experience pushed me inward, to learn how to have my own back and give myself the love and reassurance I needed. In that way, the song became a personal reflection on the question, “Who’s gonna love you when you’re falling apart at the seams?”—something I think many people can relate to.
You’ve described “Tangerine” as a plea for unconditional love and support. What does that look like to you in real life — who stands by you when things unravel?
The phrase “You’re lucky if you can count your real friends on one hand” definitely comes to mind. I’m grateful to have a few solid friends who’ve stood by me through so many ups and downs. Over time, life has really whittled that number down, but I’ve learned it’s all about quality over quantity. And honestly, my little orange cat, Cali, has been a huge source of comfort too—an emotional support furball in every sense.
There’s such a vivid contrast between the song’s warmth and its emotional heaviness. How intentional was that balance between beauty and ache?
The overall vibe of the music came first—it naturally carried a sense of sweetness and warmth. The melody and lyrics came later, and while I didn’t set out to create a contrast between beauty and ache, it started to reveal itself as the song developed. In the studio, as we refined the instrumentation, the vocal delivery and harmonies really helped the lyrics define that balance between beauty and ache. One of my favorite moments is the bridge—it feels like a breath of fresh air, more uplifting and encouraging, almost like it’s saying, “Don’t be so hard on yourself. Keep going. You’ve got this.”
You wrote this track between Asheville and Los Angeles — how did those two worlds influence its sound and tone?
At the time, I was traveling back to Los Angeles often for work—(I do video game audio as wel)l—and ended up staying in my old stomping grounds in Venice Beach. I’m so glad the melody and lyrics for this song began there. Venice is pure magic to me. I lived there for ten years, and it will always be my happy place—the spot where I feel most creative. The raw, gritty, colorful, and free-spirited energy of Venice absolutely influenced where my mind went while writing. It’s a place that feels safe enough to be deeply vulnerable.
Asheville, on the other hand, has become my second home. Collaborating with my producer and some incredible local musicians here has really helped me find a creative community that values connection and collaboration. Recording the vocals, harmonies, and final instrumentation in Asheville brought a warmth and organic texture to the song that perfectly balanced the edge and grit I felt in Venice.
Working with Patrick Doyle and Phillip Shaw Bova brought some serious pedigree to the production. How did those collaborations shape the final version of “Tangerine”?
Patrick Doyle is incredible at what he does. You can tell he genuinely cares about his craft as a producer and engineer. I feel so lucky to work with someone who’s also a master of harmonies — something that’s still relatively new to me. Every time we added harmonies to Tangerine, it helped highlight the vulnerability and delicateness of the lyrics. Patrick is truly one of a kind, and I’m so grateful to have him helping me shape my sound as a new artist.
Philip Shaw Bova is an amazing mastering engineer, and I was thrilled he agreed to take on my project. Having someone who’s worked with artists like Feist, Bahamas, and Lake Street Dive add his final touch to Tangerine — and the record as a whole — was such an honor.
The name Pretty Little Saturday has such a poetic, nostalgic feel. What does it represent to you as an artist and a person?
As I mentioned earlier, I spent ten years living in Venice Beach, CA — a vibrant melting pot of people, art, and energy. Those were some of the best years of my life. I’d wake with the sun, play beach volleyball with friends for hours, watch every sunset I could, and share family-style meals with travelers passing through. I rarely left my little ten-block radius of sun-soaked paradise. I walked, biked, and skated everywhere. Life was simple and spontaneous — it didn’t need much planning, just presence.
Pretty Little Saturday is a tribute to that time and place that shaped me so deeply. It captures the spirit of those days — light, free, and full of connection and creativity.
“Tangerine” explores isolation and the search for connection — how do you personally find grounding or stillness when life feels chaotic?
I find grounding and stillness in a few different ways. Recently, I’ve gotten back into meditation and yoga, which have both been really helpful. I’ve also started a habit of burning incense and putting on a calming playlist as I wind down in the evening.
Limiting my time on my phone — though it’s definitely a challenge — has helped open up more space for daydreaming and reflection, especially when I’m searching for lyrics or trying to understand what I want to say in a song. And lately, spending time with a new instrument has been grounding, too. Getting to know the Weissenborn guitar has helped me hear music in a fresh way — it’s brought me back to a beginner’s mind, and that’s been really inspiring.
Looking back at your debut and now this release, what’s changed most about your creative process or what you want to say through your music?
I’m already back in the studio working on my second album while continuing to promote singles from my debut and preparing for a big social media push leading up to the full album drop in early 2026.
This next record leans more heavily into live drums, gritty guitars, and synths — a sound I’m really excited to explore. Also, As I mentioned earlier, I’ve been frothing over a new instrument: the Weissenborn guitar. An incredible luthier named Tim Kill is currently building a custom one for me in Australia. I’m hoping to fly over to pick it up in person — it’s been a dream of mine to visit Australia, and I can’t think of a better reason for a first trip. I plan to feature the Weissenborn on this second album; it has such a unique emotional character and brings a whole new texture to my sound.
As for what I want to say with Album 2, I’m trying to stay open and let the songs guide me. Each one has its own story and energy. As long as I’m making music and pushing my creative boundaries, I’m happy.
You’ve hinted that “Tangerine” is a taste of what’s next — what can listeners expect from the next chapter of Pretty Little Saturday?
My debut album, Long Overdue, hasn’t been fully released yet — Tangerine is the second of two singles I’ve shared so far.
Since this is all new to me, I wanted to take some time to release a few singles first and really learn the ropes of putting music out independently. It’s been a great way to understand the process and connect with listeners along the way.
I’m planning to release a few more singles throughout the year, with Long Overdue set to arrive in full in early 2026.
Photography @jared.kinley
You’ve just dropped ‘Heart Attack’ — can you take us inside the moment you knew this was the right song to mark your return?
After record two, I was searching for a new way to approach songs, a new tone, a fresh sound. ‘Heart Attack’ was one of those songs that just jumped out at me immediately. It felt like a new chapter had begun, the page turned.
‘Heart Attack’ feels both propulsive and vulnerable. How did you find that perfect balance between emotional storytelling and infectious energy?
I think I’m sort of obsessed with duality at the moment. I love blending the opposite spectrums of reality. This song is sort of a good example of that. I wanted the lyrics to feel vulnerable, but the song is this sort of driving force that counteracts with the melodies.
You worked closely with Taylor Johnson again on this track. What is it about your creative partnership that brings out your best work?
When you get to make music with one of your best friends in the world, it creates an environment of encouragement and honesty where we can be real with each other. There’s no reading between the lines. He’s also an evil genius of sorts, Taylor. He is single handily the best musician I have ever been blessed to encounter in this life.
Cian Riordan’s mix gives the song a big, cinematic feel. How important was that mix in shaping the final sound?
After we finished the track, I went on a deep dive search for a mixer. I was listening to all kinds of records; searching for this exact sound I was after. Cian’s name kept popping up as the mixer for a lot of the records I was listening to. He’s the perfect balance of this sort of 70’s saturation, whilst keeping the song sounding current with the times. I couldn’t have asked for a better mix. Cian is a legend.
HELLO STRANGER has been such a pivotal record for you. How did the experience of making that album influence this new chapter?
I poured my soul into ‘Hello Stranger.’ It was not an easy record for me to write. I was going through an identity crisis at the time and felt like I was in a constant fight with myself and the person who I wanted to be for the world. Once I came out the other side of that record, I wanted to create from a different perspective, I hate to this say this but I wanted to have fun again making records… And fun we did have again.
You’ve been named one of SXSW’s “Best 15 Acts” and sold out shows across the globe — how has the growing audience changed the way you approach live performance?
The live show is everything to me. I write the songs based on how I am going to perform it live. The more the audience has grown, the more energy I feel like is being put into these songs and live shows. The songs have grown and changed as the crowds have grown and changed. It’s a beautiful ride to be a part of.
The HELLO STRANGER tour has been high energy. What’s been your favorite live moment so far this year?
It has to be playing the SWR3 festival in Baden-Baden. It was a pretty surreal moment to sell that venue out to that size of crowd. I’m a kid from a small town in Oklahoma. It warmed my heart to look up to that crowd with my best friends behind me. It’s a moment I will never forget. Mom & Dad, I am really living my dream!!
This upcoming run includes both Europe and West Coast US shows — what can fans expect from the setlist and overall vibe of these gigs?
Sweat, tears and electricity.
With over 50 million streams and counting, what excites you most about where Thunder Jackson is headed next?
The possibilities of the sound of Thunder Jackson are infinite. I want to continue to create and challenge the listener, with something fresh and something different. I’m about to start writing record three… prepare for a wild ride.
THUNDER JACKSON’S HELLO STRANGER TOUR
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“Restless” is such a powerful debut. Can you take us inside the first spark — the moment you knew this song had to exist?
Thank you very much for the compliment, we appreciate it. It’s a pleasure to be with you today.
The original riff came from messing around on my travel Martin while living on 443 Kipling St. in Palo Alto during my Stanford days. I remember being lost in thought, playing around with a G to open C chord progression that felt a bit burlesque, almost cartoonish – like Johnny Cash meets Alan-a-Dale from Robin Hood. I loved the hypnotic back-and-forth/marching band quality it had, but it felt too pretty and predictable to me, so I added that B7 strummed aggressively to take us somewhere else, which instantly reminded me of Joshua’s guitar strumming in Songs for The Deaf (Queens of the Stone Age).
I then jammed it with my dear Australian friend Louis Stenmark at a dorm hangout, and in his phone notes I saw the words “Rest Less.” It instantly clicked – sonically it fit, emotionally it captured the tension I was chasing, and I thought that the juxtaposed wordplay of “I need to rest less, and I am feeling restless” would be a fun twist. A few nights later after hanging at the Patio, I showed the riff to my other dear friend Jack LeVant, and he started freestyling over it with this Mattafix-style flow. That is when it all made sense to me – hip-hop had just walked into the room. I saw country & big band rockabilly on the verses with a Hip-hop flow, then Green day, Social Distortion and Marshall amps on the choruses. I demoed it that night on my laptop on Logic Pro, my Les Paul, my Martin, MIDI drums & bass and my iPhone voice notes for vocals. Little did I know at the time, Rockabilly legend Slim Jim Phantom of the Stray Cats would end up actually playing drums on Restless with us for the final master recording.
When my brothers Paolo Zocco and Matteo Zocco heard the demo, they immediately helped shape the structure and lyrics, and added the grand piano, synth layers and vocal ideas. The guitars gave it drive, but the synth injected that manic edge – the sonic equivalent of being on a carousel spinning, which we would later literally use in the Official Music Video shot in Geneva, Switzerland. Critically, Matteo later came to me and said “It needs something more, like a woah or another vocal hook at the pinnacle”, which then became the Woah stadium chant hook from 2:19-2:31 in the track, which is one of my favourite moments in Restless.
At its core, Restless came from the universal tension between comfort and change. We wrote it in a period where we felt electrified by the idea of escaping and personal, societal or creative limitations. The song encapsulates the adrenaline rush of being restless not because something is inherently wrong, but because you’re striving for more and you’re ready for the next leap forward. To us, it is a fusion of freedom, rebellion, and creating your own path.
The track was a true family affair, co-written with your brothers Paolo and Matteo. How does creating music together shape the emotional core of ZOCO?
The heart of ZOCO is a familial bond. Making music with my brothers is deeply satisfying and organic. Growing up we always were obsessed with music, both creating and playing ideas to one another. Paolo is my closest day-to-day collaborator, an instinctive songwriter and pianist with a gift for melody and cinematic arrangements. Matteo, currently a master’s student at Stanford, has a brilliant sense for harmony and top-line composition. His contributions often take a track from great to timeless.
This combination of different talents is essential to complementing my songwriting. It gives our writing the emotional layers you hear. In my view, the fusion of our individual talents gives us depth, authenticity and emotion in our songs, and being so close as brothers means we can work honestly and efficiently together towards making the song as good as we can.
You’ve said “Restless” is about breaking free and living spontaneously. How do you personally press pause on autopilot in your own life?
That is a great question. Honestly I’m not sure that I pressed pause enough before I started to craft this debut record of ours (LUMANISTA) 2 years ago. I suppose we all dedicate our time to things to a point where it becomes a form of living autopilot i.e without intentionality, but to me as long as it’s intentional and you are aiming at something you are passionate about, that is the goal. Perhaps I conceived Restless as a reminder to myself to consciously choose to allocate my time towards making my dreams happen and creating a timeless album, as challenging as that would be, instead of losing time in the inertia of the day-to-day autopilot habits that, while comfortable, make you restless. This is because they are ultimately an opportunity cost, and not aligned with the self-actualization your spirit yearns for.
Since doing what I love full-time, my “autopilot” has changed. When it comes to my creative side, I have found that I am overly-obsessive with regards to my art, sometimes to a fault. It is difficult for me to press pause on this day-to-day. I am constantly thinking about how to improve a song, an artwork, or a video concept, even once it’s clearly finished. When you love what you do it hardly feels like work, and it is deeply fulfilling, but now my challenge is avoiding burnout and making space for the other pillars of my life, namely friends and family. I am still working on an answer, but I have found that the best thing to help me pause my creator headspace is for someone in my circle to pull me out of it with a proposal for a hangout or an event. And ultimately, continuing to live is what fuels my writing, so I know that I need to strike the balance between building and living regardless of how caught up I may get in finishing a project. I could never or would never do this career alone for that reason. I thrive off collaboration and sharing the journey with others.
The all-star lineup includes legends like Carmine Rojas, Slim Jim Phantom, and London Hudson. How did those collaborations come together, and what did each bring to the song’s character?
On Restless specifically, we recorded with the great Carmine Rojas, Slim Jim Phantom, and London Hudson. It’s the only song on LUMANISTA (and maybe even in modern rock) that features two iconic drummers from different generations. Slim, synonymous with rockabilly as the drummer of the Stray Cats, brought that authentic rockabilly swing to the verses. London, from Return to Dust, to me represents the best of modern rock drumming, bringing power, space, wisdom in choosing what to emphasize rhythmically, and incredible natural talent.
I had originally demoed all the parts for Restless and the LUMANISTA album with my brothers and JJ Wallace, and it was our mentor Kerry Brown who first connected us with Carmine and Slim. I later met London through my dear friend and engineer for LUMANISTA, Jake Pace, who had a sixth sense that he would be a perfect fit for the final drum takes. When we called London to see if he could play on the record, I remember he only had a few days to learn the whole 9-song LUMANISTA record. And over 2 days, he played the whole album in 2-3 takes each, all in great spirit. I remember looking at Jake in the control room and thinking “Wow man, he is on another level”. His energy never flagged; he welcomed feedback, pushed himself, actively worked with me to come up with the best parts for each song, asking me between takes what I was hearing or wanted more of, and suggested awesome ideas.
I remember when he first did that La Grange style fill before the chorus of Restless, we both looked at each other and laughed – ZZ Top reference! I cannot say enough about London’s professionalism. He was an absolute pleasure to work with and his talent, professionalism, and kindness were inspiring. We are very happy to have him on the record and I am grateful to call him a friend. His band Return to Dust is crushing it right now on tour with Breaking Benjamin and Three Days Grace – definitely go check them out.
Then there’s Carmine. I’d be remiss not to emphasize how priceless Carmine’s mentorship and input was on the production and arrangement side too. Beyond playing nearly all the bass parts on LUMANISTA, including Restless, Carmine spent countless hours guiding me on how to sharpen my songwriting and arrangement choices. His musical knowledge is immense – his experience as the rhythmic backbone of Bowie classics like Let’s Dance and Modern Love was evident – yet he could effortlessly draw from different styles. On Restless, for example, he contrasted a straight bassline with a Motown-inspired walk and even a jazz upright outro, giving the song layers of flavor. He was incredibly generous, always challenging me to refine the presentation of my hooks, and reminding me: “You have to imagine it live – how people will see it on every level, visually and sonically, and don’t give away too much right at the beginning.” I feel deeply grateful to call him a mentor and friend, and want to thank him here for taking me under his wing on LUMANISTA.
That high bar carried through the rest of LUMANISTA. We brought in Gunnar Nelson (Nelson) and Kerry Brown (Smashing Pumpkins) on production, Stephen DeAcutis (Gladys Knight, Cyndi Lauper) on mixing, and the legendary Howie Weinberg (Nirvana, Beastie Boys, Metallica) on mastering. Our thinking was simple: if we want to carry rock forward, why not do it alongside the architects who built the foundation—while shaping a sound for 2025 and beyond?
Working with Gunnar Nelson and Kerry Brown must have been a unique experience. What was it like having their creative fingerprints on your debut?
Gunnar and Kerry have been nothing short of transformative for us. Gunnar brought in an exceptional legacy of melody, vocal harmonies, and rock craftsmanship. He approached our project with candor, fresh energy, and professionalism – treating our work with the seriousness of seasoned musicians even though we were new.
I recorded all the vocals for our LUMANISTA album with Gunnar in just a few days at his Nashville studio, and we wrapped Restless in only a few hours. His instincts were razor-sharp, knowing exactly which of my ideas added to the song and which were superfluous. Beyond being a gifted artist, he’s a phenomenal vocal producer. I’d always liked to octave layer my vocals à-la-Arctic-Monkeys and play with my range, and Gunnar saw the vision instantly. As a perfectionist myself, having a mentor of his caliber guiding final production decisions, and sitting in the room with me to actually cut the final takes – was invaluable. Vocals, harmonies and hooks are his bread and butter, and it was an honor to watch his wisdom elevate Restless and the entire LUMANISTA project as both producer and vocal producer.
Kerry is visionary, and as executive producer he helped scope the bigger musical picture and aided in bringing on Gunnar to help carve the song into its final form. He is fantastic in imagining and translating raw ideas into a polished, authentic final form. He knows exactly how to get the magic in the room. Together, both Kerry and Gunnar as collaborators and mentors, pushed us to elevate Restless beyond a great pop rock song into somewhat of a global anthem.
The track was recorded across Los Angeles, Milan, and Nashville. Did working in such diverse locations influence the sound or feel of “Restless”?
I’m really a product of many cultures. I have three nationalities, a ridiculously diverse music taste that runs from classical to electronica to death metal, and I grew up in Geneva, a city where almost two-thirds of residents have more than one citizenship. That international identity is baked into the ethos of ZOCO. So in true ZOCO fashion, Restless and the whole LUMANISTA record carry the imprint of people and places across the world, from the earliest sketches to the final mixes and masters.
Working in different locations absolutely shaped the sound, as it meant being able to collaborate with different artists internationally. In Milan, at Massive Arts Studios, we laid down the first skeletons of the songs with our fratello JJ Wallace (Jorja Smith’s drummer and 2018 UK Young Drummer of the Year). JJ is one of the most technically gifted drummers I’ve ever met. He hadn’t recorded much straightforward rock before our Milan sessions, so he brought this jazz-infused style that gave the early demos a very technical and unique flavor – ideas London would later re-interpret for the final takes. I still have those demos with JJ’s parts, and who knows, maybe they’ll see the light of day if enough people want to hear them.
Los Angeles was where the production really came alive. At Kerry Brown’s Rolling Live Studios, we recorded all our parts and the other instruments, and working with Carmine Rojas and Jake Pace on arrangements took everything to another level.
Finally, Nashville was the finishing touch. Gunnar Nelson helped re-record all of my final vocals, layered his own harmonies that gave the songs arena-ready power, and helped me find a vocal chain that brought out the best in my baritone. That was the icing on the cake that made Restless feel complete.
You’ve blended alternative rock with pop, metal, electronica, and blues. How do you strike the balance between technical musicianship and emotional storytelling?
That’s another great question, and something I think about constantly. As a true music lover, I’ve always been influenced by many genres. My classical background gives me an ear for simple, beautiful melodies, while my rock/metal guitar side pushes me toward technical intensity – so the emotional and technical side often complement each other naturally.
On the technical side, I see each genre as having its “incontournables” – those essential elements that define its character to me: phrygian runs in Flamenco, the clave in Latin music, distorted power chords in rock, crisp synths in electronica, or rhythmic vocal accents in hip-hop. I love pulling these colors together and painting around a musical idea like a canvas. The key is making it feel organic, so it doesn’t feel like a lazy crossover attempt. You cannot just throw sushi on pizza and call it great fusion food, it has to work toward a clear vision. With ZOCO, the idea always comes first, the genre touches only matter if they serve it.
Then emotionally, I always focus on the hook. Technique, arrangement, dynamics, and all of that should support the delivery of the hook, as the hook carries the emotional gravitas. Great melodies are infectious and are the perfect delivery vehicle for whatever message or feeling you want the listener to carry with them.
The EP LUMANISTA (Part 1) is on the way. How does “Restless” set the stage for the sound and themes we can expect from the full release?
I want ZOCO to be a conduit between past and future guitar-centric music, reimagining a sound fit for the red carpet in 2025 and beyond. To do this, the ZOCO sound needs to authentically homage the greats while bringing in our modern eclectic take, and so it was very important to us to actually feature some of the progenitors of the greatest records on every ZOCO record.
Our 2025-2026 debut album LUMANISTA, which features Restless, achieved this on the whole. It includes collaborations with Carmine Rojas (David Bowie, Tina Turner, Joe Bonamassa), GRAMMY-winner Theron “Neff-U” Feemster (Michael Jackson, Dr. Dre), London Hudson (Return to Dust), Katja Rieckermann (Rod Stewart), Guy Erez (Alan Parsons), Slim Jim Phantom (Stray Cats), JJ Wallace (Jorja Smith) & more across different songs.
LUMANISTA Part 1 is the opening chapter of a larger story we hope to share in full by next summer. The title itself is a wordplay on the Italian L’Umanista (“humanist”) and luminate (“to bring light into”), and that captures the heart of the record. It explores timeless values our generation needs to hear – romance, living more physically than digitally, and the search for purpose in 2025. Thematically, it leans toward optimism, balancing light and joy with wake-up calls and cautionary tales that push listeners to reflect on their own path.
Sonically, it jumps between genres and moods, with the guitar always at center stage. This EP will have a wide variety of different songs, as I want every record to be a diverse vintage, different shades and tones like in a fresco, collectively forming the larger story line of LUMANISTA. In Restless, we “painted” with country, rockabilly and punk brushstrokes on the sonic canvas. Once a style and idea is explored, I like it to stand on its own and move so they can never place us, I like to explore new territory. This sets the stage for ZOCO to not take on one distinct form but to pull and showcase different aspects of our musical variety.
You often play multiple instruments and take on writing, producing, and performing duties yourself. What drives you to keep such a hands-on approach to every part of the music?
Honestly, I’m a perfectionist. I want everything to reach the highest level possible. That instinct naturally leads me to take on multiple roles in writing, producing, and performing. For me, it’s about ensuring that what we create feels handcrafted and intentional, with real artistry and quality behind it. I cannot do it any other way. I only strive to make timeless records, not elevator music. I want to make songs that become part of people’s lives, that bring people together, that might even spark movements, especially at a time when music is so commodified and plentiful.
Of course, that doesn’t mean every experiment I try is “right,” but if an idea comes to me, I feel compelled to see it through. For example, while I was recording the guitars for LUMANISTA, I suddenly thought it would be amazing to layer 12-string parts to brighten certain melodies and add a Led Zeppelin-like shimmer. That led me to record and double every rhythm and lead part across the album (which took forever, lol). Not all of it made the final cut, but the textures added a new dimension and shine to the songs that I couldn’t have achieved otherwise.
Now that I’ve completed the first ZOCO record, I better understand what my perfectionist influences – artists like Prince or David Bowie – must have felt: that relentless urge to refine until the work feels complete. Being a multi-instrumentalist helps me quickly try out these impulses on my own before deciding what’s worth keeping, which makes the process both demanding and deeply rewarding.
ZOCO feels both international and deeply personal. Where do you see the project going next — sonically, creatively, and geographically?
ZOCO is about breaking borders – musically and culturally. Sonically, we’re blending rock with global textures; creatively, we’re pushing into cinematic storytelling; and geographically, we see ourselves performing everywhere from our roots in Geneva to the biggest stages worldwide.
One of the main reasons I’ve dedicated my life to launching ZOCO is to perform live – to create unforgettable shows for audiences that raise the bar on every level. The LUMANISTA record itself was conceived with the stage in mind, from the dramatic dynamics and genre twists within each track to the full album’s arc, which plays almost like a concept record.
To me, you don’t go to a concert just to hear and watch the songs being played live – you go for an earthshattering experience. Expect endless energy, dancing, drama, crowdsurfing, passion, headbanging, philosophy, cinema, and unity at a ZOCO show.
We would like to extend a heartfelt thank you to the Partae team for your time and interest in ZOCO. We’re delighted to share our journey with you today, and are excited to share more about our future releases with you again soon. We are releasing around 1 song from the LUMANISTA album a month for the next year, so many more updates to come.
Warm Regards, Marco & ZOCO