A Quick Chat with Domini Forster

Can you tell us a bit about your inspiration for your album ‘The Lonely’?
These songs came out of a time when I was struggling with anxiety myself, and also working in the mental health and community music sphere, mentoring songwriters living with mental health challenges. I was supporting people to share their stories of struggle with the human condition, and the more I heard, the more it struck me that loneliness was so often at the core of them. It was often a big part of why people became unwell in the first place, and then their isolation was exacerbated by their declining mental health. It creates this self-perpetuating cycle that’s really hard to break out of.
So the theme of connection and disconnection comes up over and over again on the album. That work also reinforced the cathartic power of songwriting for me. Vulnerability in art can be like mutual therapy of a kind, creating this connection where both the storyteller and the audience feel more seen and understood. Less uniquely broken, and less alone in their struggle. I’m hoping this album does that for people in the same way that some of my favourite albums have for me.

What are your influences and how do they affect your songwriting?
My biggest influences as a songwriter are probably Laura Marling and Sufjan Stevens. I’ve been listening to both artists since I was a teenager. Laura’s lyrics have been a bit of a north star for me – they move between poetic and direct in a way that seems to cut to the core of things emotionally. Sufjan is more of an influence in the world of orchestration. I love the detail of his albums, especially Carrie and Lowell, which is a feast of fingerpicked acoustic instruments and harmonies.

What’s the creative process like for you?
I’m definitely a bit obsessive when I’m writing a song. I’ll play a half-finished song almost continuously until the next part comes to me. Sometimes I even listen to the voice memo on repeat on public transport whilst madly typing a bunch of potential lyrics into my notes app.
It’s not always easy to get into a flow state though. I find that it’s important to sit down and try to write as often as possible, because I never know when inspiration is going to strike.

If you could change something about the Australian music industry what would it be?
Just one? Haha. I’d love artists to be paid proper royalties for streaming.

What do you think life would be like for you if you didn’t have music as an outlet?
Music is such a huge part of my life – it’s hard to imagine honestly. I write, perform and record music, and on the side I play Irish fiddle. My friendship circle is also full of musicians, so there’s a lot of social playing that happens. I think if I didn’t have music I’d have to pursue another creative outlet. I love linocut printing and embroidery, so maybe I’d upscale one of those hobbies…

Is there anyone you would like to collaborate with? Why?
I’ve recently fallen in love with Adrianne Lenker’s music. Her lyrics are so creative and playful, and simultaneously so poignant and emotionally communicative. I’d love to write something with her, although it’d be a bit daunting too.

What’s your advice to young people who want to make a career for themselves in the industry?
Community support is really important. Find mentors, and connect with other musicians in your local scene. It can be great to set up some structured support too, like a WhatsApp chat where you can swap advice and tips. Also, one of the most useful pieces of advice I’ve been given as an artist is to perform from a place of confidence and generosity, rather than trying to make people like you.

Who’s the most interesting person you’ve worked with/met?
It was a pretty incredible experience to meet Nigel Westlake – the celebrated Australian classical and film composer. I had the pleasure of being part of a concert at the Sydney Opera House in which he and Lior (another exciting person I’ve been lucky enough to work with) were premiering their collaborative project Compassion with the SSO. I sung in the first half of the concert with Lior, and then watched the premiere of their work, which made me cry about 15 minutes in – it was such a powerful and emotional piece.
I was really struck by how friendly and welcoming Nigel was though. For someone so accomplished and celebrated, he was just super down-to-earth and really made an effort to make me feel welcome backstage and in rehearsals.

Any plans for a bigger tour on the cards?
I’m definitely keen to tour the album more, and I’d love to take the band on the road with me too. We’re playing a launch show in Melbourne at the Northcote Social Club on 10 July, and the band has been sounding so great in rehearsals! So stay tuned…