What was the main inspiration behind the song “Beatles V Stones,” and how did it evolve during the writing process?

It is a reference to my (some would say rather annoying) habit of asking people I’ve just met if they prefer The Beatles or The Stones and then making a snap decision about whether or not they’re my kind of person based on their answer. I’m a Stones gal, for the record.

How did learning to play guitar during COVID impact your songwriting and approach to composing music for this album?

It’s quite a different instrument to write on than the piano. The songs automatically come out more folky, and I found myself really enjoying that. Sometimes it was hard to avoid sounding jazzy on the piano, particularly as that’s my background. Plus, you can write anywhere on the guitar—it’s very portable—and I loved that even more.

“Beatles V Stones” is actually the first song I wrote by myself on guitar. The lyrics to the first verse had been kicking around for a few years, and I stumbled across them again, grabbed the guitar, and the whole thing just flowed out. It was great. My guitar player, Tom Kneebone, then added that great rocky bridge and the little nod you can hear to The Beatles in the second-to-last chord. He’s a Beatles guy, for the record, but I love him anyway.

Can you describe the collaborative process between you and your band members when creating the songs for Ruin & Repair?

I’m a very democratic band leader. I always want to hear ideas from my band and have their input on everything—not just on what they play on tracks, but on the songwriting and what everyone else plays as well. It’s very much a team effort, and this album is something we all created together. I wouldn’t have it any other way.

What was it like working with producer and engineer Ryan Martin John on this record? How did he shape the final sound?

Ryan did all of the engineering and mixing, which he’s amazing at, and we produced the record together. It was a great process. He also contributed to the album as a musician and sings a duet with me on I Remember Everything.

It was a great creative meeting of minds. We had a lot of fun, no particularly serious arguments, and a few very blurry late nights that may or may not have involved gin.

Which song on the album was the most challenging to write or record, and why?

I had a really hard time tracking the vocal to Sober. It’s a very personal song to me, and I just kept crying during the takes. The take we went with actually captures me starting to cry on the last line. That was the closest I ever got, so it’s on the album.

How does this album compare sonically and thematically to your previous releases?

I think Ruin & Repair is fundamentally an Americana record, but it also has a few pop moments and a few pretty straight country moments. We’ve always liked to blur genres, though, so in that sense, it’s a very Audreys record.

Were there any major stylistic shifts or new elements introduced?

There’s a track called Ships Song that we dubbed our Wes Anderson soundtrack piece. It’s just studio fun from everyone and will likely never be played live. Our amazing drummer, Beej Barker, had a great time doing all of those cross rhythms—and holy cow, can that man nail a percussion pass in one take.

What were some of the key influences—musical or otherwise—that shaped the sound and storytelling on Ruin & Repair?

Obviously, the passing of my longtime collaborator and best friend, Tristan Goodall, loomed large over the writing and recording of this record. Tristan’s brother, Cam, contributed a lot to the writing, and that was a very powerful and healing process for both of us.

So, grief and loss are big themes, but also hope. And love. I always write about love—for better or worse. Almost always for worse with me, but that’s my lot in life, I’ve concluded. Broken-hearted people make better songwriters.

What can fans expect from The Audreys’ upcoming national tour? Will the live set have any unique arrangements or surprises?

I’ve been touring with my new band for several years now, and they’ve always done an incredible job playing the old Audreys catalogue, but it’s exciting to have these new songs that they helped create in the set. It was hard writing a set from six albums, but I think we’ve struck a good balance of new stuff and old favourites.

There’s also a beautiful string arrangement on one of the songs that was done by our bass player, Felicity Freeman. I’m hoping to get a string quartet up to play with us on this song for our Adelaide show at The Gov.

Having been part of The Audreys for 20 years, how does it feel to embark on this new chapter with the band?

I had a lot of setbacks trying to get this record made. It’s honestly five years later than I’d hoped, but I’m really proud of it and eager to move forward from the past.

Looking ahead, do you see Ruin & Repair as a stepping stone to future musical directions for The Audreys, or is it more of a reflective piece on where the band has been?

It’s a bit of both because a lot of these songs are about Tristan and my incredible 20-year friendship and partnership with him. But he wanted me to keep playing our songs after he’d gone, so by doing so, I am both moving forward and honouring him/the past at the same time.

20 years, but I’m only halfway through, baby!!