Words by Natalie Blacklock
Acclaimed multi-ARIA Award-winning acoustic troubadour Josh Pyke stands as one of Australia’s most respected and successful musicians of the last two decades. Since the release of breakout hit Middle Of The Hill in 2005, Pyke has earnt a reputation as a modern-day storyteller through his intelligent lyricism, heartfelt melodies, as well as his unique and inventive song structures.
Beyond his musical achievements, Josh Pyke has long been a passionate advocate for the arts, thoughtfully using his public platform to support creative communities. His commitment is most evident in his Busking for Change initiative, a long-running collaboration with the Indigenous Literacy Foundation that raises funds and awareness to support literacy in remote Indigenous communities.
On the back of recent collaborations with genre-blurring project Modern Living as well as the Adelaide Symphony Orchestra, Josh Pyke is set to perform at this year’s Festival of the Stone, set to take over Stone & Wood’s flagship Byron Bay Brewery on Saturday 14 June. This year’s Festival will feature a killer lineup of homegrown talent including The Belair Lip Bombs and Old Mervs and the much-anticipated unveiling of the latest batch of Stone Beer—all in support of Byron Bay’s Fletcher Street Cottage, a key Northern Rivers community hub established in 2022.
GCL leading lady, Natalie Blacklock, had a chat with Josh about Festival Of The Stone, Busking For Change, and a sneak peek of what’s next on the cards for JP!
You’ve been a staple of the Australian music scene for nearly two decades. How would you describe your creative evolution from your 2005 breakout song, Middle Of The Hill to your latest projects?
I think my creative evolution is just a mirror of my evolution as a human. I’m 47 now, and have way more life experience than when I started. In that time, I’ve navigated a music industry that’s almost unrecognisable to what it was when I started in terms of Social Media, Streaming, radio and even just the tech used to make music. Personally, I’ve gotten married, had kids, lost quite a few friends as well as my dear Mum who passed away just last year. My creative evolution has incorporated all those massive influences, learnings and emotions and is reflected in the art I make.
Your recent collaboration with Modern Living (James Curd and Mark Share, previously of Greenskeepers fame) on Hide Away marks a noticeable shift in style. What drew you to this genre-blending experiment, and how did the creative process differ from your solo work?
I’ve always loved collaborating and co-writing. It’s such a liberating thing as a creative to step outside your comfort zone and experiment. James approached me to write lyrics and create vocal melodies around his instrumental production and it just clicked. I love acts like Phoenix and Animal Collective and wanted to explore ideas like that, which wouldn’t traditionally fit in with my own solo stuff. It was kind of like having a musical holiday in a way!
Do you find that collaborating with artists from different genres challenges or enhances your own musical voice?
Yes for sure. You also come away richer for the experience. Every time I collaborate, (and I have done a lot of co-writes in my time) I find that I’ve picked some little thing up, whether it be a new aesthetic idea, or a new production trick. Collaboration is the key to expanding your own creative horizons.
Speaking of collaboration, earlier this year, you teamed up with the Adelaide Symphony Orchestra for one night only to celebrate the 20th anniversary your debut album, ‘Feeding The Wolves’. Can you talk us through the ‘reimagining process’ when you bring a Symphony Orchestra into the fold?
That was such an incredibly magical experience! The ASO were incredible, and our conductor Vanessa (Scammell) was such a supportive and encouraging collaborator. The process began by having an amazing composer and arranger, Alex Turley, compose scores for my songs. Alex and chatted on the phone about direction and aesthetic sensibility, but he really took the lead and did an amazing job. I can’t read music, so he rendered out midi files for me to rehearse to at home, and then it was time to get to Adelaide and rehearse with the ASO. It’s a pretty intense and challenging experience, but it turned out so well! It was a really emotional and gratifying performance, one of my favourite performances ever.
You’ve always had a lyrical storytelling style. Has your songwriting approach changed over time, especially in the digital age of music?
I just follow my gut when it comes to writing songs. Every time I’ve ever tried to do something that fits with what’s on trend, I just feel it’s not authentic and I scrap it. I realised a long time ago that if you want a long career, you need to write songs that you can stand by in 20, 30 years in the future. You can change how you perform them, but the lyrics in particular need to stand the test of time, and the only way I know how to do that is to trust my gut. So really my approach has stayed the same, and any evolution in my style has just been in line with my own evolution as a human.
You’ve been instrumental in the establishment and delivery of ‘Busking For Change’ – which sees primary schools across the country learn a song in English and Kriol while raising funds to support the Indigenous Literacy Foundation. How is the 2025 program shaping up?
Yes! Busking for Change is the project I’m most proud of out of all the things I’ve done! This year is shaping up really well with the song Country Tells Us When. I’d encourage anyone with school age kids, or who knows people with school aged kids to get on board! It’s super fun, and really educational too. Check out the Indigenous Literacy Foundation’s website for more details – CLICK HERE.
You’ve also ventured into the world of children’s literature and have published a number of children’s picture books including “Lights Out, Leonard”. How does this compare to the creative process compare to writing music?
It’s a really lovely world to be in. I’ve released 10 books now, with 2 more to be released this year. It’s a very different process, in that once a book is out, you don’t really go out and “tour” on it like you do with an album. So, in a way it’s a bit more hands off. You write the book, collaborate with the illustrators, and then release it into the world and see where it ends up. My books have been translated into German, Chinese, Korean, Dutch, Italian and Portuguese, so they’ve ended up in some pretty amazing places!
You’re set to play at Stone & Wood’s iconic Festival Of The Stone, bringing together a killer line-up of homegrown talent as well as the annual unveiling of the latest batch of Stone Beer—all while raising funds for Byron Bay’s Fletcher Street Cottage. What are you looking forward to most about the event?
I love Byron, having spent a lot of time there over the years, so it’s always nice to get back. I’m looking forward to playing with my full band again too. I’ve just been in the UK and Europe doing a solo tour, so it will be fun playing with drums and electric guitars again. I’m also keen to support the Fletcher Street Cottage, which is a great cause, so there’s a lot to look forward to!
Reflecting on your career to date, tell us about one moment—on stage or off—that reaffirmed your belief in music’s power to bring people together or inspire change?
There have been so many amazing experiences over the last 20 years, but very recently I was playing in Paris, and the PA cut out, and I finished the set acoustically, playing down on the dance floor, surrounded by the punters. It was really magical seeing how we were all connected in that moment. After the show, a Dad and his son came up, and they’d flown in from the UK to see the show, as it was the only All Ages show on the tour, and I realised that my show was an opportunity for this Dad to have a cool experience with his kid, and as a father myself I found this profoundly moving. I think music and art is the thing we need to protect most at this point in history.
Looking ahead, what’s on the cards for you? Any new music or tours in the works?
Lots on the cards! I’ve been chipping away at a new album, recording with Chris Collins in Byron Bay actually! I have a tour in support of the 20-year Anniversary of Feeding The Wolves being announced imminently (keep your eyes peeled!) I have a podcast launching soon with my mate, comedian Cameron James, and as I mentioned I have 2 books being released in 2025 too! Phew!!
As Josh Pyke reflects on a career spanning two decades, it’s clear his journey is far from finished. With new projects in music, literature, and a podcast on the way, his drive to create and connect with audiences continues to flourish, shaping the next chapter of his artistic legacy – and we can’t wait to see what’s to come!
FESTIVAL OF THE STONE
Saturday 14 June, 2025
Centennial Circuit, Byron Bay (Cavanbah)
Old Mervs | Josh Pyke
The Belair Lipbombs
DUST | Felony.
Strayfold
TICKETS ON SALE NOW
$65 (18+) | $30 (12-17) | free under 12
With thanks to Scrabble PR
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