‘Piece of Mess’ feels raw and open, almost like you’re inviting listeners inside the emotional spiral you were living through. What moment or realisation first pushed this song into existence?
The moment of betrayal. There are few things more difficult to experience; I would say grief is also up there. I tried repeatedly to show up with love, only to be taken advantage of. No matter what I did, I was always going to lose, but through that experience, I created some of the best songs I’ve ever written.
You’ve said the track came from the same creative burst as ‘Serious,’ written in your Elwood apartment. What was happening in your life at that time that made writing feel so urgent?
It was an outlet for me to express what I couldn’t in conversation. I was young, struggling, and not always surrounded by supportive people, which certainly had an impact.
Originally, this song was directed at someone else, calling them a “Piece of Mess,” but I chose to redirect it toward myself, recognising how messy I also felt in love at the time. I’m strong in many ways, but matters of the heart have always been my vulnerability.
Three songs on the album — Piece of Mess, Serious, and an unreleased track, I Can’t Love Anymore — were all written around the same day, inspired by the pain of giving someone many chances, only to be hurt by someone I trusted and loved.
There’s a real tension-and-release feeling in the production, like the music breathes with the story. How did you and Lewis Pidutti shape that emotional push-and-pull in the studio?
When I originally wrote this song, I wanted it to convey a strong sense of drama, especially through dynamics. There are subtle musical nuances in the verses designed to create an unpredictable, almost suspenseful feeling.
I had been developing this track long before meeting Lewis, and I always knew how impactful it would be live with the band — something that is often difficult to fully capture in a studio setting. I revisited many of my old recordings to refine the sound, focusing on keeping ample breathing space in the verses to allow for explosive moments, and creating a striking contrast in the chorus with powerful, chunky guitars and a surge of intensity.
He listened and nailed it. I recorded this song in one take vocally through a drum microphone, and we never changed it. There is an entire range of emotions in this tune.
You built your reputation on the streets of Bourke Street, looping in front of strangers. How does that raw, unpredictable environment still influence the way you write and perform?
The streets have been my greatest teachers, and I believe that’s why I am such a strong performer on stage. Busking requires vulnerability, creativity, and authenticity. You must find ways to capture attention and keep people engaged. If your energy is off, the audience will feel it too.
Performing in this environment has taught me to recognise impactful moments in a song — where I can connect with the audience or elevate the set to the next level. My favourite part is creating those moments where the entire crowd joins in and sings with me.
You’ve just come off shows in Italy, Germany and the Netherlands. Did sharing these songs across Europe shift the way you hear or feel them?
It was genuinely exciting to hear my songs being sung by people outside of my hometown. Experiencing this brought new life to the album and filled me with a renewed sense of joy.
My time in Europe allowed me to fully reset from a burnout I had been experiencing. Now, I connect with the music from a healed and refreshed place, feeling completely ready to share it and fully immerse myself in everything album-related. Perfect timing.
The song digs into the messy, uncomfortable side of love — insecurity, frustration, the yearning underneath it all. Was there a lyric that felt confronting to write or admit out loud?
My writing is extremely honest and pretty direct. I think, “I want a solid apology, not this look you’ll demolish me, swallow me, I want equality” — ain’t that the truth.
Just wanting someone to be sincere, gentle, kind, and admit being wrong instead of being blamed as a woman.
Your sound moves effortlessly between soul, pop, jazz and vocal looping. When you’re writing something vulnerable like this, do you lead with emotion first or with vocal experimentation?
I would say it’s a combination. My voice conveys my emotions, and my emotions guide me in finding the words to express through that voice.
I embrace influences from a variety of genres, as I believe this is when the most interesting, unique and authentic creative moments emerge — then you get Tanya George.
You’ve played everything from the Roma Busking Festival to WOMADelaide and Airlie Beach Music Festival. Do songs like ‘Piece of Mess’ land differently on a big festival stage compared to an intimate room?
Absolutely. It’s a great song in an intimate environment, but it goes HARD at a festival.
It’s got some very intense parts, such as the bridge all the way to the end of the song, and live, the band just throw themselves in.
With your debut album Contrast on the way, where does this track sit in the wider emotional arc of the record?
“Piece of Mess” is the fifth track on the album, placing it right in the middle at peak angst. It comes just after “The Devil” (track four) and is followed by “Can’t Love Anymore” (track six) — all intense track titles.
My Oma (grandmother) features on the intro (track one) and the interlude (track seven). By the time we reach the interlude, the album transitions from a place of anger back into one of love and growth.
Track eight, “Have You,” is the only love song I’ve ever written. I often hear “Piece of Mess” in relation to “Serious” (track two), as I feel the two songs are connected thematically.
You’ve got momentum in Europe, festival dates at home, and a debut album coming. What part of this next chapter feels the most exciting for you right now?
I think the most rewarding part of releasing these songs is finally sharing them with the world and allowing people to connect with them.
For me, the highlight has always been performing live — seeing my dreams come to life on stage. I always had this vision to begin my set solo, using only my voice and looper, and then the band joins me, taking the performance to the next level.
We had an incredible show over the weekend. People were crying and singing along with the lyrics. It was exhilarating to see my ideas, long imagined in my mind, come alive in real time.
See Tanya perform over the summer at the following festivals:
Tanglewood Festival — 30 Dec 2025 – 2 Jan 2026
Rising Sun Festival — 9–12 Jan 2026
Falls Creek Festival — 14 Feb 2026
