A Quick Chat with Haydn Lawson

Can you tell us a little bit about your recent single 'Nullarbor', what is the story behind it?

Nullarbor retells the journey of leaving my hometown of Perth, and driving my tiny Hyundai Getz across Australia in the move to Melbourne. The song was written as a goodbye letter to those I loved but had to leave in Perth in search for the next chapter of my life. The first verse opens with childhood reflections over smooth electric guitar melodies and string accompaniments. The track sharply transitions as I cut to the present day, the day where I said goodbye to my mum. I continue to paint the experience of driving across the Nullarbor - the road connecting Western Australia to the Eastern states. Tight drums, synths and rocking rhythm guitars convey the momentum of the departure. These continue right to the outro where the song trails off into an uncertain but optimistic ending, alluding to the journey which continues beyond the end of the track. Ongoing and incomplete.

Who did you work with on this track?

I was very fortunate to be able to collaborate with some very talented Melbourne musicians on this song. The track began with guitars from the incredible Salvador Peralta, as did most of the tracks on my album. Salvador introduced me to his friend and fellow bandmate Harry Millikan, who is to thank for the mind-blowing drums.

In the first verse, there are beautiful violin and viola accompaniments which float above the verse. I enlisted the help of my friends Helen Bower (Violin) and Alex MacDonald (Viola) from Forest Collective. The strings were recorded at the studio within the 3MBS Radio Station, alongside the grand piano. The amazing Junaid Eastman (Artist name: Jamichi) improvised the piano melody which appears throughout the length of the song. Most prominently within the intro verse.

On this song and the entire album - I was able to work with a group of very talented vocalists to build a choir. Their vocals are very prominent on my first single ‘The Days To Come,’ but in ‘Nullarbor’ they appear as softer stacks which underlie the lead vocals. The choir was organised by (and features) Melbourne Musician Imogen Cygler, and consists of: Robert Downie, Harry Cook (Berlin), Sunny Reyne (London), Isaac Guano, Merinda Dias-Jayasinha, and Rachel Lewindon. The song was Mixed by the incredible Anton Hagop and Mastered by George Georgiadis at Little Wing Sound.

How did you get into music and what has your journey been like so far?

As a child I had a pretty limited exposure to a lot of genres of music. My parents encouraged sports much more than the arts, but no sport ever really resonated with me. I asked my parents for guitar lessons, but these were short lived as we moved around a lot. I used the little knowledge I had to begin writing crude jingles or hooks, but those never saw the light of day.

I spent my teenage years making up for lost time in my music discovery journey, and dove deep into the emerging artists of the time to find sounds I enjoyed. I took a huge interest in Lorde when she began releasing the singles from ‘Pure Heroine’ - the first album I purchased for myself. Being a similar age to Lorde, she inspired me to actuate my dreams to make music. I felt a connection to her songs and their vulnerable lyricism and storytelling. At this time I asked my parents for piano lessons. I spent nights practicing and also exploring chord progressions to accompany the melodies I had written in my head. Most of these songs were nonsense, but over time I began to add more lyrical meaning. Writing music became an outlet for my internal emotions, an intimate and personal way to heal and process my strong feelings. A journal of sorts.

Funnily enough, within the opening verse of ‘Nullarbor’ I reflect on my teenage relationship with my mother and the origins of my music.

What inspires your sound?

When writing this album, I found most of my inspiration in projects which boast great lyrical story-telling, more than a specific genre or sound. I really connect with artists that I can feel a genuine and unique point-of-view in their songs, or ones which retell personal experiences through poetry. Self-Aware, candid, and full of heart and charm. Examples which come to mind are Kara Jackson’s ‘Why Does the Earth Give Us People to Love?', Weyes Blood’s ‘Titanic Rising’, and Phoebe Bridgers’ ‘Punisher’. I was inspired by these projects to give the lyrics the power to inform the production, letting the story direct the pacing or intensity of the instrumental.

Coincidentally, the aforementioned albums share similar genres and instruments which I really gravitate towards. The prominent genre being folk/indie, featuring mostly acoustic instruments that are enhanced with electronic elements in production. Lastly, I must add that the final sound of ‘Nullarbor’ was heavily informed by the musicians I met over the last couple years. I loved allowing each individual’s talents to enhance my own composition by introducing their own perspectives and techniques.

What do you have coming up next?

As the year comes to an end, you can definitely expect more singles from me. This is just the introduction. The music video from Nullarbor is going to be released very soon, which is very very fun. In November, you can expect a new single, one which is going to be very important in the context of my upcoming album. So get keen for that! Alongside a cover from another Australian musician, which I feel so privileged to take my own spin on.

I look forward to the day where my singles can be listened to in the context of the entire project. We have also been in talks for the eventual live album launch, and some plans for live gigs with the talented musicians who helped bring this project to life. Thank you very much for your support already, and I hope you enjoy ‘Nullarbor’ and what is to come.

Who are your favourite artists to listen to right now?

I am really loving the album ‘SAYA’ by Canadian musician Saya Gray. The album features a really cool blend of acoustic and electronic instrumentals, with some really incredible guitar melodies and vocal production. I am also really enjoying the new Banjo Lucia EP. Banjo has such a beautifully rich voice and incredible way of writing really intimate lyrics and accompaniments. Otherwise I have enjoyed revisiting a personal favourite of mine which is Lianne La Havas’ 2020 self-titled album, anticipating a new project from her hopefully very soon.