Australian Musician caught up with rising singer-songwriter and guitarist Olivia Lay, who releases her new five-track EP Along the Way on December 14. Lay spoke about her musical beginnings, her influences, and the creative journey behind her latest work.
MORE ABOUT OLIVIA LAY
Music has been part of Lay’s life from her earliest memories, dancing before she could stand, listening to her parents’ classic CD collection, and watching her dad play guitar. She began learning guitar at six and later fell heavily under the spell of Newton Faulkner, whose alternate tunings and percussive guitar style became a major influence. Lay jokes she emails every time Faulkner tours Australia hoping to land a support slot.
Her first real break arrived at 18 when she won the Battle of the Bands competition at Live at the Bundy, a prize that saw her open for Ruby Fields and Baker Boy on a professional stage for the first time. The experience helped launch her into the local music scene.
Lay’s new EP, Along the Way, explores themes of journeys and transitions, reflected both lyrically and through vivid imagery like pirate ships, horses, and trains. Most of the songs were written and recorded over the past year, with Lay adopting a more strategic approach to releasing her music.
Songwriting for her is an unpredictable process, usually starting with guitar melodies before she pulls lyric fragments from an ongoing notes list. A major learning curve came with introducing vocals on her previous EP, 24: overcoming discomfort with her voice and trusting that listeners would connect with it. Positive feedback helped her break through lingering writer’s block.
The EP also shows traces of Celtic influence, particularly in Pirate of Your Soul, which she wrote in DADGAD tuning-a sound she feels a natural affinity for. Lay is devoted to alternate tunings and creative capo placements, a passion that began at 14.
Her main guitars include her father’s pristine vintage Maton EM325C, which she now keeps for the studio, and an identical model she hunted down for gigs. She also dabbles in banjo and cigar-box guitar.
Recording for the EP took place partly in Sydney with Nathan Cavaleri, an artist she admires who pushed her toward fuller production, and partly at her favourite local studio with Brent Hodkins, who added percussion and bass. Lay admits she’s a perfectionist who comes into sessions with fully formed ideas already in her head.
Looking ahead, Lay aims to continue gigging every weekend, write toward a full-length album, and prepare for her biggest appearance yet at the National Folk Festival in Canberra. While her long-term vision is still unfolding, she hopes to follow a path similar to guitarist Daniel Champagne, touring extensively, building a dedicated audience, and earning respect for her musicianship.