First coming to our attention as a pioneer of Aussie folktronica back in 2015, Caitlin Park set herself apart as a captivating songwriter with a magical craft, enchanting audiences across the globe. Last year, the Sydney local adopted the moniker HANDSOME and introduced her new project to the world with Joyride-featuring debut single “Late Night Ball Game”. Her first EP as HANDSOME, ‘No Hat No Play’, sees her neo-folk origins evolve into what she herself aptly describes as “tomboy pop”, bolstered by richer melodies, pronounced rhythms, and powerful lyricism.
We chatted to Caitlin about the inspiration behind the EP, the queer lens and label in music, and building community with her art.
Best Before: Congratulations on your EP release! How do you feel about ‘No Hat No Play’ being finally out in the world?
HANDSOME: Thank you so much. It feels good. I’m so proud of these songs and how they have been received — it’s such an incredible feeling.
You’ve talked about the EP’s concept being centred on the idea that older generations know better. What’s one lesson you think millennials have in the bag and, conversely, one we desperately need to work on?
Yes, the EP is about the perception that older generations think they know better. The lesson I’m trying to instil is to continue listening — we all have more to learn, and just because you have lived longer, doesn’t mean you have all the answers, especially when it comes to how younger people feel and how they identify. Millennials are on a whole new level of acceptance of self, and I think, in many places, the freedom of expression and exploration is something we have in the bag. As a part of this, we desperately need to work on escaping our insular sense of self; there is a wider world out there, further than your Wi-Fi can reach. We need to get better at embracing reality.
“There is a power in authenticity, and I believe people respond to artists who wear their identities on their sleeves.”
Can you take us through your songwriting process?
It changes with every song. I’m a real melody writer — I get my jollies just riffing on a beat. I like to come up with something straight — a tight beat, or an interest melody run — and then try and shift it left of centre. There’s nothing more exciting than having something that sounds fun, groovy, unique, and odd all at the same time. I also pain over songs. I can write the bones of a song really fast, but it’s the finessing of the arrangement that truly fucks with my head. But it’s all in or nothing.
Are there any particular people or places that have had a significant impact on ‘No Hat No Play’?
Yes, really good question! Isn’t music amazing, the way it impacts you so emotionally that sometime you can smell or taste something from a particular time that you listened to it last? My friends impacted this EP hugely. Their bravery and their strengths are truly astounding. Just the way they make me feel — the way I feel when I’m with them. It’s deep, heavy love. Dancing at parties impacted the EP hard, too. There’s an indescribably elation in that situation. Music expresses that better than words ever could.
You wrote “Save Some Love” before the whole marriage equality debate even emerged – has its meaning changed at all for you since?
Yes, definitely. I wrote “Save Some Love” almost a year before all of that happened, but it took on a whole new meaning when it came out after the marriage equality debate. Yes, we won. But that doesn’t mean it didn’t leave a trail of damaged hearts behind, let alone a red carpet for further homophobia, and it’s still going. I think “SSL” hit people at a time when people were trying to pick up the pieces, and I hope that it impacted people in a positive way and helped remind the community that they are amazing people and we got through it together. I think it did.
What were you listening to while writing the EP?
Oh, so many things. Mura Masa was a huge influence on this EP. The xx, Sylvan Esso, SZA, Cat Power (always), Christopher Port, and The Japanese House. Heaps of stuff.
How did the collaboration with Joyride initially come about?
We’ve been friends for a while now and have always respected each other’s work. We love spending time together, and get locked into intellectualising music constantly. I knew I wanted to work with Joyride on a couple of songs, cause we complement each other musically — he’s got amazing feel for harmony and beat making, and I bring some of the oddities to the mix. We see eye to eye on melody and lyricism, too. We’re just a good match.
You directed the video for the single — what role does visual art and film play in your creative life?
Its such an honour to have music shaped into a visual to me. I’ve always loved film and the role music and sound play in its make up. Video gives you a new way of saying something about the song, and it offers another outlet for your audience to understand the music further. I direct and co-direct most of my videos, as I find it such an important medium.
“I want this to be a movement, a movement that creates a shift in culture.”
“No Cowards” has been called an “indie queer anthem”. Bloc Party’s Kele has spoken about how the labelling of love songs he’s penned as “queer”, as being unnecessary – rather they’re just ‘love songs’. What are your thoughts on that – do you think it more hinders or helps visibility?
I guess it all comes with intention. I spoke late last year about the idea that queer is an identity not a genre. It’s crazy to think that this is still confused in our industry. I have every intention of my music and shows to being recognised as a space for queer listeners and allies, but I think listening to music is often situational — a listener whoever they are will interpret the song the way they do.
I think there is a power in authenticity however, and I believe people respond to artists who wear their identities on their sleeves. So in this case, I believe it has helped visibility. HANDSOME has launched at a time when self expression is being championed as a super power, and I think this has strengthened my direction more so. It’s exciting.
Earlier this year you spoke about creating around developing the HANDSOME Gang concept – how has that transformed along the way?
The HANDSOME gang is all about building a community around the band, and making people aware that there is more to this than simply making and releasing the music. I want this to be a movement, a movement that creates a shift in culture. Doing this through expressions of art, fashion, and language is the strongest place to start. Surrounding yourself with people that are making waves in changing attitudes and creating warmth is the best way to continue building that community for me. Inviting special guests to shows, and creating collaborations has definitely helped me continue to build this.
What can audiences expect from your live show?
A lot of smiles and a lot of movement. There is constant invitation to join in. The HANDSOME band’s main aim always with shows, is to make sure that you leave feeling good about yourself.
What are your plans for the coming year?
Listen to ‘No Hat No Play’ here:
And check out HANDSOME’s brand new single “WILDS” here:
Image: Cole Bennetts