Interview: Crooked Colours on the Story Behind ‘Pink Limo’

What was the moment where “Pink Limo” really clicked for you? Was it something that happened quickly in the studio or one of those ideas that slowly came together over time?

This one happened very quickly. I was in the studio for a writing session with producer Xavier Dunn in Sydney and he had this vocal chant idea that we started working on late in the afternoon at the end of the session. I had maybe 45 minutes left in me before I had to leave, so we just started throwing ideas together. I did a rough pass of the vocal which was mainly gibberish, but it was enough for the demo and the “Pink Limo” line was in there. When I got back to Fremantle I spent a day in the studio just fleshing out the lyrics and that was it. Sometimes they take years, other times it’s an afternoon in the studio with a buddy.

You’ve described the track as capturing that late-night feeling where everything feels a little surreal and romantic. Was there a real memory or experience that pushed you in that direction?

I actually had a lot of Las Vegas imagery in my head at the time. I think it was maybe from watching Fear and Loathing not that long before the session. It just kind of drove this carefree, romantic idea of debauchery and excess.

There’s something really hypnotic about the groove in this one. When you were building the track, what elements did you focus on first to create that atmosphere?

Like I mentioned earlier, Xavier had the vocal chant idea which I loved. It’s the main “nah nah nah” line in the chorus. That pretty much set the tone for the aesthetics moving forward. It was initially quite electronic, but we just started swapping in organic elements and instrumentation as we went along, which just felt better.

Crooked Colours has been evolving for more than a decade now. When you look back at the early releases compared to where you are creatively today, what feels most different?

I think sonically it’s more deliberate, more focused. I used to very much just throw sh*t against the wall to see what stuck, which was mainly due to a lack of experience. I think I’m getting better at executing ideas I have in my head, or at least I hope I do. I’m also much more open to collaborating and co-writing nowadays, which teaches you a lot and helps you refine things a lot faster.

Your music often sits in that space between uplifting festival energy and something more emotional or reflective. Is that balance something you aim for, or does it just happen naturally when you’re writing?

My vocal register is very limited so I’ve always felt much more comfortable writing emotive, croony type vocals. That lends itself very well to writing down-tempo reflective tracks, so one of my biggest challenges is making that work for uptempo production. I think that challenge creates a cool crossroads that can lead to some creative places.

Playing festivals like Laneway, Splendour in the Grass, Beyond the Valley and even stages like Red Rocks must give you a sense of what connects with a crowd. Do those live moments ever influence the way you approach new songs?

Oh absolutely. Experiencing those moments that really connect at big shows is like a drug. I definitely try to chase more of it.

There’s a recognisable Crooked Colours sound, but every release seems to explore new territory. How do you keep things fresh while still staying true to that identity?

Keeping things fresh is the main challenge. The identity thing kind of takes care of itself. I think there are some elements that never change — the sound of my voice, the way I play certain instruments. So when I try and do something new or unique, that flavour is still going to be there, like a fingerprint you can’t change.

Working with artists across different styles — from Don Toliver to Ladyhawke — must shift the creative dynamic quite a bit. What do collaborations tend to bring out in your process?

Collaboration, in my opinion, is one of the best things you can do as an artist. It’s the quickest way to highlight your limitations while at the same time teaching you so much faster than you can learn by yourself. Process and speed are key aspects. Most of the time you’ll only get a few hours in a room with someone, so knowing how to get the most out of the session is important. Being prepared and having a clean workflow is paramount.

With more than half a billion streams across the catalogue now, does success change how you approach releasing music, or do you still treat every new track like a fresh start?

Every release is still the same for me, like it was at the start. I’m still nervous to see the reception, still trying to do everything we can to give it its best start. I don’t think that’ll ever change for me.

Looking ahead, does “Pink Limo” give us a glimpse of a bigger sonic direction for Crooked Colours, or is it more of a standalone moment capturing where you are right now?

It’s definitely in the flavour of some more stuff coming later in the year, but there is so much new music I’m sitting on that is all over the spectrum. It’ll be a journey. I’m hoping it’s a good one.