Queenie is a fresh and fiery voice on the Americana scene. With her debut album, New Moult, landing on the ARIA charts in 2024 and gaining traction in the US via college radio, the Australian-born artist is quickly establishing herself as a force to be reckoned with. With a background steeped in Australian rock royalty and an ever-evolving sound that blends nostalgia with innovation, Queenie is carving out her unique spot in the music world.
We caught up with the charismatic front woman at Blues on Broadbeach to discuss the 10-year relationship breakdown that inspired her debut album, her dreams of a Dan Auerbach collaboration, her upcoming Nancy & Lee style album with Henry Wagons, and more.
Watching you play live last night was an experience. For those who don’t know your music or sound how would you describe your live show to them?
It’s a lot of things! It’s happy, sad, eclectic, slightly horny; it’s rock n roll! It’s a bit of everything.
Speaking of rock n’ roll, who would you say you’re inspired by? I can hear some ‘80s influences.
There’s a lot of ‘80s influence. For some reason I just have a pull to the ‘80s; I love ‘80s cars, and ‘80s music. I think what I love about it is it’s nostalgic. And I want my music to feel nostalgic, as though you’ve heard it before but you haven’t, and there’s something about ‘80s sounds that really do that.
It’s interesting you say that because watching you play I had that exact feeling! Now, your mum Stephanie Howell was a singer, and your dad was a drummer and they met touring with Jimmy Barnes, and Richard Clapton among others. What was it like to have a mum who was touring around playing with such iconic musicians. How did that influence you?
I was just surrounded by such good music! My mum has such great taste in music; I grew up falling asleep under mixing desks while my parents were playing shows, so I was born to be in the music scene whether I wanted to be or not! Then when I was nine years old I picked up guitar and started playing and because my mum had pursued her passion in life was straight away like “yes I love this!” and was so supportive of me doing it. I was so lucky to grow up with parents that weren’t apprehensive about me doing music. They were 100% supportive.
What’s the best advice they’ve given you about being in the industry?
The best thing my mum has ever told me was, “Be careful, and don’t let anyone take you for a ride. There are great people out there and there are terrible people out there, so be careful.” As a woman especially. She essentially wanted me to keep my wits about me because people tell you things, and promise you the world, and sometimes they’re not in it for the right reasons. So, her telling me to look after myself was really good advice.
You’ve got to have that strength in this industry as a woman.
Oh yeah, and for her in the ‘80s it was even worse. They wouldn’t even let her be a photographer for the local newspaper because she was a woman. How crazy is that?
WOW. How times have changed. So you released your debut album, New Moult, last year. Tell us about the writing and recording process?
It came together over a couple of years. I took a break from playing my solo stuff, then covid hit and I suddenly had this surplus of time. I’d just gotten out of a ten-year relationship. So I thought I should probably do something with my life. And obviously, I was so sad. A big chunk of growth was with this person, from 15 to 25, so it was a big, weird growth period of my life, and I was alone in the world for the first time. That was the bulk of the songs, and then we threw a couple of older ones in the mix that I had never released, but I tried to work them in to make everything cohesive.
The album then charted on the ARIA charts, what was that like?
I still have no idea how that happened! It’s crazy. As a musician you dream about that stuff all the time. I’ve been playing music for such a long time, I started playing in pubs when I was 15 so it feels like a long slow road for me, but the Queenie project itself is still young so for that to happen with the debut, my first child in the world, is bonkers. I still can’t believe it.
The album mixes a lot of genres. Was that a deliberate decision or just all of your influences coming out?
Even in previous projects I could never fit into one genre, and I don’t know if that’s because my brain is chaotic or if it’s because I’ve never had a direction or pigeonhole that I’ve wanted to fill. I’ve always just written whatever comes out of my brain, and because I have eclectic taste in music it just comes out like that. I listen to a lot of Tom Waits, and Kate Bush, as you can probably tell. I listen to so much random music. I DJ as well, so I’m exposed to a lot of new music – everything from ‘70s soul and funk to techno to metal.
That’s great, though, because as a result your sound has become very you. It’s uniquely you!
Thank you!
Where did the name Queenie come from?
That’s what my mum was originally going to name me, and I thought, ‘Two syllables? Great. Let’s slap that on a poster.” (laughs)
You also have a unique personal style. Tell us about your onstage fashion.
It changes; it goes through phases. I was just saying that I’m lasering my tattoos because I liked them for five minutes and now I don’t like them. My style changes so much. The internet is a wonderful place as well. I see so much cool stuff online, and there are so many people that I’m inspired by, like Chrissy Amphlett and Kylie Minogue. I love what so many artists wear, and how they present themselves stylistically onstage. I find things I like and take from it.
It matters! You don’t just want to rock up on stage wearing whatever. It’s great to put some intention behind it. So Queenie, what’s next for you?
I’ve got a few things planned for the rest of the year. I’m doing an album with Henry Wagons. He’s an angel, and I just love working with him. He’s the most happy-go-lucky person I’ve ever met in my life. Everything I take to him, or that we do together he’s so enthusiastic about, and it’s always a fun writing session with him because he doesn’t take himself too seriously. We write this cute, tongue-in-cheek, Nancy and Lee kind of music. It’s so fun because I love doing things that are outside of what I would normally do. We can actually just sit down and be like, “This is cute, let’s do this.” It’ll be released under Queenie and Hank. Something else exciting is I’m also working on my second album!
Aside from Henry Wagons, do you have a dream collaboration?
There are lots but I have always wanted to work with Dan Auerbach from the Black Keys. I love him. Everything he touches turns to gold. With every album he’s done, like with Nikki Lane. It seems he really pushes artists; he’s got that brain. I’ve also always loved The Black Keys, so I’ve watched him grow as an artist which I haven’t really seen with a lot of musicians I like. But with his solo stuff he’s got all these incredible Nashville musicians, and they’re so sick.
You have some new American fans after your song “Everything Sucks” charted on college radio. Do you have any plans to tour the states soon?
Yes, hopefully! We’ve applied for Americana Fest, so fingers crossed. We’d love to get over there and do that as well as some other side shows!
