Music Interviews

Alt-pop is a term that seems to have organically woven itself into the music scene. How do you define alt-pop, and why do you think it resonates so strongly in Melbourne right now?

I love the label ‘alt-pop’. It’s just really inclusive to this kind of genre-less world we’re living in. To me it means music that is well-crafted, catchy, emotive and full of hooks, and makes you want to listen again, like pop, but with a ‘caveat’ – like a slightly off-kilter quality that makes it interesting to the ear, whether that’s a dissonant guitar, an odd time signature or some really abstract lyric – just a little something that could create a barrier for entry for the fairweather listener, that’s it – like, you can have free tickets to the fun fair but you have to enter through the haunted house.

There’s a sense of nostalgia in this new wave of alt-pop, with a return to organic connection and even physical releases like vinyl. Do you think this is a reaction to the digital overload of music consumption?

I think so, there’s definitely a craving for a sense of reality in times that are becoming so surreal. I’d agree its a reaction to digital consumption coupled with technology acceleration, and it’s not just music either – it’s like everything became so convenient so quickly we didn’t have to own anything anymore, we didn’t need products, we could just subscribe to services, keep everything in the cloud, make our small spaces seem bigger through minimalisation, and then all of a sudden you have a new generation of people growing up without anything tangible and thinking “Wait, I think I would like to try having “stuff”. Stuff is cool. It’s unique. Anyone can own the same digital “asset” (I mean NFTs let’s not even), but when something is real to the touch it carries a special meaning associated to it that only you can feel.

Galaxy Music’s triple A-side vinyl release is both retro and forward-thinking. What was the inspiration behind this concept, and how did the artists respond to the idea?

Thanks, yeah definitely, it’s kind of like I touched on before, I think technology democratised everything to the point that anything is possible, and while that sounds like utopia, it makes it more difficult to find things that are meaningful. We are at a point where anyone can release anything online, you have digital services that can get you thousands of streams, you can buy a million YouTube views. There are countless instagram gurus offering artists quick-fix dopamine hits, cookie-cutter advice that is basically ‘post lots of reels singing your song’ or ‘mention an artist you sound like and say you wish you had seen them before they were famous and that’s what I am’ and it’ll generate lots of streams, but actually it’s just automated playlist hacking, and so you have social feeds full of identikit content and every year you see artists posting inflated Spotify wrapped metrics, but really having gained no actual fans or long-term progress towards their goals. I hate to see it, and it’s so common, that’s why I kind of lean into the ‘traditional values and artist-first’ thing with Galaxy – it’s intentionally old-school, and it’s about thinking long-term, not over-promising and under-delivering, just creating great stuff and experiences and enjoying the journey. The inspiration was labels I grew up with like Kitsune – which if you’re familiar with the fashion label, each year they released a ‘Kitsune Maison’ compilation vinyl, and it featured collaborations and remixes of some of the coolest European artists of the year that were exclusive to the record, it just had this incredible brand halo effect, brought communities of artists together and became like an annual taste-maker. Or like DFA records,, Def Jam, or even going way back to Factory records from Manchester in the UK, that had a real DIY ethos – no contracts, just great music, building a scene, creating a vibe. In fact, their first release (Joy Division & Cabaret Voltaire) was called Factory Label Sampler – which is exactly where I stole the name for Galaxy’s first release. It’s like, let’s create something meaningful. Something that isn’t about vanity metrics – it’s not about a million impressions, but a lasting one. The artists totally get it, I mean, it’s not an easy sell, when you could just pay for streams and views but you have someone saying “trust me, we can do that, but let’s do this personalised stuff first and see what the reality is.” We’re doing digital stuff too of course, we’re not off-grid. We’ve got a big organic digital content plan post-release, but I don’t want to just hype up a vibe that doesn’t exist yet, we’re still in the manifestation period, we have to give people reason to believe. Look, I’m far from a luddite, I’m an early adopter of most technology, but seeing how far we’ve come makes you realise what gets left behind.

Each track on the release has its own distinct identity—Lovy’s raw energy, Asia’s introspective storytelling, and Mia Savannah’s sleek pop polish. Was there a common thread that tied these songs together under the alt-pop banner?

All the artists are totally unique in their styles, how they sound, their influences, how they write, their aspirations and what they dig sonically, and I love that because it’s opened up new worlds for me as a producer. I think the thread is what I mentioned earlier – they all write such incredible pop songs, but they have this kind of ‘taste level’ that, yes they want their music to sound great, but you know, also “different” – but not quirky for the sake of it. Lovy is really experimental with arrangements, Asia can pull a hooky, syncopated melody I never would have thought of out of thin air, and Mia is just a songwriter so dedicated to the craft and that really comes through – the attention to detail is what sets it apart, it’s almost like the things that you don’t even hear. I think the common thread, yeah, is that they all have the talent already to easily do ‘good’ music, but they all have the curiosity, growth mindset and aspiration to do great music, to experiment, evolve and go beyond ‘good enough’ and to me, that’s like thrilling to be a part of that. It stretches me and I love it.

Lovy’s ‘Rage’ blends electro, indie, and even rap elements. What was the creative process behind such a genre-fluid track? Was there a particular mood or moment that inspired it?

Lovy’s arrangements are crazy, but they work. It’s what makes her music so unique. And, believe me, ‘Rage’ is the tip of the iceberg! With a lot of Lovy’s demos I could instantly hear the quality, the great song, the melody, the chord structures. For me it’s kind of like decoding it, understanding it, and then we rebuild it together. Rage was one of those songs that, and this never happens, we kind of used some of the first synth sounds we recorded guides with, because they sounded “right”. Obviously we spent ages trying out a lot of other things but came back to what first got us excited. Lovy is experimental in a way I have never encountered. In a thrilling way. She will rap, shout, sing like an angel, and each session comes in with new ideas, and I am always open to them. And they usually work. It means all her songs are like a tapestry of cool stuff that evolves over time. It’s my job as a producer to try and fit things into an accessible, listener-friendly box in a way, but unfortunately as a person I am really open to experimentation too, so if someone with Lovy’s talent and intuition wants to try something I’m all in! So, yeah, Lovy’s music, and Rage is a good entry point – expect the unexpected!

Asia’s ‘One Thing’ delivers a powerful message about focus in a world full of distractions. What personal experiences influenced this song, and how do you hope listeners connect with it?

The way me and Asia write is quite unique, and I love working with her this way. It’s always like a conversation where Asia talks about a situation she has been in and the feelings she experienced during that period. Which sounds pretty basic. But, Asia looks at it from all different angles, it’s not” this happened and I felt this”. She employs like a critical-thinking mindset, seeing things from all sides. She sets the scene so we have like an environment to put our words in, and then it’s like “So this happened, and I felt like this, but then I probably should have felt like this, but is there a reason I didn’t? And how would others view me now? They probably expected I would act more like this, and imagine how that made them feel.” – and at the same time we’re both with notepads trying to capture all those feelings and find the words to pull it together. It’s a great process and so it’s really personal but also really open. For ‘one thing’ I remember the breakthrough for us lyrically was when, after a while talking through some of those voices that go round your head, we realised that Asia was kind of giving herself advice, trying to give herself permission to feel a certain way. So there’s a lot of introspective imagery in those words that capture that feeling of self-talk, speak to yourself as you would a friend. I connected instantly with what Asia was describing and I am sure everyone can on some level, we all talk to ourselves and overthink what the right thing to do is, what the cause and effect is of all our decisions. And this is almost like a mantra of “Nope. Stop staring at the map – just start in a direction. Go.” 

Mia Savannah’s ‘GHOST’ has been described as ‘Kate Bush and Dua Lipa duetting on a Stranger Things finale.’ How does she feel about that comparison, and what was the driving force behind this track?

Haha I love this. I love the production on GHOST. I mean, the song is so perfect and Mia’s voice is unreal, it would be hard to mess it up whatever kind of backing it had. But, the word ‘Ghost’ obviously makes you think something haunting, but like, not on the nose. The stranger things connection is so weird because a number of people said that and it’s likeh a funny in-joke (to me only). I wanted it to have a Kate Bush kind of vibe, that kind of Linn Drum Machine retro vibe and analogue synthesisers, and I really wanted to find what I always called the “dog synth” that is on Bush’s “Running up that hill” (you know that sounds like a reverby bark?). At this point was not in any way thinking of stranger things. But no-one said to me “It sounds like Kate Bush” they said “It sounds like it could be on stranger things, which I realised was because Running up that hill is all the way through stranger things, and so me stealing Kate Bush’s “Dog synth” for a vibe, made people connect the song with a popular show that is pretty “Ghosty”. That’s just kismet. I love GHOST – it’s just like the first time I heard it, I knew. And so will anyone the first time they hear it too, I reckon.

Live performances seem to be a major part of this movement. With the April 3rd showcase at The Workers Club, what can attendees expect from the night?

It’s going to be an experience, and a coming together of different networks and communities. We’re all about real experiences, live music that goes from minimal, organic, rocking band music to full on electro bangers (but still live). And then finishing the night off with some incredible DJs in Noise Business, because I really personally think there should be more of a blend between live music and DJs. I think it’s a natural way to end the evening on a big buzz. There should be more talented DJs given a stage, more DJs watching live bands, more “musicians” in clubs appreciating DJs craft. I mean, fore sure that all happens, but I also want to be a part of helping it happen too. It shouldn’t be go to a gig then a club. I like the blend. The night is going to be a journey.

Do you think the rise of Melbourne’s alt-pop scene is shaping the broader music industry in Australia? Are major labels taking notice, or is this an entirely independent movement?

Oh I am really too small in the scene to comment, I mean, in my bubble, I see it, I hear it, I feel it. And I want to be amongst it. its so wide-reaching and there’s so much opportunity for crossovers and collaborations I can see it growing if everyone lifts each other up. I think that’s the key, and it’s certainly something that’s important to me and the label.

What’s next for Galaxy Music after this triple release? Can we expect more showcases, new signings, or even a full-fledged alt-pop movement taking over?

After this release we’re going to really promote it, like it’s a bit different these days with digital releases, the promo is better to do after the release, and it’s important not to just put it out and move on, but equally important is forward momentum. We’ve got a few songs in the bank from our sessions and so each artist will be doing a fast-follow single in a month or two, building out their own brands and finding their voice and audience. Just keep building. And yeah, more shows, definitely more artists, I am working with a few people I’d love to release and I am doing some remixes and collabs and just getting out there and meeting cool  people and making cool things happen. I’m a big manifestation person so one of my north star goals is a Galaxy showcase at Bigsound. We’ll apply, once we’ve got the evidence to back up why we should get on the bill 😉  If the alt-pop movement happens I definitely want to be aboard that ship and I’ll happily help row or steer it.

Your new album, “Above the Clouds and On the Ground”, marks a shift from your familiar commercial country sound. What inspired this change in direction?

The biggest inspiration for this change was personal growth. I got sober about five years ago and experienced an immense shift in my approach to life. I got married, became a father, and have a new outlook on what’s important in life. Musically, I wanted to break free of the constraints of writing for radio and instead write music that meant something to me with the hopes that it would move people in the same way.

You’ve had a successful career in Canadian country music, earning national recognition over the past 15 years. What was the biggest challenge in stepping outside that sound for this record?

I think that the biggest challenge was leaving the music that I identified with in the past. It’s very easy to do what you’ve always done, especially when it’s worked for you in the past, so this was a huge leap of faith, but I couldn’t imagine continuing on any other way. It’s been very difficult to be vulnerable in the lyrics, but that is a part of music and songwriting, and it’s important to be truthful in your music because I feel that it shines through.

Chris Burke-Gaffney, known for his work with MacKenzie Porter and Chantal Kreviazuk, produced the album. What was it like working with him, and how did he help shape the new sonic landscape of this project?

Chris and I met back in 2014 when I was selected to showcase at the Americana Music Festival in Nashville. He was one of the industry professionals that was on the panel. Afterwards we chatted because he liked my voice and the songs that I had showcased. I’d never worked with him in the studio but we had written a couple of songs together and had some success with those tracks.

When I approached him about writing this album, he expressed interest in producing it especially when I discussed the content and the approach of a more Americana-style album. Working with him in the studio is like no other. He truly brought all of the songs to the next level. His input on the lyrics, the vocal stylings, the vocal melodies, and the instrument arrangements was second to none. This album would not be what it is without his expertise. We had a vision and a focus, and he dialed it right in.

The album blends Americana, country, folk-rock, and folk-pop influences. Were there any particular artists or albums that inspired this fusion of styles?

The Bros Landreth out of Winnipeg – they had an incredible album they released a couple of years ago and this had a big impact on me. Donovan Woods, another Canadian artist, is a big inspiration both lyrically and musically. And I would be remiss if I didn’t mention Vince Gill who is my all-time favorite artist. He’s a beautiful songwriter and obviously an excellent musician.

Your personal milestones—marriage, fatherhood, and sobriety—played a big role in this album’s creation. How do these experiences come through in your songwriting?

I think I went into the album with my family and my sobriety in mind. I wanted to have a nice mix of songs that included these elements in some capacity. I think if you listen to the album from front to back, you get a sense of what I mean. There are some songs that are sad yes, and some are based off experiences I’ve had with my wife. But the inspiration comes from those tough times, nonetheless. Again, it’s important for me to be truthful in the writing and I believe that will shine through and connect with others.

You’ve performed at major events like the Grey Cup, Canadian Country Music Week, and the Americana Music Festival in Nashville. How do you think your live performances have evolved with this new music?

I think a lot of those performances in the past were based on presenting a product which was the polished music and a polished performance. If I look back, a lot of the performances were based on an image I was trying to uphold. The performances now focus on emotion and the delivery of the songs themselves.

Looking back on your journey in the music industry, what lessons have you learned that influenced the way you approached this album?

Some of the biggest lessons for me were making sure that I was prepared for the album and that I had a plan for it some cohesiveness between the songs. I think for my 2015 album, I was able to get better at that than the previous 2009 album but overall, for this new album, I felt that these songs all make sense together and they are intertwined. Some of the songs on the album are from ten years ago, while others are from two years ago, but they are all close to my heart for one reason or another.

With the shift in sound, do you feel like your audience has changed? Have longtime fans embraced this new direction?

There have been a few longtime fans that have embraced this new sound. I can feel a bit of distance between other fans of my music which, although it’s uncomfortable, it is expected. Simply put, you’re not going to please everyone!

The title Above the Clouds and On the Ground suggests a balance between dreaming big and staying grounded. How does this theme play out across the ten tracks?

I think there’s a nice blend from the first track to the tenth track. There are songs about dreaming big – being up in the clouds madly in love – while other songs bring you back down to the ground and talk about the harsh reality of sobriety and making amends with the people that you love and haven’t been there for.

I’ve tried to maintain cohesiveness with the songs between one another. If you look at the first 3 songs, they are more about that harsh reality and about sobriety, followed by more upbeat pop style songs about love, well the next few songs again bring you back down to ground level about love and loss.

What’s next for you? Will you be touring with this record, and are there any collaborations or projects in the works that fans should keep an eye out for?

I plan to tour around to promote the album, dates are yet to come. The plan is to perform in intimate settings, house parties or coffee shops.

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“Gucci Body” blends hip-hop and pop with sultry vocals—what was the creative process like when bringing this track to life? Did you have a specific vision from the start, or did it evolve naturally?

I wanted to create a song that makes people feel amazing no matter where they are on their journey. In this context, “Gucci” isn’t about luxury—it’s a mindset, a reminder to know your worth, carry yourself with confidence, and put in the work to be your best self. I’ve experienced moments of self-doubt, and I know many struggle with self-worth. Listening to Sexy by Rae Sremmurd and Rude Girl by Bantu, both of which radiate unstoppable confidence, inspired me to capture that energy. Those songs reference luxury brands, but I wanted to shift the focus away from material things defining our worth. Gucci Body is about giving yourself the absolute best—because you deserve it. It’s an anthem for empowerment: walking with your head high and stepping into your main character moment.

The track was produced by Deep Jandu, who has worked with major artists like Karan Aujla and Sidhu Moosewala. What was it like collaborating with him, and how did his production influence the final sound of “Gucci Body”?

I owe a huge shoutout to Deep Jandu for taking a chance on me when I walked into his studio with nothing but raw passion. He was incredibly patient, fun-loving, and downright talented—he really understood the vibe I was going for. I envisioned Gucci Body as a high-energy, sexy track with a pop vibe layered over a deep hip-hop beat, and Deep brought that vision to life with signature touches like a crisp clap before the chorus and an intro piano that really made the song come alive. His production gives the track an infectious energy that has you hyped even before the lyrics kick in.

You use “Gucci” as a metaphor for self-worth and confidence rather than materialism. What inspired this theme, and how does it reflect your personal experiences or journey as an artist?

Great question! For me, “Gucci” symbolizes “good”—it’s a way to express self-worth that goes beyond material things. I wanted the surface to be fun and uplifting, while the deeper message is about self-respect, confidence, and treating yourself with the absolute best care. It’s a reminder that what you wear doesn’t define you—how you feel about yourself is what really matters. It took me a long time to fully appreciate myself and know my worth. I used to act like I had everything figured out—tough, confident, unbothered—but inside, I was insecure, confused, and unsure of who I wanted to be. Gucci Body is symbolic of my personal growth—not just as an artist, but as a woman and a mother.

Growing up in Malvern, a culturally rich and diverse neighborhood, how has your upbringing shaped your musical style and the stories you tell through your songs?

Growing up in Malvern was a formative experience—it’s a neighborhood bursting with culture, energy, and resilience, though not without its challenges. I had to mature quickly and navigate life largely on my own. The incredible diversity there exposed me to a mix of sounds—soca, reggae, hip-hop, pop, R&B—which naturally found its way into my music. More importantly, Malvern taught me to stand strong, trust myself, and push through any doubts. That spirit of self-made confidence is at the heart of everything I create.

You’ve cited Aaliyah, Monica, Britney Spears, and Brandy as inspirations. How have these artists influenced your sound, and do you see their impact on “Gucci Body” or your upcoming projects?

Each of these incredible women has influenced me in her own way. Aaliyah and Brandy with their smooth, effortless vocals, Monica with her raw emotion, Britney with her ability to create timeless, infectious pop music. They taught me that you can be both soft and strong—that your presence can be gentle yet powerful. Their influence shows up in my melodies, storytelling, and song structure. You can hear elements of that in Gucci Body, but even more so in my upcoming single Down, which leans heavily into an R&B vibe reminiscent of the music I grew up loving.

You’ve spent years refining your craft as a songwriter. Can you share a moment or breakthrough that made you realize you were ready to step into the spotlight as an artist?

The turning point came after I wrote Gucci Body and a few other tracks. The lyrics, melody, and vibe were unlike anything I’d created before—I knew I had something special. Listening back, I realized I couldn’t live with myself if I didn’t share my music with the world. It took time to get here, but every step of my journey has shaped me into the songwriter I am today. Gucci Body is the perfect debut—a powerful anthem of confidence, strength, and inner love that marked my leap into the spotlight.

You took the unconventional route of completing two graduate degrees before fully committing to music. How did that journey shape your approach to your career, and what ultimately made you take the leap?

My academic journey taught me discipline, strategy, and how to move with intention. Music is art, but it’s also a business, and my background gave me the mindset to approach it seriously. I learned the power of persistence—nothing happens overnight; you build it step by step. That same mentality drives me in my music. I’m not here for shortcuts; I’m here to make quality music. I had a huge aha moment when I started writing music again. My lyrics, my melodies—something had shifted. I couldn’t just sit on them. I knew I had to take this leap.

As an emerging Canadian pop artist, what are some challenges you’ve faced in the industry, and how do you navigate them while staying true to your artistic vision?

The Canadian music scene is underrated—it’s tough to break through because we don’t have the same resources and opportunities as bigger markets. As a mom of two, a wife, and an artist, finding the time to do shows and establish myself in the scene is nearly impossible. Could I do it? Yes. But at what cost? I love music more than anything, but I also love my kids. Music and being a mom are the two dreams I’ve had for myself, and I don’t want to neglect either of them. Creating music in Canada is also challenging because my style—pop with R&B and hip-hop influences—isn’t as common here. Finding producers, agencies, and industry people with experience in my genre has been tough. Luckily, I’ve crossed paths with some amazing people, and they’ve been a blessing.

With “Gucci Body” marking your debut, what can listeners expect from your upcoming music? Are there any exciting collaborations or projects in the works?

Gucci Body is just the beginning—I have so much more music coming, and I can’t wait to share it. My next two singles will show a completely different side of me. Both are pop, but one leans into an R&B vibe, while the other brings a high-energy dance/EDM feel. I want listeners to really experience my versatility and see that I’m not confined to just one sound. No collaborations in the works at the moment, but this is a big year—I’m just getting started.

What do you want fans to take away from your music, and how do you hope to inspire listeners with your artistry?

I want people—especially the ladies—to feel empowered, confident, and unstoppable when they hear my music. My sound is fun, sexy, and full of energy, and I want that to translate into how my listeners feel. Whether it’s dancing in the mirror, hyping yourself up before a night out, or just needing a reminder of your worth, my music is here to lift your spirits and remind you to own your power. If I can make someone feel even a little bit more confident, then I’ve done my job.

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What inspired this album, and how does it represent your personal journey over the past few years?

All of my albums are inspired by my life experiences.  This album was very reflective for me as I have been focusing on being more OPEN to change, ideas and the world around me.  By disarming myself, I feel like my creativity was able to flourish and it was very inspiring.

You mention wanting to open yourself up to new ideas and perspectives. How has that influenced your music and composition process?

Good question.  I think it has made me approach music from a more natural and relaxed point of view.  Sometimes composing can feel forced and when that happens, the music suffers.  This album came about very organically which I think added depth to the stories.

What was your approach to composing this album? Did you have a particular theme in mind when creating each piece?

My compositions are very “of the moment”, meaning something has to inspire me to write.  By opening myself up and approaching this over a longer period, I think was able to give myself the room with which to create these amazing songs.

The album features a Steinway S Grand Piano—what drew you to this specific piano, and how did it shape the sound of the album?

This is the same piano I have recorded all of my albums on.  I really enjoy the sound of a Steinway in the studio, and the S is a very controllable size piano for me.

Your music falls into the solo piano and new age genres. Are there any artists or composers who have particularly influenced your style?

I have been inspired by a number of pianists like David Lanz, but George Winston is the pianist that caused me to want to play piano.  I taught myself how to play at the age of 12 listening to DECEMBER with a little cassette player and pushing play/rewind until the tape would break!

The tracklist includes titles like Faith, Changes, and Once Upon a Time. Can you share the meaning or inspiration behind one or two of these pieces?

I try not to speak to much on what my songs are about as I really like the listeners to hear the title and the music and make their own stories to them.  I can say that FAITH is exactly what is sounds like and is my hope for a better tomorrow for all of us.

Girl in the Painting is an intriguing title—what’s the story behind this piece?

Ok, I’ll talk about this one.  We have a painting in our house given to us by my wife’s grandfather and it so beautiful and haunting at the same the time, that I wrote that song as the background to what I think the woman’s life would have been like.  It’s difficult to describe, but I write music as though the subject is a film and I can see the story unfold as I write.

You worked with producer Matt Holmes and other creatives like Karla Colahan and Nelson Hill. How did these collaborations shape the final product?

These three are the best and I have done all of my albums with them.  I can compose, but they help bring it all to life and I am eternally grateful for their friendship and talent.

Wild Sound Recording Studio was your choice for recording. What made it the right space for this project?

They are my go-to studio to record. Matt is amazing, and it’s as if I am recording with my brother in my living room.  Very comfortable and very easy.

This album is about self-awareness and inner peace. What do you hope listeners take away from it?

Hopefully people are able to listen and reflect on their lives and the paths they have chosen.  Challenging ourselves to look beyond our comfort zones can be very liberating and hopefully this album challenges people to do that and to find peace in their lives.

How did the collaboration between you two come about? Was this something you had discussed before, or did the opportunity arise organically? 

Lin Gardiner – Julia Sound (JS): This was definitely an organic collaboration. Kinnie and I have worked together a bunch over the last few years, mainly on her solo music, but she also featured on a track from my 2023 album. When I was putting this track together, Kinnie’s was the only voice I could hear on it, so I was thrilled when I asked if she’d be up for another feature, she said yes!

“Cars Crush” blends Julia Sound’s mellow electronica with Kinnie Starr’s chill rap and ethereal vocals. Can you describe your creative process for this track and how you melded your distinct styles together?

JS: Our collaboration is always really easy, which I love. I sent the track to Kinnie asking if she’d be interested in contributing a kind of chill stoner rap, and she responded with what you hear.. I loved it right away! Kinnie is a producer as well as a writer and performer, so she recorded the vocals in her studio, including adding a lot of the effects you hear in the track. It’s so seamless when we collaborate, we’re on the same page creatively which is really cool.

KS: Lin and I have been collaborating for years. We share similar work ethics and enjoy the art of communicating, which makes work easy. I think people rush too much with communication, and when we do that too much, the relationship and work suffers. When Lin and I collaborate, we offer each other time, but also we know that follow up is important. So our work flow is very successful.

Julia, your background spans across video games, TV, and film—how did those experiences influence the production and feel of “Cars Crush”?

JS: I would say they don’t influence this track at all. When creating music for visual media, you are informed by the characters, the story, the setting.. When creating a music track isolated from any other form of media, the canvas is completely blank and I just follow ideas in my mind’s eye, rather than my actual eyes 🙂

Kinnie, you’ve been a major figure in the Canadian indie hip-hop scene for decades. How does collaborating on a project like this challenge or excite you compared to your solo work?

KS:Collaboration makes songs easier. I do most of my production (beats and bass lines and keys and structure) alone, which can get boring. I really prefer throwing it back and forth and Lin is great at that.

The single is described as a taste of Julia Sound’s upcoming album. Can you give us a hint of the direction the full album will take, especially in terms of sound and themes?

JS: The album has a few tracks with this mellower trip hop vibe, but there are also a couple of tracks where I up the tempo quite a bit (by Julia Sound standards anyway!). The opener is going to lean into a bit of a nostalgic 90’s club vibe, and another track has a more edgy, slightly indie style.. Both of those songs also have some exciting featured vocalists. Stay tuned!

How does “Cars Crush” reflect both of your personal journeys as artists, and how do you see it fitting into your broader musical narratives?

JS: I think I have a 90’s trip hop influence at my core (among other genres & time periods), and this track is one of the most reflective of that trip hop vibe. I love rap and hip hop too, and have so much respect for Kinnie’s work, and see this track as showcasing some of the many strings on her bow, from cool chill rap to beautiful melodic phrases.

KS: Oh I don’t know the answer to this one! But I really like this track. It feels like the west coast – blurry.

Kinnie, your versatility in switching from rap to ethereal background vocals is striking on this track. What inspired you to experiment with those different vocal styles on “Cars Crush”?

KS: That’s just how I work. I’m not trained in music so I’m very exploratory. I am always learning. I like breaking my voice up.

Julia, as someone who works across multiple mediums, how do you approach songwriting and production differently when creating music for an album versus for TV or video games?

JS: As mentioned above, writing straight up music tracks is quite free-ing, as I’m not bound by any other influences such as a story or setting for a film or game.

You both have had long careers in the music industry—what do you think makes “Cars Crush” stand out in today’s musical landscape, and what are you hoping listeners will take away from it?

JS: The whole Julia Sound project is 100% female (and non binary) created, which I think gives it a unique story. In terms of the track standing out, how does anyone stand out these days with 1 million uploads per day? All I can hope for is that some people dig it and add it to their playlists (which appears to be happening so that’s cool!). I just love creating music, and collaborating with amazing artists, so for me it’s all about enjoying the process of creating, and then putting it out in the world for people to enjoy, rather than having any grandiose goals or expectations.

KS: Honestly I’m not sure how music reaches people or IF it reaches people. The amount of new songs that are released on Spotify alone daily is staggering. I think it’s important to make the work for the work, not for expansion or for any goal other than to do it well. I have a very small following on Spotify and don’t really have a competitive spirit so it’s been hard for me to understand how to embody that “get it” mentality we are supposed to have in music. I am just grateful to be working.

Finally, with “Cars Crush” as a preview, what can fans expect next from Julia Sound and Kinnie Starr? Are there any exciting plans for live shows or future collaborations on the horizon?

JS: From me, there’s the new Julia Sound album due late Spring, an EP from my electro-punk trio Bae Baracus, as well as some live shows in the summer in BC. Also, I’ll be finishing up co-producing and mixing some tracks for a fantastic new Kinnie Starr release slated for release soon(ish!).

KS: Yes!! We are always working together and actually Lin worked with me on my whole new album, DESTROYER. I think we are in it for the long haul. It’s very important to develop deep working relationships and in particular to hire women and Indigenous people as much as possible to keep populating the industry.

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Congratulations on the release of Night Diving! This album explores new sonic territory—what inspired this shift in your sound compared to Wandering?

I’ve been growing into my own sound as an artist, and the shift could be attributed to discovering newer influences such as Noah Kahan and Gracie Abrams.

Your new single, Better Me For You (Brown Eyes), is deeply introspective. Can you share the story behind the lyrics and what inspired you to write it?

Better Me For You (Brown Eyes) follows the journey that my romantic life took following the acquisition of independence. I wasn’t the person I wanted to be, and it took an amazing girl coming into my life to help me change for the better.

Your journey from busking on a pier to selling out headline shows has been incredible. At what point did you realize your music was truly connecting with a global audience?

The streams continue to feel surreal to this day… but I would say a pivotal turning point was when fans started to send videos of them hearing my music in stores and on the radio.

Your song A Lot More Free has amassed over 80M+ streams and had a viral resurgence on TikTok. What do you think it is about that song that resonates so strongly with fans?

I think the subject matter of A Lot More Free can translate into many different experiences. The pain-filled sound of the vocal performance, coupled with the broad language of the chorus and verses, creates a global and digestible track.

You’ve turned down opportunities from major TV talent shows to walk your own path. What led to that decision, and how do you feel it has shaped your career?

I feel as though that decision was pivotal in my artistic journey. Although I have nothing against the shows themselves, I felt I had established a career already and was hesitant to let that career be attributed to success on a game show.

You’ve spoken about your brother’s battle with cancer and how it influenced your journey. How has that experience impacted your songwriting and personal outlook on life?

Several songs have been directly influenced by my brother’s battle, specifically Can’t Hide Light and Freezing In November. In a more general sense, his journey has allowed me to “zoom out” my perspective and keep close to me the things and people that are truly important.

With Night Diving produced by Jamie Kenney, what was the most memorable moment in the studio while bringing this album to life?

The entire writing session that created Night Diving was one of the most memorable experiences. It allowed me to explore within myself and treat the experience like it was a therapy session.

You’re about to embark on your debut headline tour, including newly added shows in Australia and New Zealand. What can fans expect from your live performances?

At every live performance, my goal is to place myself in the mindset I was in when each song was written. By doing this, I hope to embody the emotion and make each person in the crowd feel less alone.

Billboard recently named you Country Rookie of the Month, and CMT spotlighted you as a Next Up Now artist. How does it feel to receive that level of recognition so early in your career?

To be accepted by the music community is extremely rewarding. I think sometimes people have digital success and lack the acceptance of the industry itself… all in all, I am extremely honored to be recognized.

As a Nashville-based artist with roots in Oregon, how have your surroundings influenced your songwriting and the themes you explore in your music?

My physical location doesn’t play as large of a role as one may think. I use nostalgia and memories as primary drivers in my songwriting and very rarely rely on my current location to inspire my songs. I hope to go on a peaceful camping trip on the West Coast and write some music inspired by the Northwestern woods soon.

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Your music blends Afro House and tech rhythms in a distinctive way. Can you tell us about your early inspirations and how they influenced your sound today?

My earliest inspiration came from my father’s vinyl collection, which spanned blues, rock, and disco from the ’60s and ’70s. That eclectic range of music taught me the importance of groove and melody—two elements I carry into my productions today. Later on, I discovered electronic music through late-night radio shows, which opened my eyes to the boundless creativity in dance music. Over time, I gravitated toward Afro House because of its organic, percussive energy, and I fused it with techy, modern rhythms to create a style that feels both soulful and forward-thinking.

How has your artistic evolution shaped the way you approach production and live performances?

I’ve learned to see production and performance as two sides of the same coin. Early on, I was very focused on the technical aspects—like perfecting drum patterns or layering synths—without always considering how these tracks would translate live. As my career progressed and I started playing bigger venues, I realized the importance of storytelling and dynamics in both my sets and productions. Now, when I produce, I’m already envisioning how the crowd might react, where the energy might peak, and how I can weave in melodic or vocal elements to create memorable moments on the dancefloor.

Being selected for Shazam’s Fast Forward 2025 list is a huge achievement. What does this recognition mean to you, and how do you think it will impact your career?

It’s an incredible honor and a significant milestone in my journey. Shazam has such a global presence, so being featured on their Fast Forward 2025 list instantly exposes my music to listeners who might not have found me otherwise. In terms of impact, I believe it can open doors to new collaborations, festival bookings, and a broader international fan base. Most importantly, it motivates me to keep experimenting and pushing the boundaries of my sound, knowing there’s an audience out there ready to embrace it.

In what ways do you think platforms like Shazam contribute to an artist’s global visibility and reach?

Platforms like Shazam act as a bridge between the artist and a global audience. When someone hears a track they like—whether it’s on the radio, in a club, or even in a café—they can immediately identify it and explore more of the artist’s music. This instant connection is crucial in an era where people discover music on the go. For emerging artists, it can be a game-changer, because Shazam’s data can lead to playlist placements, label interest, and media attention that might otherwise be difficult to secure.

You’ve gained support from industry heavyweights like Black Coffee, Solomun, and Laurent Garnier. How have their endorsements or advice influenced your journey?

Having the support of such iconic figures is both humbling and inspiring. When Solomun first played one of my tracks, it felt like a stamp of approval that pushed me to refine my craft even further. Black Coffee’s feedback has encouraged me to stay true to the Afro-inspired roots in my music, reminding me that authenticity resonates most strongly with audiences. While I haven’t had extensive direct communication with Laurent Garnier, seeing him acknowledge my music underscores the universal appeal of a well-crafted track. Each endorsement is a reminder that quality and passion can transcend borders and genres.

Have you had any memorable moments or collaborations with these legends that helped define your sound or career direction?

One standout moment was discovering, almost by accident, that Solomun was dropping my track during one of his sets. I came across a fan’s Instagram story and recognized my production in the background. It was a surreal realization—like seeing your work in a movie for the first time. I haven’t officially collaborated with Black Coffee or Laurent Garnier yet, but I’ve certainly been influenced by their styles. The emotional depth in Black Coffee’s sets and the pioneering spirit of Laurent Garnier continue to shape my own approach to music and performance.

You had a residency at Club Chinois in Ibiza and performed in over 25 countries in 2023. How has touring internationally influenced your sound and performance style?

Touring internationally has been a revelation. Playing in diverse locations—from Ibiza’s cutting-edge clubs to intimate spots in Kenya or bustling cities like Dubai—exposed me to different cultures, musical tastes, and crowd dynamics. This global perspective taught

me the importance of adaptability. I’ve learned to read the room and tweak my set to maintain energy and connection. In the studio, I now incorporate elements that resonate universally, whether it’s a vocal chant that sparks crowd participation or a bassline that compels everyone to dance, regardless of their musical background.

What have been some of the most unforgettable experiences or lessons from playing to such diverse audiences around the world?

One of my favorite memories is playing a sunset set in an open-air venue where the crowd spanned so many nationalities—everyone was united by the music. The lesson I took away is that a well-curated set can overcome language and cultural barriers. Another key takeaway is the power of spontaneity; sometimes the best moments happen when you read the crowd and shift gears on the fly. It’s those instances—where you feel an electric connection with the audience—that make all the hard work worthwhile.

Your 2024 single “Opera” made waves. How do you plan to build on that momentum with upcoming projects or collaborations?

“Opera” was a pivotal release for me—melding theatrical, melodic elements with a driving Afro House rhythm. The overwhelming response motivated me to expand the concept beyond the studio and into a full-scale event experience. We’re currently developing a tour under the Opera banner, incorporating immersive visuals, live performance elements, and special guest appearances. It’s a fusion of music, drama, and dance that we hope will resonate deeply with audiences across the globe, bringing the essence of Opera to life in an entirely new way.

As you continue breaking into new markets, do you see your sound evolving, or are there specific sonic directions you’re excited to explore?

Absolutely—evolution is key to staying relevant and inspired. I’m currently experimenting with more cinematic elements, layering orchestral strings and atmospheric textures over Afro-centric drums. There’s also a growing interest in bridging Afro House with other genres like progressive or even breaks, so I’m curious about how those crossovers might sound. Ultimately, I want to maintain the core essence of my music—emotional resonance and rhythmic drive—while embracing fresh ideas that keep listeners (and myself) excited.

INTERVIEW

‘J-Town’ blends traditional Indonesian sounds with electronic rhythms. Could you share more about the creative process behind this track and what inspired you to fuse these elements?

Actually, ‘J-Town’ is my first 2025 release that steps away from my signature Indonesian Bounce sound. This track marks a new chapter in my production journey, where I explore influences from techno and house music. The creative process was all about pushing boundaries – experimenting with different rhythms, textures, and grooves while still maintaining a vibe that feels authentic to me. It’s part of my evolution as an artist, showing that growth doesn’t mean losing your roots but expanding them.

You’ve been instrumental in pioneering Indonesian Bounce. How has this genre evolved since your breakthrough, and where do you see it heading in the next few years?

When I first started producing, my influences were rooted in Baile Funk, Dutch House, Breaks, and Brazilian sounds, which shaped what eventually became Indonesian Bounce. During the pandemic, interest in this sound exploded, especially as border restrictions gave local scenes more room to grow. I was fortunate to tour nationally and introduce Indo Bounce to new audiences. Today, it’s recognized and appreciated more than ever. Moving forward, I see Indo Bounce evolving through collaborations and fresh production techniques. It’s important to keep refining and experimenting with the sound to keep it exciting and sustainable for the future.

With ‘Yummy’ being a chart-topping collaboration with Bravy, what role does collaboration play in your creative process, and can we expect more exciting collaborations in the future?

Collaboration has always been a huge part of my creative journey. Bravy and I go way back – we worked on tracks like ‘Big Booty’ and ‘Booty Call’ before ‘Yummy’ even happened. He was one of the first people I connected with to talk about music production, and our casual chats eventually led to the birth of Package Collective, our community of like-minded artists. Working with friends who share the same passion brings a unique energy to the process. And yes, you can definitely expect more projects from us in the future – we’re just getting started!

You’ve mentioned Whisnu 2.0 as part of your new vision. What does Whisnu 2.0 represent, and how does it reflect your growth as an artist?

Whisnu Santika 2.0 represents my growth, evolution, and development as an artist. It’s not about changing who I am but about exploring new sounds and styles while keeping my signature vibe intact. I want people to hear a new track and think, “This feels fresh, but it’s definitely Whisnu Santika.” It’s about surprising my audience while staying true to what makes my music unique. For me, evolution isn’t just a phase – it’s a mindset.

Looking ahead to 2025, what can fans expect from your upcoming projects? Are there any particular themes or styles you’re exploring?

I can confidently say that 2025 will be full of surprises – it’s going to be a wild ride! I have some exciting collaborations lined up with artists I’ve admired for a long time. Musically, I’ll continue pushing Indo Bounce, but I’m also diving deeper into techno and house while experimenting with some pop influences. I’m all about breaking the mold and stepping outside my comfort zone, so expect the unexpected – fresh sounds, bold ideas, and projects that feel different from anything I’ve done before.

What has been the most challenging aspect of your musical evolution, and how have you overcome it to reach where you are today?

One of the biggest challenges has been finding the balance between staying true to my roots and evolving as an artist. It’s easy to get comfortable with a formula that works, but growth comes from stepping into the unknown. There were times when I felt unsure about experimenting with new sounds, wondering how people would react. But I’ve learned that trusting the process and staying authentic is key. Every challenge has been a lesson that has shaped my sound today.

You’ve performed at some iconic events like Tomorrowland and Borderland. How have these global stages influenced your sound, and do you bring elements of these experiences into your studio work?

Absolutely. Performing on global stages like Tomorrowland Belgium, Borderland Malaysia, and Siam Songkran Thailand has been a game-changer. You feel the energy of diverse crowds, and it shifts your perspective on how music connects with people. Seeing what resonates live helps me understand how to structure my tracks differently – whether it’s building tension, creating unexpected drops, or adding elements that hit harder in a festival setting. Those experiences definitely inspire me when I’m back in the studio.

With your multi-city tour with Package Collective, how does performing live differ from producing in the studio?

Performing live and producing in the studio are two sides of the same coin, but they feel completely different. In the studio, it’s all about experimentation – there’s room to try, fail, and refine. On stage, it’s about reading the crowd in real time, feeding off their energy, and creating an experience. When I’m performing, the instant connection with the audience pushes me to be more dynamic, and that energy often influences how I approach my next production.

What do you aim to convey through your live performances?

I want people to feel a connection – not just with the music, but with the moment. My goal is to create an atmosphere where people can let go, feel free, and lose themselves in the sound. Whether it’s a high-energy drop or a deep groove, I want every set to be memorable – like a shared experience between me and the crowd. It’s more than just playing tracks; it’s about creating a vibe that sticks with you long after the show ends.

You’ve built a strong following in Southeast Asia—how important is it for you to represent Indonesian culture on a global stage, and what do you want people to take away from your music?

Representing Indonesia on a global stage is something I’m really proud of. Our culture is rich and diverse, and I love weaving that into my music in subtle ways – whether through rhythms, melodies, or even just the energy I bring to my sets. I want people to hear my music and feel something universal while also discovering a bit of where I come from. It’s about showing that Indonesian artists have a place in the global scene and that we have something unique to offer.

What are some upcoming collaborations with Indonesian artists that you’re excited about, and how do you think these projects will push the boundaries of what Indonesian music can achieve on the global stage?

I’m really excited about some upcoming projects with fellow Indonesian artists who are pushing boundaries in their own way. Collaborating locally isn’t just about making tracks – it’s about building a movement and showcasing the diversity of talent we have here. These projects will blend so many colors into one creation, but more importantly, they’re a step toward putting Indonesia on the international map. Our music scene has so much to offer, and I truly believe these collaborations will help amplify our presence on the global stage.

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Your debut single, ‘I’ll Be,’ has gained significant traction online, earning you a strong following. Can you share the inspiration behind the song and how it feels to see such a positive response?

I’ll Be is somewhat of a personal manifesto… a pledge to my future self and the person I want to become. I touch on a lot of different aspects in my life that are important to me, so to see it connect with people is incredibly fulfilling and special. 

You’ve shared the stage with major artists like Newton Faulkner, Kim Churchill, Vera Blue, and Pete Murray. What’s the most valuable lesson you’ve learned from supporting these artists?

As a support artist, it’s your job to start the night off with good energy and create a vibe in the room before the headline. Doing shows like these have really taught me that the crowd is already on your side. When people come out for a show, they’re wanting to have a good time- and I think learning to lean into that mindset has been super beneficial. 

Signing a worldwide deal with AWAL US is a huge milestone. Can you walk us through how that opportunity came about and what it means for your career moving forward?

That journey really started from focusing heavily on my songwriting for a number of years – so that when it came to having the conversation with labels I had a big catalog as a sort of proof of work. I’ll Be was the song that set it into motion, with the amazing Mike Taylor joining our team and helping to set up the deal with AWAL. 

With your debut album on the horizon, what can fans expect in terms of sound, themes, and songwriting? Are there any particular influences shaping this project?

I feel like my music lives in the world of rock influenced singer/songwriter. I’m very inspired by stripped 60’s folk to modern pop, rock bands to cinematic soundtracks. Most of the songs have originated in writing on either guitar or piano, and centred around themes of self-discovery, purpose and love. 

Your music has resonated with both live audiences and online listeners. Do you approach songwriting differently knowing that your music connects in such varied ways?

In my writing I mostly try and follow what the song feels like it wants to be- both thematically and musically. Sometimes I’ll know when I’m writing that it could be well suited for live performances, and other times I’ll be writing a simple slow folk song with no chorus that will be less live suited. The song is the boss!

You have a captivating stage presence. How did you develop your live performance skills, and do you have any pre-show rituals to get in the right mindset?

Thank you! I’ve been playing live since I was 8 years old – singing Michael Jackson in a school production haha. Then writing, busking and doing gigs most weekends from around 12- travelling Aus in a caravan for 6 months with my family and playing everywhere we went. I just really love it so much and it’s huge reason for pursuing music. My pre-show rituals are mostly just warming up my voice and listening to some songs to get me in the right headspace. 

As part of Live Nation’s ONES TO WATCH series, you’re joining a lineup of rising talent. How does it feel to be part of this platform, and what are you most looking forward to about the Melbourne event?

It’s awesome to be included in this incredible series. To join a great list of past performers is exciting and I’m super keen to play the Gaso- it’ll be my first show there! 

The Australian music scene is evolving rapidly. As an artist navigating the industry, what are some challenges you’ve faced, and how have you overcome them?

I think finding the right team is so important. I kept writing and focusing on the music for years until I felt confident in the team around me to achieve a shared vision. I’m grateful and excited to be starting this new phase of my journey with some awesome and talented people.

Your career is on an exciting trajectory in 2025. What are your biggest goals for this year, and are there any dream collaborations or projects in the works?

I’m looking to spend some time overseas this year playing gigs and touring new places… I’m super excited by that! Working on these songs with Eric J Dubowsky has really been a dream collaboration… we’ve written songs together that will be on the record and he’s producing and mixing. A really cool relationship with someone who’s Grammy and ARIA winning. 

For fans discovering your music for the first time through ONES TO WATCH, what’s the one thing you’d like them to take away from your performance?

That I’m in this for the long haul! I’ve been focused on music since I was a kid and yet this now feels like a new beginning. I have so much to give moving forward and would love if people connect to lyrics or a feeling I’ve facilitated. 

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How did The Bentley Project come to life, and what inspired you both to combine the sounds of harp and guitar?

The Bentley Project, is a marriage/music duo. Before Mark, I was a professional French horn player and quite honestly, Once I performed with Roger Daltry, played in the orchestra doing his rock opera Tommy,  watching him awesomely work the huge crowd , and then Georgia on my Mind with Ray Charles, I knew I couldn’t top this on French horn. So, I decided to pursue piano/ harp. For my wedding gift, Mark bought a replica of a 1500’s Italian Baroque triple harp and the rest is history. Mark was and is a fabulous classical guitarist and studied with the best in the world like Pepe Romero and Christopher Parkening.  As I grew on the harp, we started realizing how primevally beautiful the harp and guitar are together. He patiently waited for me to grow and in 2018, we decided to try an album of music friends said they would love for us to record and music Mark plays that I wanted to capture. We came up with the name The Bentley Project to allow us freedom to do multiple genres. Given our love for all kinds of music, we wanted the name to reflect that this is an ongoing project with many lanes to explore. I love playing/improvising New Age the most so personally, this will continue to be my main interest in exploring. 

Theresa, with your background in classical music and a diverse array of instruments, how do you approach blending traditional and contemporary elements in your compositions?

With learning multiple instruments, dancing flamenco, loving Van Gogh, and reading poetry, all the disciplines compound into something that you can’t have without each piece in the recipe. I also have so much music listening time(70’s rock, new age, classical music, bluegrass, Celtic) and French horn, harp, classical/jazz piano and voice training in my head It all had a synergistic effect that has all come out as this album.  I observe literally everything I hear down to our creek running on our land. (It’s on track 4 of the album!)  or the rhythm of the train in our small town. As for blending, I pull my most favorite parts from each discipline and put them together for something new. For example, I call Kind as the Shade an “Ambient Tone Poem”. The core idea is borrowed from the classical world, Richard Strauss and his tone poems. I love them all so thought why not use it here and tell the story of the poem that inspired this album By John Neihardt but with an ambient twist. Thus, I guess I wanted to create a new genre of “Ambient Tone Poem”? Why not… 

Mark, your experience as a guitarist spans multiple genres. How has your versatility in classical and acoustic guitar shaped the sound of The Bentley Project?

As a trained classical guitarist, You can do nearly anything that is asked of you. It’s a bit like learning ballet then you can springboard into any dance with that foundation. When Theresa asks me to play an idea, I can approach it anyway she would like. For example, on our single Eventide, she wanted acoustic guitar but play it like a classical guitar. It resulted in a unique sound that fit the song perfectly.  She says she loves my tone the most so she writes for it. My Whisper to You was all about that concept for her.

Can you tell us about the creative process behind your compositions? Do you primarily collaborate or is there a specific role each of you plays in the songwriting and production?

We definitely have unspoken defined rolls. I am the dreamer and Mark is practical. I come up with the ideas or something inspires me. I use my phone constantly to capture a sound or portion of a song/progression I really like.  I never know when that will catch me. Once that happens I start working on the song.  Then I bring Mark into the process to make everything I do better. We do all recording, mixing and mastering. Mark has an incredible ear to hear the tiniest sounds that need to be adjusted or fixed. Sometimes I can get him to write with me (like My Whisper to You on the album) and it is always incredibly beautiful but I usually have to pull that bit out of him. I am always glad he allows me to push that! Anything regarding recording that I struggle with, he seems to always have an answer. 

You both have extensive performance experience, from symphonies to engagements with artists like Roger Daltrey and Ray Charles. How does performing as a duo differ from these larger-scale engagements?

For me, this has been a huge adjustment. With big orchestral engagements, a French horn player can hide fairly easily in the back of the orchestra(with the exception of solos). That is what I was use to and never being the center of attention as an instrumentalist. I am happy that way but with harp, I have had to learn how to handle performing as a soloist or in the duo. No hiding. That was a shock to me but getting more use to it. As for Mark, classical guitarist are generally on their own or a duo/quartet. For most of his performing life, Mark was in a guitar duo so this is not much different for him except I have pulled him into writing music.

The Bentley Project has a unique style that mixes elements of folk, classical, and new age music. How do you balance these diverse genres while maintaining a cohesive sound?

I have such  enjoyment for the impressionistic period of music and see the original New Age movement (Windham Hill, Andreas Vollenweider for example) and Phillip Glass, stemming from that period.  That is the lens I ran everything though as I wrote this album. I can use a Celtic type melody but it had to lay on top of the dreamy Windham Hill type sound. 

In your performances, you invite audiences to ‘listen with intent.’ What does that phrase mean to you, and how do you encourage this deeper connection with your music?

Listen with intent means create your own mental story as you listen and fully experience the music. Or, learn the artist story about the music. Great musical art is so much more and worth the effort of learning each song’s meaning. They always have a story of some sort. Science has confirmed the health benefits of this type of listening as well! 

You’ve performed across the U.S. and Europe. How have these international experiences influenced your music, and what do you think audiences from different cultures appreciate most about your sound?

Europe was such an incredible place to perform. They universally have a deep appreciation for live classical music(and it’s variations which our music fits into)  and encourages its nurture. I have a harpist friend in Germany, Nadia Birkenstock, who is experiencing great success and she has been such a role model for me. She has been deeply embraced and is helping to expand harp music around the world. The track, Language of the Hills is probably somewhat inspired by her and what is happening in Germany by having a single instrument harp song that is complete and beautiful on the album. Here in our Kansas City, Missouri culture, we have fantastic music that is just exploding!  There is a growing subculture as well that we would fit into. The audiences are not huge yet but I am hoping The Bentley Project can help expand it more. People here always love to hear us play but it is so different for them generally it is like a new life experience they didn’t know they needed emotionally. They are always surprised at the calming effects. I love playing at the farmer’s market here and seeing the reactions. People immediately calm and smile at me. That’s what I want to grow in my culture. I have been told there “ I make it feel European”. I see that as a great compliment!

You both have strong academic backgrounds in music and business. How do these two aspects complement each other in your work with The Bentley Project?

I would say the simple answer is we both fully understanding each other’s language in music and business.  Neither of us could do what we do if our partner did not have the complementary pieces that we each have.

To create something like Kind as the Shade, our ability to communicate as you are creating something new was invaluable and helped us to pull greatness from each other that wouldn’t happen if we were not together. 

What can fans expect from The Bentley Project in the coming year? Are there any exciting new projects, collaborations, or performances in the works?

Projects:

We have spoken about Mark doing a Classical Guitar Spanish Dance album( which he is magnificent at).

I actually have many ideas stirring in me.  I have time freedom as there is no one to give me constraints. I can fully allow my internal artist do her thing and let it grow organically as it did with Kind as the Shade. Regarding my current ideas, I really enjoy fantasy stories. (Earth’s Fragrance Remembered(Eolyn) is a perfect example of this showing up in my music.) Eolyn is a magical character that I just loved.  I thought it might be fun to do another tone poem on the Tales of the Fae or a fantasy album about this character . With my harp, I can be as magical with this as I want!  I also have a collection of hour long sleep songs that are part of my  Sanctuaries series. We have a baby in the family and she loves to sleep to them. Especially Peaceful Waters. So, I am planning to build upon that. Lastly, with Kind as the Shade being inspired by a poem, I may start a New Age Poetries collection of music. As I find a poem that inspires me, I can start building  upon this collection idea. Poetry is generally how I write music. Poems first then the music. I have always worked that way.

Performance: We have a couple coming up this spring one private and one public. Our public concerts tend have sections: music from 500 years ago on replicas of early instruments , a folk section like Spanish dances, and now of course some new age music to introduce ideas like running my harp through a guitar shimmer pedal like on track 8, Language of the Hills.  At our concerts, we tell stories about each song and the multiple instruments which helps the listener to “listen with intent”.

Listen At : thebentleyprojectmusic.com