Fresh from the release of his acclaimed new album An Unnameable Desire, Australian guitar virtuoso Plini is preparing for an extensive Australian and New Zealand tour, bringing his biggest production yet to audiences across both countries. Speaking with Australian Musician editor Greg Phillips, the internationally respected guitarist, composer and producer reflected on how his approach to songwriting and recording has evolved over the past decade, the collaborative process behind his latest album, and what fans can expect from the upcoming shows.
MORE ABOUT THE ALBUM + TOUR INTERVIEW
Looking back at the making of An Unnameable Desire, Plini says the biggest difference compared to his 2016 debut Handmade Cities is the experience he’s gained, not only technically but creatively. While improved recording techniques and production skills have undoubtedly elevated the finished product, he admits that experience also brings greater expectations. Where his early work was created purely for the enjoyment of making music, he now spends considerably more time refining ideas, challenging himself to keep evolving while remaining true to the musical instincts that first defined his sound.
The album’s intriguing title emerged through conversations with longtime visual collaborator Patti Bai, who also created the album artwork. Exploring words from other languages that describe emotions difficult to translate into English led them to the phrase “an unnameable desire”, the feeling of longing for something without knowing exactly what it is. Plini felt the concept perfectly suited an instrumental album, allowing listeners to project their own interpretations onto the music.
That collaborative spirit extended beyond the artwork. Plini explained that the recording process itself became far more detailed than on previous releases, with complete demos shared with drummer Chris Allison before bassist, producer and mixer Simon Grove offered structural feedback prior to recording. Additional rounds of refinement followed the drum sessions before further instrumentation was added, creating a much more considered workflow than on previous albums.
One collaborator Plini has learned to trust completely is Grove. After hearing the first mixes of the album’s three advance singles, he had virtually no revisions, and the remainder of the record was approved almost immediately. “He just gets it so well,” Plini said, describing the working relationship as one built on complete confidence.
Although often associated with progressive music’s sprawling epics, Plini revealed that his own tastes have shifted toward shorter, more concise compositions. While An Unnameable Desire still contains moments of expansive musical exploration, most tracks sit comfortably around the four to five-minute mark. Rather than extending songs simply for the sake of length, he prefers rewarding repeat listens with subtle musical details instead of overwhelming listeners with extended arrangements.
When asked whether he needs to recapture the emotional mindset from when a piece was first written, Plini explained that his compositions aren’t necessarily direct reflections of his mood at the time. An aggressive riff might appear on a particularly happy day, while more reflective passages could emerge during completely unrelated emotional states, making it relatively easy to reconnect with unfinished material months later.
Touring remains central to Plini’s creative life, and this August’s shows will feature seven pieces from An Unnameable Desire, including audience favourite “Manala,” which has already made a powerful impression during recent European performances. Encouragingly, Plini says fans have embraced the new material as enthusiastically as the older catalogue, a rare experience for any artist introducing fresh songs into a live set.
Constructing the setlist, however, presents its own technical puzzle. With multiple guitars in different tunings, seven and eight string instruments, and several bass changes throughout the show, practical logistics become just as important as musical flow when deciding the running order each night.
Audiences can also expect a noticeably upgraded live production. While the core four-piece lineup remains unchanged, Plini says significant investment has gone into the front-of-house sound and lighting, promising an even more immersive concert experience than previous tours.
Joining Plini on the road will be an impressive supporting lineup featuring British math-rock favourites Delta Sleep alongside rising Australian acts Cenobia and Nightdive. Plini describes Nightdive as close friends whose exciting new project deserved an opportunity to reach larger audiences, while Cenobia’s emerging live career made her an ideal addition to the bill. Delta Sleep, meanwhile, are a long-time personal favourite, offering a contrasting style that complements rather than competes with Plini’s own highly technical instrumental performance.
Reflecting on his international career, Plini credits his early touring alongside Canadian band Intervals as a pivotal moment, allowing him to establish himself in the United States while sharing touring resources before joining Animals As Leaders on both European and American runs. Those experiences demonstrated the global appetite for instrumental music and helped lay the foundation for the international success he enjoys today.
With the new album complete and much of the touring logistics behind him, Plini admits his thoughts are already turning toward future projects. Chief among them is a long-held ambition to collaborate with vocalists, an idea he has discussed with Australian Musician previously and one that now appears closer than ever to becoming reality.
Away from music, Plini’s background in architecture continues to shape his creative outlook. Although he doesn’t draw direct musical inspiration from buildings, he believes architecture, design and music all share the same essential ingredient: strong artistic taste. During a recent European tour, Venice left the biggest impression, with its timeless streets and canals providing a reminder of how thoughtful design can inspire creativity in any discipline.
As excited as he is to showcase his latest work, Plini says returning home remains one of the most rewarding aspects of touring. Playing in front of lifelong friends in Australian cities while introducing his international crew to the places he grew up provides a welcome reminder of just how extraordinary his musical journey has become.
With An Unnameable Desire earning widespread acclaim and an ambitious new production set to accompany its Australian and New Zealand tour, Plini continues to cement his reputation as one of the world’s most innovative and respected instrumental guitarists, an artist whose technical brilliance is matched by an unwavering commitment to musical growth.
PLINI ‘AN UNNAMEABLE DESIRE’
AUSTRALIA & NEW ZEALAND HEADLINE TOUR 2026
WITH SPECIAL GUESTS
DELTA SLEEP (UK)
CENOBIA (BRIS/SYD/MELB)
NIGHTDIVE (AUS SHOWS ONLY)
TOUR DATES:
THURSDAY 6 AUGUST – PRINCESS THEATRE, BRISBANE
FRIDAY 7 AUGUST – LIBERTY HALL, SYDNEY
SATURDAY 8 AUGUST – NORTHCOTE THEATRE, MELBOURNE
SUNDAY 9 AUGUST – LION ARTS FACTORY, ADELAIDE^
TUESDAY 11 AUGUST – MAGNET HOUSE, PERTH^
FRIDAY 14 AUGUST – DOUBLE WHAMMY, AUCKLAND NEW ZEALAND*^
SATURDAY 15 AUGUST – SAN FRAN, WELLINGTON NEW ZEALAND*^
^ Cenobia not appearing
*nightdive not appearing