A QUICK CHAT WITH QUINNY

Can you tell us a bit about your inspiration for your single ‘Settlers’?

The song is about confronting those you rely on most when they have let you down. There’s a sort of stadium-folk feel to it. I wanted to have big chords, but also some delicate verses. If you listen to the piano, you’ll hear a bit of Sigur Rós influence, and I like to think I go a bit Billy Corgan at the end too.

It was co-written in rural Maine, USA in September 2022 with my good friends Marie Collins (The Vegan Leather) and Hannah Daman upon reuniting for the first time in over 3 years. I think the first idea that got us going was some chords Hannah played on the piano, then the rest was just a blur of ideas.

Later when recording, my pal Graham McCusker (a composer for BBC's "His Dark Materials" and lead artist in Glasgow/Manchester bands KAZE & Marouli) gave the song the finishing touches it needed.

What are your influences and how do they affect your songwriting? 

I like to think of my sound as a bit of a venn diagram of my 4 big Bs - The Beatles, Biffy Clyro, Bombay Bicycle Club and Blink-182. Funnily enough, I also got a B for music in high school…

Those 4 bands sort of encapsulate my love for dynamic shifts, fast and slow paces, as well as simple to complex melody and harmony.

What’s the creative process like for you?

I think it’s a real mix. On a good day, I often can come up with the bulk of the song without any instrument. That’s why I like to travel on public transport or walk places without any headphones (crazy I know) - helps me let these thoughts ruminate.

Then when I get home and have time I can sift through my voice notes and start to figure out what I was thinking on guitar. What’s good about this step is that it’s when I start to make mistakes, which sometimes leads to something a bit more interesting than I would have come up with naturally.

Then it’s about taking it to a band or some other writers. I have a groupvvof old friends I badger with my ideas when I’m stuck with the song. Jamming with the band usually smooths out any rough patches too.

If you could change something about the Australian music industry what would it be? 

I think I’d like to see artists get a cut of the bar at shows. Ideally I’d like bands to be paid better upfront fees, but I understand that lots of venues are taking a punt on someone they don’t know - a cut of whatever is made seems fair.

What do you think life would be like for you if you didn’t have music as an outlet? 

I’ve taken a step back from music before. It becomes all about work! I need a chance to make things happen for myself, and music is my way of doing that. Organising something I’m interested in, rather than being told what to do.

Is there anyone you would like to collaborate with?  Why?

I’d love to see what Jack Steadman from Bombay Bicycle Club could do with my songs. I don’t think I have the chops, but I’d love Rick Rubvin and his team to tear apart and put together some of my music. Just such a good ear for what matters and what doesn’t.

What’s your advice to young people who want to make a career for themselves in the industry? 

I think people shouldn’t worry so much about the bigger picture in the first instance. Linking up with other artists and playing some good shows should be the goal. If you build and build your audience, the opportunities will come to you.

Who’s the most interesting person you’ve worked with/met? 

I got to sit in on some sessions that John Parish (English musician who produced work with PJ Harvey) was working on with a band once. I was just so impressed with how he managed to shape their performance and parts without being too intense with them, let them find their own way there. Was great.

Any plans for a tour on the cards?

No plans, but I would love to. Regional VIC or interstate - I’m game!