When you first kicked off, Queenie felt a bit like this larger-than-life character. Looking back at the album New Moult compared to where you're at now, how has your relationship with Queenie changed?
"I think Queenie was always just an amplified version of myself, less of a mask and more of a vessel to openly and honestly perform my heart out. At this point in my life however I truly feel like I know who I am, what I want and how I wish to present myself to the world. Queenie now is just an extension of me with bigger hair, bigger shoes and bigger lashes. New Moult was an amalgamation of songs from so many different eras of my life but this new record was written in a much more condensed time period and I think that reflects how I’ve grown as a human and an artist. I feel more cohesive and intentional and so does my music."
You keep getting labeled with the Country or Americana tag, and you even bagged an APRA award for it recently. Your latest work includes synths, harp and art-pop. Where do you think the 'country' element sits with you now?
"The country label snuck in at the beginning and sort of stuck. Maybe being a girl with a guitar and wearing a cowboy hat (one time) did it …. I think I’ve been a bit of a genre bender and never fit neatly into a box. There were always tones and elements of country/Americana in my older works and definitely a folk influence but I’ve very intentionally tried to break away from that label with this new record. Perhaps the rawness and honesty in my lyrics is reminiscent of country and it was a way to connect the music with audiences who resonate with that kind of songwriting. Can’t say I’m not influenced by Dolly in the hair department though …"
There’s a real cinematic quality to your music, heaps of breathing room. How much do the Tassie landscapes, or even just the music you grew up on, everything from folk through to punk, actually shaping that sound?
"I’ve always been a visual writer. I love film and cinema and so much of my early writing was deeply rooted in creating scenes and stories you could see when you listened. I loved Tom Waits and Kate Bush and those sounds and bizarre lyrics were something that influenced me greatly. Growing up in Lutruwita/Tasmania and constantly traveling with my musician parents exposed me to some incredible landscapes that definitely found their way into my songs. There are some incredibly picturesque and magical places in Tassie, it’s hard not to be inspired."
On Vivid, that horn solo just kicks the door down and then disappears just as fast. What was the moment in the studio where you went, "Right, this needs a proper saxophone to get that floaty, dreamlike vibe"?
"YA GOTTA HAVE SAX BABY! There is a severe lack of sexy, verbed-out 80’s sax in music these days and I felt it was my responsibility to fill the little gap in Vivid with a nostalgic dreamy solo. Gus Rigby is the man behind the ripping horn part. My producer Josh and I were trying to hum an 80’s guitar solo and figure out what to fill the space with when all of a sudden I spat out my tea and yelled SAX! SAXOPHONE !!! So we didn’t rest till we got the goods."
Your records have these really delicate, quiet moments, but then live you’re tearing up the stage with bands like Private Function. Where’s that raw punk energy come from, and are we going to see that side of you coming out at BIGSOUND?
"I’ve always been a show off, I love performing. I love performing more than anything in the whole world. I’ve got a rock n roll heart but like a pink fluffy one that’s very sensitive. My studio sound and my live sound are two totally different worlds, which I think is kinda nice? I really enjoy going to see a band whose music I love and the live show is totally different to the record. Queenie live band shows are raucous and rude and loud and I talk a lot of shit. It’s a nice juxtaposition to the music sometimes, I love to dig deep and get my claws into the heart but I also love taking the piss. I never wanna take myself too seriously, I like to make people laugh but I also love to make them weep like tiny babies."
Anyone who’s been to BIGSOUND knows it’s total chaos, twenty-minute changeovers and venue hopping. How do you construct a set so those bigger, atmospheric tracks like Vivid actually get room to breathe in the middle of all that noise?
"I’m cutting down my yapping by at least 60%…. We’ve also really tried not to cram in too many songs to the set so we can have a little fun. They all transition into one another so it’s like one big piece of music. I’m also super lucky to work with absolute pros (thankfully because I tend to drift off, get too far in the zone and play/sing totally the wrong thing). My band are red hot angels and I’m constantly in awe of their talent and ability to improvise and really breathe life into the songs in the best possible way. We’re taking our amazing sound engineer Dale and having a nice big tech run before we go so we know everything works. Then all we have to do is cross our fingers and toes it all pays off!"
You’ve talked before about finally building yourself a proper quiet, safe nest after years of things being a bit chaotic. When you finally get off the road and get home, what’s the go-to comfort snack or ritual?
"I am SUCH a homebody. I live out in Nillumbik just where the suburbs turn to bush. I love it out here so much because it reminds me of Tassie. I love touring and playing shows but the tranquility of the trees is essential to saying sane. I love my garden and curling up for a nap in the sun is in my top 3 favourite things in the world. My ultimate comfort snack is a Whittakers coconut slab. Just bury me in the stuff. Cup of tea, coconut slab, my 20 year old cat, my dog, my lover, a good book and the wood fire blasting… HEAVEN."
So, looking ahead what’s on the cards for Queenie for the rest of 2026, and what are we looking at for next year?
"My sophomore album Pleasance releases on August 21, loads more shows to come, some wild and whacky film clips, heaps more annoying Instagram content, I’m doing a Swiss movie next year, more songs, potentially even bigger hair ?????? When the album cycle settles down I’ll have the breathing room to write some more. The creativity usually comes in waves and releasing and touring is pretty exhausting, I’ve basically got 3 full time jobs at this point and the burn out is real. I’m really looking forward to having the time to create, write and record some more."
You can hear Queenie's Vivid on Local Sounds Radio
https://localsounds.com.au/song/queenie/vivid
Catch Queenie live at BIGSOUND 2026 here
https://www.bigsound.org.au/lineups/artists/showcase/queenie
SoundVerge Editorial
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