What was the main inspiration behind this album, and how did it evolve throughout the writing and recording process?
With this album, I wanted to explore the light and the shade, to make sure no two songs sounded the same. The title track, “Black Dogs and Songbirds,” really set the tone and was the main inspiration behind this concept. The ‘Black Dogs’ symbolize the darker themes, while the ‘Songbirds’ bring in the light, balancing out the journey. As I selected the songs, it became clear that the album would be a ride through different styles and emotions, flowing naturally from one track to the next. It’s a deeply personal collection, as much of the writing drew from my subconscious.
That said, there are exceptions—like “Bushfire Moon.” It started as an acoustic Oz Rock song, but by the time it evolved, it had morphed into a modern country track. Even though I don’t consider myself a country artist, it was fun watching that one take on a life of its own.
So, to answer your question around inspiration behind the album, there was not really a singular inspiration. The album is more of a collection of songs drawn from life experience and thrown together.
Are there any particular themes or concepts that run throughout the album? How did you want listeners to connect with these themes?
I didn’t set out to write the album with a specific theme in mind, but looking back, certain threads definitely weave their way through. It’s a pretty emotionally charged record. Love, relationships, and the highs and lows that come with them pop up repeatedly—like those moments when life feels like sunshine, and others when it’s all rain.
Some tracks, like “Arrest The Youth” and “Such Confidence,” lean into a darker space. There’s this undercurrent of frustration with capitalist entrapment, and those songs definitely carry a heavier, edgier vibe.
Honestly, I wasn’t trying to deliberately connect with listeners on these themes. The songs are personal, something I wrote and released purely for myself—selfishly, even. But if people end up connecting with the emotions or the stories, then I’ve done something right, and that’s a bonus that makes me happy.
Can you share a bit about the creative process for this album? Were there any new techniques or approaches you experimented with?
The album is heavily inspired by lived experiences because, at the core, I believe we’re all just walking collections of our own stories. My writing tends to be very “stream of consciousness.” For me, it’s the music that always comes first—95% of the time, if a melody doesn’t grab me immediately, I move on. But once a tune pulls me in, the lyrics follow, almost like a puzzle. I’ll start with a few words, building them out from a central spark, letting the song reveal itself in real time. Most of the time, I don’t even know what the song is about until it’s done, and I can look back at the final creation, like finding a message left behind by my subconscious.
When I’m at home writing and recording demos, I work fast—like, really fast. I have to catch the idea while it’s hot, almost in a frenzy, layering tracks before the inspiration slips away. Because of that, I have a graveyard of unfinished songs where I just lost interest or momentum.
But working with Jeff Martin on Black Dogs completely shifted that. He introduced me to this “slow and steady wins the race” approach. Instead of cranking out tracks and calling it a day, we would spend hours—sometimes days or even weeks—just sitting with a song, letting it breathe. We’d lay down guitars, drums, vocals, and then leave it alone until a fresh idea came up for what could serve the song best.
At first, it was honestly frustrating. I wasn’t used to such a slow burn. I wanted to be in the studio all day, hammering things out and checking boxes. But over time, I started to see the magic in this process. Ideas emerged that wouldn’t have come up if we’d rushed through it. Those little surprises, the ones that developed when we gave the music space, elevated the songs far beyond their demo versions.
That slower, more thoughtful approach has completely changed how I write and record now. Jeff taught me that sometimes the best ideas come when you stop chasing them and just let them find you.
Which track on the album are you most excited for fans to hear, and why?
For me, the track I’m most excited for fans to hear is “The World Is On Fire But You Look So Great.” This one is a bit of a mystery, even to me. Lyrically, it’s the most ambiguous song on the album. When I first wrote it, the words just poured out in this strange, unconscious flow. As I read it back and sang the lines, I found myself thinking, “What on earth am I talking about?” It wasn’t until much later that it started to click—this song is, in its own cryptic way, a kind of tribute to the feminine energy that surrounds me.
I started thinking about all the women in my life—mothers, sisters, daughters, lovers, friends—and the quiet battles they face daily. The title reflects how so many women can be on fire inside, wrestling with these immense challenges, and yet still show up, looking composed, brave, and somehow still dancing in the burning room. It’s that duality, the strength and grace in the face of chaos, that threads through the song.
What’s interesting is that everyone I’ve played it for interprets it differently. The lyrics seem to take on new meanings depending on who’s listening, and I love that about this track. It’s like a mirror reflecting something unique for each person.
Musically, it’s one of the most captivating songs for me as well. The chord progression reminds me of some bizarre fusion between early Radiohead and Jeff Buckley, and the harmonies in the bridge came out beautifully. It’s also the longest track on the record, but I’d recommend cranking it up with headphones—it’s a bit of a trip.
How does this album differ from your previous work, both in terms of sound and personal expression?
Well Black Dogs and Songbirds is my debut album, so I guess this one sets the scene for the future albums. A lot of my past work was done very much on the down low. Small scale acoustic EP’s, but we’re talking 10 + years ago. For this one, I’ve been able to go all out and catch the larger more complex atmosphere of the sound I was going for.
Were there any particular challenges or breakthroughs during the recording process that had a significant impact on the final product?
Honestly, nothing too major—at least, not in a negative sense. I was incredibly fortunate to have Jeff Martin as my producer. I mean, the guy has produced all of The Tea Party’s albums and his own solo work, so calling him “experienced” almost feels like an understatement. His presence really allowed me to feel at home in the studio and just dive into the creative process.
That said, there were definitely a few moments early on where Jeff wasn’t entirely convinced by some of my ideas. For instance, when I whipped out a ukulele to build the core of one of the tracks, “Black Dogs and Songbirds,” he gave me this look that said, “Really?” He wasn’t used to working with that sound in this kind of context. But instead of trying to steer things his way, he actually gave me the freedom to experiment, to see where these ideas could take us. And, in the end, that trust paid off in unexpected ways.
Another standout moment was when I tuned an electric guitar all the way down to a low C for a track called “Such Confidence.” It ended up having this heavy, almost Audioslave-esque vibe. I’m pretty sure Jeff was humoring me at first, just kind of going along with it… but then, once he heard the final arrangement, with all the vocal harmonies and layers coming together, we were both on the same page. From there, the songs just started to grow and evolve naturally. It was like we hit this creative stride, and everything clicked into place.
How did your experiences or changes in your personal life influence the music or lyrics on this album?
My personal life is woven into the very fabric of this album. It’s at the core of every song. I’ve always said that my songwriting, especially when it comes to lyrics, feels almost subconscious—like I’m pulling thoughts from deep within, often without even realizing it. It’s a bit like therapy. Sometimes I don’t fully understand what I’m processing until the song is finished. There’s this underlying thread of frustration running through the album, particularly when it comes to life and relationships. I didn’t plan it that way; it just poured out.
Take “I Can Be Your Lover,” for instance. That song ended up becoming a collection of snapshots from different moments in my life—ages 8, 13, 29. Some of those moments were great, others were incredibly painful, like losing one of my best friends to suicide when I was around 30. It forced me to step back and take a hard look at myself, realizing how those events had left scars, making it difficult to love people in the way they deserved. The chorus captures that internal conflict: “I hope you can understand, I can’t be your friend. But I can be your lover over and over again.” It’s a reflection of that brokenness and trying to navigate through it as best you can.
Listening back to these lyrics now, they feel intensely personal to me, like the themes are set in stone. But what I find fascinating is how listeners interpret them. People have shared their own meanings behind the songs, and sometimes their take is completely different from mine. And that’s amazing to me. If my music evokes emotion—no matter how people interpret it—then I’ve done my job.
Did you collaborate with any other artists or producers on this album? If so, how did their input shape the final sound?
Yes, absolutely. I’ve already mentioned Jeff Martin’s role as producer, but he was much more than that—he was a multi-instrumentalist force throughout the album. One of my conditions for working with Jeff was that I wanted to hear his signature guitar playing woven into the record, and he definitely delivered. While I handled most of the guitars and bass parts, Jeff added his own touch with some extra flair. You’ll hear everything from synths and organs to mellotron, harmonium, hurdy-gurdy, and even mandolins, all thanks to him.
Beyond Jeff, I was fortunate to collaborate with some fantastic musicians. Ben Conicella, who plays bass for Casey Chambers, brought his talent to tracks like “Flinders Street Station,” “Bushfire Moon,” and “I Can Be Your Lover.” Then there’s OJ from Band of Frequencies, who laid down some beautiful upright bass on “Cinnamon Perfume Cabernet.” Luke Moller came in to handle the string sections on several songs, adding a whole new depth to the arrangements.
And of course, there’s my longtime friend and drummer, Drew Castles. We’ve been playing together since we were 14, and he’s been my go-to collaborator for over 25 years. He lives nearby, so it was only natural that he’d be behind the drums on all these tracks. Having someone who knows my style so well really helped lock in the energy of the album.
What do you hope listeners take away from this album, both emotionally and intellectually?
This album is meant to be experienced as a journey, from start to finish. Without sounding too cliché, it’s a ride through the highs and lows of life—light and dark, joy and pain, heaven and hell. For me, it captures the sound of the last decade of my life, filled with all the emotions and experiences that come with it. If you’re someone who loves storytelling through music, there’s plenty of poetry and mystery woven into each song for you to dive into. And for those who appreciate the finer details in production, you’ll discover new layers with every listen. The album is full of subtle nuances in the mix, so I highly recommend listening at least once with headphones turned up loud to really absorb the full sonic landscape.
As for what I hope people take away? Honestly, I’ve got nothing to lose with this one—so take what resonates with you. But if I could wish for anything, it would be that listeners feel a deep human connection. Maybe it stirs up a bit of nostalgia, tapping into the influences that shaped this record. Don’t overthink it—just let the music wash over you. If it transports you to another place, even for a moment, then that would put a smile on my face.
Are there any upcoming live performances or tours that will feature material from this album? How are you preparing for these shows?
Absolutely! I’ve been hitting the road with Jeff Martin over the past couple of months, performing solo acoustic sets. It’s been an incredible experience, playing stripped-back versions of most of the songs in their rawest form—just like they were first written on a six-string or acoustic guitar. The energy from the crowds has been unreal, and the enthusiasm at these shows has been truly inspiring.
But here’s where it gets really exciting: the album was meant to be performed by a full band, and now the time has come to bring that vision to life. The band and I have been rehearsing non-stop, gearing up to take the album on the road with a full 5-piece (sometimes even 6-piece) band. We’re crafting a live show that’s going to be a whole new experience, and we can’t wait to share it with everyone.
We’ve got tour dates lined up for December through March, hitting cities like Melbourne, Sydney, Brisbane, and Hobart, with more dates to come in early 2025, including regional shows. You can stay updated on all the upcoming performances by following Bully Hay on social media or checking out the tour page here: https://www.bullyhay.com/tour/. We’re bringing the full album experience to the stage, and it’s going to be something special!
