With her delicate yet rich vocals, she weaves intimate stories that transport listeners to a realm where whimsy reigns supreme.
It is as if she has harnessed the essence of artists like Norah Jones and Sarah Blasko, infusing her music with a captivating blend of bluesy guitar licks and smoky piano melodies.
Embarking on a musical journey with Cowley is akin to stepping into a time-worn, candlelit bar in a faraway town. The warmth of her charisma envelops you, and for a fleeting moment, you find yourself transported to a place where enchantment is tangible.
Her songwriting possesses a rare quality, enchanting listeners with hypnotic sing-along abilities that seem to possess hidden magic, like ancient folk tunes whispered through the ages.
In the enchanting tapestry of Cowley’s Album, each track tells a story that resonates deeply. “Need a Cuddle” showcases the playful dance between the accordion’s soulful wails and the Spanish-like strokes of the guitar, conjuring vivid images of communal dancing and spontaneous romance.
The juxtaposition of these lively melodies against Cowley’s lyrical musings evokes a bittersweet emotion, hinting at the ache of loneliness.
“Next Time You Go Travelling” weaves a tipsy loneliness through its plucks and textured string wails. It captures the essence of wandering souls, yearning for connection amidst the vastness of the world.
Meanwhile, “Ashamed” channels a cowboy melancholy that feels both theatrical and dangerous, yet entirely enticing. Cowley’s evocative storytelling paints vivid scenes of wild frontiers and passionate encounters, drawing the listener further into her world.
Throughout the Album, Cowley’s melodies dance with whimsy and abandon, like ethereal beings frolicking in a sun-drenched meadow. Her music transports us to places where emotions intertwine with melodies, creating an otherworldly tapestry of sound.
With every note, Clare Cowley reveals a realm where hidden magic is unveiled, inviting us to explore the depths of our own imagination.
Read along because we sat down with Clare and talked all things Desire Notes
Happy: What are you up to today?
Clare Cowley: I’m at The Kenilworth Bakery trying my first coffee doughnut. Then spending time with friends in the sunny coast hinterland, having a break from the city to listen and write.
Happy: Tell us about where you are from? What’s the music scene like in your neck of the woods?
Clare Cowley: I currently live in Meanjin/Brisbane. There has always been a fiery belly of eclectic bands to draw on for inspiration, from Gazoonga Attack to Eggvein; paralleled with folk country blues communities to tap into as well.
Like Mojo Webbs’ Blues Jams, Danny Widdicombes’ Campfire Sessions, Close Enough For Country; Inspiring others to start their own. Last year I began A Folk Night, curating 6 local artists’ to jump up and showcase their songs.
I have lived here for a fair while which means getting to see a lot of Singer-songwriters blossom; like Jackie Marshall, Ben Salter, Day of Embers, Freight Train Foxes, Nikolaine Martin and so many other artists over a 20 year period.
Happy: Describe an average day?
Clare Cowley: Wake with the sun, yoga, write a page with coffee. Either markets where I do portraits on a weekend or music prep for the gig that week. Go to work; teach music or draw and paint in my studio.
Happy: What about your ultimate day?
Clare Cowley: Play a gig with my band and lots of enthusiastic audience members that includes family and friends; OR go for a swim & lie on the beach with a book OR draw or paint all day or bake a cake.
Happy: What did you listen to growing up that fuelled your passion for music?
Clare Cowley: Don McLean, The Carpenters, John Denver, The Young Talent Team, The Seekers, Jewel, John Gordon, Garth Brookes, Cold Chisel, Elton John, musicals like Phantom of the Opera and family singalongs).
Happy: Can you share with us the inspiration behind your latest album, “Desire Notes,” and how it reflects your personal journey as a musician?
Clare Cowley: I wanted to make a capture point for all the writing and themes I was creating. Desire Notes gave me a chance to curate a complete collection of stories, with pictures! The title reflects my personal journey with weaving notes taken from real experiences (in relationships with people and places) into songs. With the intention to take responsibility for my own desires.
Happy: As an artist who draws influence from the likes of Gillian Welch and Sarah Blasko, how do you infuse your own unique style into your music?
Clare Cowley: When learning a cover, I imagine the intention of the author, listening to the story with any added knowledge I’ve gained of the artist’s technique.
Like the way Gillian Welch leans into the microphone as though telling a trusted friend a secret and Sarah Blasko incorporates dancing when she sings live. Then I visualise my own story when I play the cover.
The songs I’ve written usually arrive in a downpour and I catch them on voice memo, then memorise the exact phrasing so, ideally, the story can be authentically delivered each time I sing it.
Happy: We’ve heard that you designed the cover art for “Desire Notes.” How does visual art connect with your musical expression, and what message were you trying to convey through the album’s artwork?
Clare Cowley: Learning music theory as a kid and visual art as an adult, I have felt like it’s a challenge to combine them. And directly addressed this by creating the art for my music and music events, performing art with live bands and creating sound drawings (a style I used for the ‘she rocket’ on the back of the album).
Although sometimes I worry it is confusing for everyone, I feel lucky to be able to express myself both musically & visually. The imagery on the album of the vulnerable figure falling down to earth, but maybe not quite, instead landing in a tree, suggests this tangle that can get me caught, not knowing which medium to work with, but compelled to create regardless.
Happy: Your live performances are known for their bluesy guitar, smoky piano, and harmonica. How do you approach translating the emotions of your songs to the stage, creating a captivating experience for the audience?
Clare Cowley: Getting to the essence of the song is really important to me. It is the way I find a connection to the music, no matter how shy or confident I may feel. Coming back to my first love, the piano, I recently performed Dancing Like Fighting at an open mic in Victoria (British Columbia) at Hermann’s Jazz Club which has a baby grand piano.
I had just 2 songs to reach my audience and choosing a song to play on its instrument of origin made it authentic for the listener. I could feel the audience connecting despite never having heard the song.
In Meanjin & on previous tours, a rotating cast of accompanists accentuate the mood of the songs too. This gives people a chance to connect with different instruments, like the Piano Accordion (Need A Cuddle), Violin (Black Seeds), Saxophone (Watch The Sky).
Happy: “Desire Notes” has garnered much attention and sold out shows. How has the reception to the album been for you personally, and how does it feel to connect with your audience through your music?
Clare Cowley: The Desire Notes launch party with my supporters, who have been following my journey; and the soft launch featuring my first music video, were great celebrations. There has also been a beautiful gradual reception upon the release of Desire Notes; with friends, family and fans sending touching reviews with new listeners reaching out too.
I have enjoyed reconnecting with people and places where I wrote the songs like Allora, Goondiwindi, Gungarri country, Cunnamulla, Gold Coast, Katherine and look forward to touring to these places with the music they helped inspire!
Happy: Allora, Queensland, holds a special place in your upbringing. How have your rural roots influenced your songwriting and storytelling?
Clare Cowley: Space to sing into, bushland to imagine in, animals, silence, family singalongs, encouraged to practise piano by mum; Seeing my dad and uncle and aunt perform in the community concerts. And even perform in one myself.
Happy: The music industry can be challenging, especially for independent artists. What have been some of the significant hurdles you’ve faced in your musical journey, and how did you overcome them?
Clare Cowley: Isolation can be problematic in any profession. Reading about, supporting and reaching out to other artists has helped me to know where I stand in the music and art industry.
Fearing being myself in front of others is a constant one. Because it’s always an experimental process, where the result can’t all be in your control. Listening to my desire to let go of old me and change my name back to my actual name instead of Planet Clare (admitting to myself it was tough being a planet) was an important step to feeling at home with myself before sharing my art.
To achieve this, I had to look for help. Which I’m still learning is there if I find the courage to ask.
Happy: How has your music evolved over time, and what do you see as the key themes and ideas that run through your work?
Clare Cowley: My vision is more clear and confident for the way I want to perform and record music. The key themes have evolved from break up songs, only (get an ear full on my first album To The Bottom), to rejection/acceptance songs (Next Time You Go Travelling) and socially questioning songs – analysing themes like romance and desire (My Reason).
I have grown as a collaborator too and feel lucky to work with creative and supportive people like Skye McNicol on fiddle (Workhorse/Camping), on double bass; Stephen Meldrum, Simon Linke (Suicide Country Hour), Sara Mclean (Saxophonist) Kathryn McKee (Cellist & K Mak), Dennis Duigan (Banjo), Darryl Finn on lapsteel, Pete Shields on 12-string, Dylan Jeffrey’s on production and drummer (The Hinterlanders), Serena Stanger (ukulele/ BVs), Steve Szell on slide guitar (Passion Cactus), ‘Craig Morgan & Paul Blakey (final track assembly.)
and my little brother and sister who all have a passion for making music.
Happy: Touring is an integral part of sharing your music with fans. What are you looking forward to the most during your current tour, and how do you connect with your audience during live performances?
Clare Cowley: I look forward to meeting people who can relate to what I’m singing about in my songs. I am a fan of Romance languages and music speaks them well. So I lean into a few non English speaking songs, particularly French.
I also rely on the poetics of Bob Dylan, Joni Mitchel & the familiarity of John Denver, Neil Young and the harmonica when I feel myself or the audience need a middle ground offering, before delivering my compositions.
Happy: Looking ahead, what can we expect from Clare Cowley in the future? Are there any upcoming projects or collaborations that you’d like to tease for your fans?
Clare Cowley: I have cute videos accompanying the songs on the latest album to share. And a fun single with my big brother whistling coming out soon! July 7th I play my last gig in Meanjin (supporting Cedarsmoke) before my tour to the Sunshine Coast kicks off July 16th!
And then I’m back and excited to be part of the Triffid Roots Weekender 29/30th July. Stay tuned for a tour of regional venues tba!
Happy: Lastly, what makes you happy?
Clare Cowley: Listening to a language I don’t understand.
Check out Desire Notes and the rest of Clare Cowley’s discography
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