Your debut single “What the Hell, Hey” has been called an anthem for anyone who’s ever been ghosted. What inspired you to turn heartbreak into something so powerful and danceable?
I like connecting with people through emotional honesty, and this felt like a deeply relatable experience, not just in romantic relationships, but in all kinds of connections. Most of us have had the rug pulled out from under us with little explanation or even under false pretences. In those moments, it’s easy to feel confused and stunned, so I wanted to write a song that reclaims the sense of self that can be shaken by that experience. And dancing is a powerful way to shake off those feelings and feel energised.
You describe The Pretty Red Flag Revival as more than just breakup songs. What makes this album a “revival” for you?
The album delves into heartbreak, obsession, yearning, isolation, and the tangled dynamics of modern dating. At its heart is the idea of “Pretty Red Flags”—those alluring yet harmful traits we see in others and ourselves. Rather than casting blame, it leans into self-reflection: why we ignored those warning signs, what drew us in, and how we can heal and emerge wiser from the experiences that wounded us.
The title Revival carries a dual meaning. Personally, and collectively, it represents a journey of renewal, a reclamation of self after heartbreak and pain. Culturally, it nods to the traditional “revival” meetings, where people gathered in hopes of spiritual awakening and emotional restoration. In the same way, I invite other on this album journey with me and it becomes its own kind of gathering place for honesty, healing, and transformation.
Your sound blends 90s electric guitar with vintage instruments and raw honesty. Who were your biggest influences in shaping that mix?
I work with the multi-talented musician and producer Chris Pepper from Saltwell Studios to bring my songs to life. He really understands me and my vision, and together we’ve crafted the barDe sound palette. I still perform my songs acoustically on my tenor ukulele, but Chris has added that edge that makes them radio-ready. The raw honesty is entirely me – I’ve never shied away from difficult or challenging topics… and there’s a lot more to come!
You’ve said you don’t do “pretty lies or safe emotions.” How important is vulnerability in your songwriting?
I usually start songwriting from a personal perspective, which is basically raw emotion – the compulsion to work through something creatively and turn a challenging experience into something beautiful and fulfilling. You can’t authentically connect with people if you’re not willing to do the heavy lifting and share openly. I also research my topics through my closed online community and get feedback near the end of the process, mainly to see whether the emotions resonate.
After “What the Hell, Hey” fans can expect “Future Faker”. What can we expect from that track compared to your debut?
Ooooo I decided to push “Future Faker” back to the third single (late Oct/early Nov) only because it is a longer track and more involved lyrically. It has multiple modern dating references in it which I think will be really fun for people to find! It has a similar soundscape to “What the Hell Hey”.
The next single, “Next to Last Girl” is a punchy, upbeat alt-pop anthem about being left on the shelf but refusing to stay there. (release date 19th Sept 2025). Think Blondie had a baby with The Cars and Cyndi Lauper gatecrashed the christening. Catchy hooks, lots of synth and bass, breathy harmonies and playful lyrics drive the energy. And yes, there’s even a chorus choreography! Perfect for fans of clever, high-energy pop with a wink of sass and retro sparkle….and lots of zebras, because life (and love) are rarely black and white.