Australia’s music night of nights is always a glamorous and star-studded affair that mixes domestic favourites with international heavyweights as they come together to celebrate the successes of Australian artists from the year that was.

The 2019 Aria Awards saw Tones And I and Dean Lewis leading the way with the award wins while other acts like Thelma Plum and Hilltop Hoods impressed with their epic performances.

As all the starts began to arrive at the Star Casino in Sydney, I had a chat with them on the red carpet about the year that was, their personal artistic growth and everything in between.

Check out all of the chats with Why Don’t We, Morgan Evans, Jessica Mauboy, G Flip, Kwame, Samantha Jade, The Wiggles, Tkay Maidza and more BELOW;



TB: Your new EP ‘Stella & Steve’ is full with cool stories and slick production. But one song that in particular stands out is ‘Supalonely’. So how did this track come together? 

B: I went to Los Angeles a few months ago for a music making trip and I broke up with my boyfriend before I left and was just honestly feeling so fucking lonely. It was during my first session there with my producer that I knew I wanted to address the feelings I was experiencing within this weird period. So I wanted it to be really super self-deprecating and be a little cheeky but really show the emotions too. 

That’s what I try to aim to do with my music. I like to make fun of myself being sad. But in contrast it’s funny cause the next day I went into the studio and wrote ‘Blu’, so I definitely showed two different sides of the break up there *laughs*. 

TB: ‘Find An Island’ is a playful and vibey track that is all about figuratively sending someone to a island when you need some space from them. But if you were to be stuck on an island with three other people who would you enlist?

B: *laughs*! My mum, my mum, My mum! Just three of my mum *laughs*. Nah, probably my mum, dad and brother. My family mean a lot to me. They are all I need!

TB: You kicked off your sold out Australian tour in Brisbane over the weekend and also played Spilt Milk Festival in Canberra. So from playing these shows so far, what has been your biggest takeaway about Australian audiences?

B: They have been pretty crazy! I really didn’t think anyone would come to the Spilt Milk Set because it was so early and there were so many amazing clashes. There was no one at the stage while we were setting up and I was starting to feel a little weird but when I was checking my inner ears before I went on, everyone started turning up and it packed out which was crazy. 

Carlie Hanson


TB: Your new single ‘Side Effects’ is a love sick moment about all the distractions we try to throw at ourselves and just falling into that moment. There are a lot of relatable golden nuggets of lyrics in there, so what is one of your favourite lyrics from the track?

CH: I’m not going to lie, it’s the first lyric! “Was the one who wanted no strings, but now I’m the one timing us together”. Because like strings, tieing, no strings *laughs*, it’s a cool visual I think! 

TB: You are currently on tour with LAUV and the Australian crowds have really seemed to embrace you so far which is so exciting. So how have you been finding the shows so far and are you kinda shocked that people over here know your songs word for word?

CH: It’s always interesting opening for people because you never know if they’re going to react in a good way or a bad way. But every crowd on this tour has been so nice. Sometimes I have to push to get them to jump or whatever, but they’ve been so sweet and it’s really crazy to see people in Australia know my fucking lyrics. It’s unreal. 

TB: One thing that I was really impressed about in your live set was the rock vibe that you and your band exuberate. In particular with the unreleased banger ‘Is That A Thing?’, your energy was insane. So sonically what inspires you within the live spectrum?

CH: Thank you! I’ve always been a huge fan of rock music! In particular, I’ve been a fan of Nirvana since I could remember. I’m always watching their live videos and I just love how they don’t give a fuck. They just rock out and throw shit around, and when you do that it encourages the crowd to just embrace the moment and do what they want to do. 

So yeah, I just wanna not care, and connect with the crowd and go crazy! 

TB: This is your first time in Australia, so what has been your biggest misconception about the country so far? 

CH: That there is no Kangaroos jumping on the side of the road! I thought they would be everywhere, but they’re not.

We went to a sanctuary the other day and I got to see them and they were just chilling *laughs*.

TB: And I saw on social media that you got to see a huntsman too…

CH: Oh my god! I’ve never seen a spider that big in my life! It was very disgusting. It was scary. And I just can’t do that! 

Charlie Collins


TB: Your debut album ‘Snowpine’ is up for Best Country Album at this years ARIAS. So what does being nominated and recognised for this category mean to you? 

CC: It means a lot! It’s super surreal. When I found out that I was nominated all I could do was cry *laughs*. It’s just an honour to be seen and to get recognised for something I put my heart and soul into. So yeah to sum up those emotions; it honestly means the world. 

TB: Your new single ‘I Don’t Want To Be In A Rock Band’ is an exploration of your journey through discovering your artistry and trying different genres and creative paths. Did you find this creative exploration to be something instigated by you and your genuine curiosity or did you feel pressured by the industry to try fit into a mould or be more commercially assessable?

CC: In the past I think it was a little bit of pressure. But it was pressure put on yourself as an artist because you want to please everybody, so you kinda mould yourself into what other people want. So this journey for me is not moulding into what people want. It’s about doing what I want to do and not really caring about being seen, or what people think.

I’m just doing me! I’m writing songs on my guitar in my bedroom and people are liking it I think *laughs*. 



TB: Earlier this year you opened for an artist who you’ve loved for a long time, Matt Corby. So from watching him perform every night and being able to analyse how he’s evolved and grown as an artist, what is something you identified that you wanted to work on for yourself?

E: I think just my instrumentation and learning as many instruments as I can because he’s just crafted it so beautifully. Everything he touches just turns to gold and he knows how to convey those heavy emotions in such a pure way. 

TB: ‘Find A Way’ heard you stepping into a dreamier pop production. Looking towards the next evolution of Eliott, what is currently inspiring you sonically? 

E: The next single is going to be ‘Circles’ which I know you’ve heard quite a few times over the last year at shows *laughs*. So sonically that’s the way we’re heading. More stripped back in the electronic layering and more band focused. 

TB: With some incredible albums from the likes of Dean Lewis, Hilltop Hoods, Rufus Du Sol, The Teskey Brothers and Thelma Plum up for album of the year. What is personally your choice of album of the year? 

E: Oh, the Teskey Brothers for sure! They are performing tonight and I am so stoked!

G Flip


TB: You’re wrapping up your sold out Australian tour this week in Melbourne. So with putting this show together and touring it around the country, what has been one of the biggest hurdles you’ve faced? 

G: For me, it was getting through the first show. Me and my best mate Tooth Pick spent a whole month putting the show together. So doing that first show was a massive leap of faith in just hoping that it all worked out. And it did, thank god! 

The response from that first Adelaide crowd was so amazing. I’ve never had people chant my name before a show before. So I was backstage and you know how emotional I get, so I was crying and it was too much *laughs*.

TB: The show is structured so incredibly well and is impressively balanced with albums tracks, drum solos, a cheeky cover and a some slick new songs including the future hit ‘Hyperfine’. So what has been your favourite moment in the live show each night?

G: I’m so happy that you love ‘Hyperfine’ because that’s my favourite new song! But I think one thing I haven’t been used to which has been super cool on this tour is during ‘Bring Me Home’ I get everyone to put their phone lights up. I’ve never had people put phone lights up in my set so experiencing that as an artist on stage is honestly so amazing. 

Also it’s been so amazing hearing the crowd sing some of the new songs like ‘Lover’ and ‘Waking Up Tomorrow’ back to me as that hasn’t happened before with those tracks. So it has been a pretty cool experience. 

Jessica Mauboy


TB: I wanted to ask you about your new single from ‘Hilda’, the infectiously catchy ‘Selfish’!

JM: Yes! *starts singing the chorus*

TB: Get it girl! 

JM: I can’t help it, that song always just makes me want to sing and dance *laughs* 

TB: The part of the song which particularly stands out to me the most is the Bridge where you break it down and switch up the melody before heading into the final hook. So where did the inspiration come to shift the sonic slightly with this one?

JM: I’m in love with rhythm, so the less production was perfect for that moment in the track specifically as there was so much going around it and underneath it. I needed a bit of a drop moment which was just vocals and a bit of drums and a little bit of vocal emotion, which is when you just spit and it comes out however it sounds. 

That moment was really important to have on ‘Selfish’ and I think that’s what makes it more uplifting and celebratory because you basically just have a quiet moment where you’re almost hugging the one you love and wanna be a little bit selfish with. 

Jess & Matt


TB: Your new single ‘Know About You’ is out tomorrow, which is so exciting! So why did this song feel like the perfect reintroduction to listeners to who you are as a duo?

J: It’s been a while since we’ve released originals but we’ve been writing for so long and we’re so ready to give people what they want!

M: We spent half of this year in Nashville, we were over there writing, and we have some real heartfelt moments and some fun ones too. ‘Know About You’ is probably the weirdest song we’ve ever written because it’s about social media stalking and that’s how we met! 

J: I stalked the shit out of Matt for a year before I met him!

M: She had no idea that I had been doing the same thing *laughs*. 

TB: Reflecting on ‘Know About You’, what is your favourite lyric from the new track? 

J: I think the lead line “I don’t know if you know about me but I know about you”

M: It’s very sassy! I remember Jess saying that line while we were in Nashville and I was like, Oh okay! *laughs*. 

Kira Puru


TB: ‘Why Don’t We Get Along’ showcased a very different side of you to listeners, and heard you stripping all the production back to just deliver this storyline quite soulfully. How did production evolution of this song come about?

KP: It started off super bare. It was really a collaboration between two of my favourite people, Jon Hume and PJ Harding who I do a lot of writing with. I think both of their flavours individually put a really particular stamp on the song. But I also just wanted to do something where I got to sing a little more. It’s still a little tongue in cheek but it just felt like time for a change.

TB: There has been quote the movement online to get you to open for Lizzo while she is in Australia at her Melbourne show. So what does opening for an artist like Lizzo and what she stands for mean to you? 

KP: I doubt that it’s going to happen, to be honest. But I just think if anyone is going to do then it should be me. If anyone can name someone more qualified then I will willingly step aside but I felt like that it’s just a joy everyone needs to see. But if it doesn’t happen, then it doesn’t happen and I’m chill. 

She’s an incredible artist, what she stands for is amazing and I’m just down to party with Lizzo!



TB: You recently performed at Spotify’s A1 Hip Hop Live event in Sydney which was all about celebrating upcoming Australian hip-hop artists. So with these new initiatives finally happening in the local scene, how do you feel about that as an artist because it’s been such a long time coming as hip-hop has been commercial in US, UK and Europe for so long now?

K: First and foremost I think it’s so important because I believe we are on par with the rest of the world. Personally I refrain from calling it Australian hip-hop because I think it’s just music at the end of the day. “Hip hop in Australia” is what I try to usually say. 

I just think you can’t really put a certain region over hip-hop anymore because when you listen to it most of the time you can’t actually define where it comes from. We have incredible producers in Australia who are really competing now with those international big names. So I think it’s really exciting that Spotfiy want to celebrate that. 

TB: Over summer you have some massive festival appearances at Lost Paradise and Falls Festival. So following a massive sold out tour earlier this year. What has been the biggest thing you’ve learnt about yourself as an artist from playing shows over the past year? 

K: It’s crazy because I was saying to someone the other day that it sucks that you can never watch yourself perform live from a fans perspective. But with continuing to try grow my live show I’ve just really learnt how to engage and interact with the crowd, control the crowd and know when to go and have a breather.

TB: Following your recent single ‘Stop Knockin @ My Door’ and your recent collab with Triple One and Matt Corby, what other sides of your artistry do you want to show to your listeners next?

K: Oooh, I mean there is so many sides that I still want to show people. From the directing side, the designing side, the styling side to just all the different aspects of the creative process. I started being just a musician and I’ve learnt that there really is more to it. 

Lily Papas


TB: Your debut single ‘Wild’ is a dreamy track with a very theatrical aesthetic that enhances the storyline about fantasies. So how did this track come together and what was inspiring the sonical delivery? 

LP: When I was back in Los Angeles in November 2018, it was my first writing sessions with other people. I had spent a lot of time by myself in my bedroom writing, so this was really the first time I was writing with other people involved. 

So I was in a studio with two guys and we were just sort of playing this riff and it had a real Chris Issak feel to it. While we were playing it, the lyrics started to pour out and we decided to write it from the perspective of a girl who is a Black Widow type enchantress. She’s really struggling to find another lover after her previous one left her. So we were dealing the concept of heartbreak and elements of fantasy. 

TB: Your debut album ‘Encore’ will be released in 2020, so what other sides of Lily Papas can we expect to be unveiled?

LP: This whole album was like therapy to me. I wrote the album in a moment after I had discovered who I was. I didn’t know who I was growing up, so for me writing this album and focusing on fantasies came so easy because I had always dreamed of living a different life or being a certain way. 

It really dives into how I’m feeling and touches base on relationships and heartbreaks which also teaches you a lot about who you are. 

Morgan Evans


TB: Your sophomore record ‘Things That We Drink To’ was a really impressive fusion of country with pop and rock sentiments. When you reflect on the record now what would you say is your proudest feeling or moment you have about it?

ME: I just think the fact that I am proud of it. I wrote those songs and chose those songs to put on the record to specifically tell the story of my life over the time I was writing it, which i think we have done. 

We’ve almost finished this world tour and to see these songs find places in people’s lives is the coolest part. Whether it’s songs like ‘Day Drunk’ where everyone is partying and having a fun time or it’s ‘Things That We Drink To’ which is incredibly somber. They have all seemed to touch people differently. 

The fact they are out there and people have taken them on their own is the biggest compliment you could get as a songwriter. 

TB: Over the past two years you’ve had the opportunity to return home quite a bit for headlining tours, festivals and promotional visits. So with a headlining spot a CMC next year, and a lot of commercial radio play, how does it feel to have Australia supporting you as a country artist commercially and so proudly following an impressive success overseas? 

ME: It’s the best feeling in the world. I’ve said it a few times tonight but I do really mean it. The more I travel and play in the world, the more i realise that I just wanted to be supported from the place I came from. 

I’ve really felt that over the past year, and then tonight is a perfect example of that. 

TB: In your show you joke about replacing your old band with your loop pedal, but have any of your original band actually questioned you if you are ever going to bring them back out on the road? 

ME: I’m glad you asked that because tonight I’m performing with a band for the first time in three years!

TB: Oh my god, you are?! 

ME: Yes! Not all the guys were available to do this show, but the drummer I introduce every night on the loop pedal is actually playing drums with me tonight at the ARIAS. So that is super special and cool for me. 

Samantha Jade


TB: The music video for ‘Bounce’ is a playful affair of bright colours and choreographed fun. So what was one of your favourite or funniest moments on set?

SJ: The choreography for this video was actually quite hardcore so we were going all out and trying to really find the groove within it. After the second time I filmed the whole routine I realised that it was the wrong choreography *laughs*. I did the first verse to the second verse and no one told me *laughs*. I was going SO hard! 

TB: You’ve released a couple different versions of ‘Bounce’ since releasing it including the City Girls collaboration and the beautiful Acapella version. So from re-envisioning the track, what is something that you’ve personally discovered about the versatility of it? 

SJ: I feel like it’s a real credit to the songwriting because I honestly do think it’s a beautiful song. When you break a track down to the chords and you can do something acapella and then you can then add a hip hop element, it really is a credit to the way the song has been written. It makes me really proud of the the little baby that became something. 

TB: Last year you released a beautiful traditional Christmas album which is nominated for Best Adult Contemporary. Following this years return to your RNB-pop roots, what is a Christmas song you would maybe like to re-interpret or include? Cause I’m feeling like some Destiny Child vibes could be thrown in?

SJ: Oh my god totally! I would love to do that! I haven’t done a cover of Mariah Carey’s ‘Miss you Most (At Christmas Times), so maybe that one!

TB: Oh yes! I was thinking also maybe like Britney Spears’ ‘My Only Wish (The Year)’?

SJ: Oh my god, I love that song so much! I also love that we are on the same wave length *laughs*. 

Stella Donnelly


TB: Your debut album ‘Beware Of The Dogs’ is an impressive record full of truths, reflecting back on that collection of material, what would you say is the most vulnerable moment on the album for you as a songwriter? 

SD: Oh my god, the while thing feels pretty vulnerable to me. It’s like putting my pimple out to the world and watching it grow!

Surpassingly a lot of the break up songs were the hardest to put out in the world. For some reason I find it easier to talk about feminist issues and those things, where as the heartbreak ones were really vulnerable to me. But I think that is also was resonated with me to what I was doing at the time.

TB: 2019 has been a massive year politically with a lot of important issues and opinions being highlighted in media and important forums. So what is one piece of advice you would like to give any females or people struggling to come to terms with who they are that are maybe scared to speak up or authentically be themselves in this really confusing world?

SD: Look at your others! For me it was watching other female and non gender binary artists who were speaking up. It was artists like Camp Cope who were being so brave and abrasent with their approach to issues. So for me it was following in their footsteps and walking the path they created, hoping to extend that pathway somehow. 

I’ve always found it inspiring to listen to other artists and feel their bravery. So my advice would be to just connect with others and feel the collective power. 



TB: You’ve opened for some incredible international artists over the past year including Katy Perry and then Carly Rae Jepsen last night. So from watching these world class artists perform and getting to introduce your music to their audiences, what have you taken away as something that you want to grow within your artistry?

S: I guess the most important thing is that I want to seep continuing to genuinely deliver myself as that is what gets people excited and it gets people connected to music. I want to keep giving myself out to people and sharing all of those complexities. 

I’m still on a high from yesterday as it was so much fun! was meant to get some beauty sleep for all this stuff but I couldn’t. I was actually so excited from the show that I couldn’t sleep. 

TB: ’Call On Me’ has had an incredible international success and has been played pretty much everywhere so where is one of the weirdest places you’ve heard it played?

S: Thailand and Poland! I just had no idea that my music would even connect with people over there. 

But Thailand was a big one because in these tiny little Asian countries you just don’t believe that anyone would actually know who you are. It was crazy watching them react during my live show and when I played ‘Call On Me’ hey all realised who I was and it was so much fun and so hectic!

Taylor Henderson


TB: I personally love how honest and transparent you are on social media when it comes to the reality of the music industry and touring with an emphasis on real attendance numbers at shows. But you always have a positive outlook and make the most of whatever the situation is and celebrate all the people who come along to see you. How do you make sure you keep yourself in that headspace? 

TH: This is the best question I’ve had all day! When it comes to being authentic, it’s so hard to find that balance because I have people telling me what to do and what to say all the time, and I’m in an industry that requires me to tell people everything I’m doing in a candid matter. But there is a difference between selling something and telling a story. 

I think the most important thing on social media is to give value. Constantly give and give and interact with people and then eventually people will come to shows. 

But if you give solely with the expectation of return then you lose. It’s game over for you. So you have to be authentic and real, and not expect a return. And if you don’t get a return then it means you’re not giving enough value and you need to re-think if you really are giving your real self. 

Tkay Maidza


TB: Your new track ‘IDC If U Be Ded’ is a sassy track that is hype as fuck and also has some key empowering vibes. With heaps of quotable lines, what is your favourite lyric from the track?

TM: Honestly I think it’s “I’m the biggest man with a Culo. Eeenie meanie I don’t want your doodle” because it’s so dumb but it’s such a vibe *laughs*. 

TB: ‘Awake’ was a song that was really embraced by your fans and has energetically elevated your live show to a whole new level. With the song capturing such a high intensity level of energy, how long did the production aspect of the song take? 

TM: The bones of the song was what people heard when I first played it in my set. It was still a demo at the time and the first verse was actually a different verse to what it is now. So basically the production was quite bare to start with. 

After a while we re-wrote the verses and added bits in and wrote places out. It was a lot of reshaping. It did take a lot of time but we finally got there and I’m so happy with how it turned out. 

TB: With this sonical shift and empowering stance on who you are as an artist, what is the biggest thing you’ve learnt about yourself over the past couple of years? 

TM: I’ve learnt to follow my gut instincts because my first thought is usually always right. I think when I first came out, I would just make a song that felt right to me and that’s what worked.

I think I need to go back to that mindset and just be present and not be so influenced. 

Thandi Phoenix


TB: Your debut self titled EP has now been out in the world for over a month. So with some time to now reflect on it. Why do you think this EP is the best representation of who you are as an artist and the direction you want to head in moving forward?

TP: Oh honey where do I begin? *laughs*. I honestly think it’s a really bold collection as there are some key messages within the songs about self love and appreciation which is what I’m all about endorsing. And it’s a good time which just makes me want to dance!

TB: Stepping outside of this polished and varied EP, you have some other incredible songs in your discography which highlight your journey of artistic discovery. If you could re-imagine one of your previously released tracks into a new Thandi sonic, what song would you choose and why?

TP: Ooooh! That is such a good question! ‘Come Around’ comes to mind because we do it live and I feel like I give it so much more live compared to how it’s delivered on the studio version. 

Why Don’t We


TB: There are some videos circulating social media at the moment of live performances when you first started out who parent great representation of the entertainers you hare now. So reflecting on where you were at as a band to where you are at now as performers, how would you say you’ve grown? 

Jonah: We literally rag on ourselves all of the time for that performance *laughs*!

Daniel: We used to always tell our manager that we are not dancers , but they are like “you are boyband!” and thats where the choreography formed from. But honestly from then to now we have discovered that we are a boyband but in our own way. We don’t want to dance that much, we want to focus on other things, like the fact we all play instruments. 

TB: Well I got to see your live show in Brisbane on Sunday and what I was most impressed about was the   contrasting different sections of the show that highlighted your harmonies, choreography and your various instrumental talents which was cool to see broken down. So what is your favourite moment of the live show? 

Corbyn: Definitely playing instruments! It doesn’t feel like we are having to “perform” that much when we are playing instruments because it’s more comfortable.

Jonah: It’s more powerful! 

Corbyn: We are just trying to incorporate that more and more, and I think you will see a lot more in future shows. 

Jonah: In the last couple of years we have learnt a lot about stage presence. So I think it will be a good contrast in the future between instrument playing but also focusing on the stage presence. 

TB: Your Australian fans are so supportive and have been there for you since the very beginning, so what is something you personally love about Australian fans that may be a little different to the other regions?

Zach: Their accents!

Jack: Their so sweet! 

Daniel: Everyone is so beautiful! 

TB: I have one last question, how did you guys perfect the houdini styled opening at the start of the show where you just appear on the platforms out of no where? 

Daniel: Oh you didn’t see us running on stage? 

Zach: Yes! That’s what we want!

Jonah: We literally just run on stage as fast as we can! 



TB: Your new single ‘Silent Disco’ is a bold exploration of sounds that hints towards the experimentation on your upcoming debut album. So reflecting on the record how would you sonically explain it compared to what we’ve heard with ‘Silent Disco’ and ‘How’d Long I Wait’?

W: I feel like they are the two polar extremes of the album. For the past couple of weeks I have been talking about the album more as a whole with reference to the track-listing finally being confirmed and all of the little pieces coming together. 

There are quite a few things that reference youth on the record and I think that is captured a little bit on ‘How Long I’d Wait’ with the “children staring at the sun” reference. But there is also a little bit about dancing, trying to be yourself and confidence. 

What I love about ‘Silent Disco’ is the exploration of sensitivity and the representation of all of us being on our phones and with our headphones in while still longing for that deep connection. Theres a lot referencing to those type of thoughts on the record but they are different sonical extremes.

TB: While you were on tour you held a few exclusive all-ages silent disco listening parties where you played demos from your forthcoming album. How did they go and what was the biggest motive for you to do them?

W: I love talking to people after the shows but usually I’m unplugging everything myself, offloading everything from the the stage and even driving the van myself. There’s a lot of stuff that I need to do after the shows but you go to these cities so you can interact with the people who are listening to your stuff. So it’s all about finding that balance and coming up wth cool innovative ideas to make the experience unique and special. like we got to listen to the new material on really nice headphone instead of over speakers where the intimacy is lost. 

The Wiggles 


TB: The Wiggles have had a long career as Children entertainers that has been continually refreshed and evolved with the way society has adapted. So what has been one of the biggest hurdles that you’ve had to face as a group?

AF: At the start we were just four men singing childhood music, and there was no one doing that at the time, so that was the first hurdle we had to face early back while we tried to make this concept work and commercially accessible. 

Over the years the digital world has changed and we’ve had to learn to keep up with how it’s evolving, but at our roots, everything else has stayed the same. 

TB: If you could have any Australian artist join The Wiggles as a fifth member for a little special residency, who would you like to induct?

AF: Stella Donnelly!

SP: Amy Shark and we could do ‘Baby Shark’ together! 

TB: You’re hitting the road for a massive December tour. So what can audiences expect from this particular tour?

LG: This is our ‘Party Time! Big Show! Tour which comes off the release of our new album and we honestly just want to party and celebrate with the audience. We just kicked off the tour in Perth and we are doing Adelaide this weekend before going Australia wide.

It’s always our favourite time of the year because we get to tour a big show and Santa Claus, Reindeer and Dorothy The Dinosaur are all around too. 



TB: 2019 has seen you release ‘Wake The City’, ‘Thought I Could’ and ‘Veritgo’ with Paces, so what other sides of your artistry do you want to share with listeners in the near future?

Y: I’m definitely going to draw more on that cinematic side and a bit more of a moodier aesthetic which compliments the themes of the EP. ‘Vertigo’ is a lot of fun and is a brightly coloured different palette. 

2. Following your run of dates with Jack Gray earlier this year, what was something you learnt about the sort of performer you want to be? 

Y: I guess they were pretty small rooms, and from playing this run of shows I’ve realised that I like playing bigger rooms as I like to really express myself. But in contrast I’ve also learnt how to work with that, draw in small crowds and really engage the audience. 

3. With some incredible albums from the likes of Dean Lewis, Hilltop Hoods, Rufus Du Sol, The Teskey Brothers and Thelma Plum up for album of the year. What is personally your choice of album of the year? 

Y: Gotta love the Hilltop Hoods! It’s just feel god music! But otherwise then I think Thelma Plum. Like that album artwork with an alpaca on the cover actually deserves everything!

Check out the full gallery captured by Ruby Boland Photography HERE

And you can watch the 2019 Aria Awards on NineNow HERE

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