![]() The musician has carried that sense of contrarian certainty with her since childhood. If the album is diverse, Lumsden is clear about what ties it together: “The link is that I wrote every song.” ![]() Lumsden wanted to make the songs come alive, and challenged Fell by giving him less technical resources than normal to accomplish that. Apart from some drum tracks, most of it was recorded in an old stone hut on the couple’s property that was converted into a temporary recording studio an overturned water tank served as an echo chamber. “Some of this is magic, and some of this is pain,” Lumsden sings on the folk-tinged This Too Shall Pass, and with its echoes of 1960s pop ( Dig) and bittersweet melodies ( Grown Ups), Fallow is Lumsden and Freeman’s most eclectic collaboration with long-time producer and close friend Matt Fell. I wanted that glorious buzz in my songs.” I was experiencing those things and it was giving me such joy. I wanted to write about green grass, running water, mountains and sunsets. It’s not that I didn’t want to acknowledge it, I just knew that the people going through it didn’t want reminding,” Lumsden says. “I went into the record to make songs that were also a little more hopeful, because I’d talked about drought for so long and everyone in the music industry and my family are still going through it. Soon after Lumsden gave birth to the couple’s first child, Walter, who is now 18 months old and can be seen gallivanting with a water sprinkler in the video clip for These Days, a song that looks at everyday country life with unassuming contentment. In 20, when Lumsden was writing the songs for Fallow, Freeman lost his mother to cancer, a difficult process that involved months of nursing and palliative care. “It wasn’t as important to me that every song had clever lines.” “I wanted to write more about how I was feeling about things, rather than being focused on observations, which was my previous style of writing,” she adds. It comes out and then I realise what subject we’ve ended up on.” “I just let things come out – I don’t ever set out to write a song about something specific ever. I was at a point where I wanted to dig deeper, especially as it was my third record and I wanted to think about important things a little more,” Lumsden says. As a songwriter she made her name with cheeky wordplay and self-deprecating stories, and while tracks such as the chiming Peed in the Pool retain a humorous outlook, the lyrics often draw down on family grief and the need for calmness and self-acceptance. Released after a taxing bushfire season, Fallow is a breakthrough record for Lumsden. ![]() “I didn’t know! I thought we were all in this together with the same excitement and exuberance I had.” ![]() “I didn’t pay my band at the start,” Lumsden says. Ask her if she’s made mistakes along the way and Lumsden laughs with hearty recognition before providing details. That is no small achievement for someone who once Googled, "How to start a record label", but Lumsden isn’t interested in mythologising her path to prominence or situating herself as a Gwyneth Paltrow-like CEO. Fallow made her a crossover success, not only topping the country charts but cracking the top 10 mainstream chart. Crowdfunding helped Lumsden record and release her debut album, 2015’s Small Town Big Shot, while the 2017 follow-up, Real Class Act, topped Australia’s country charts. The 33-year-old with a knack for memorable rhymes has been showing up professional naysayers since 2011, when she released her debut EP. ![]()
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