INTERVIEW: Jannah Beth returns with new single 'Vintage Red Clubman': "I’m really happy for me that I've made this…it’s given me such a huge confidence boost and sense of self and direction again"

Interview: Shalane Connors
Published: 12 March 2026

Australian artist Jannah Beth has recently released her first new music in over three years with the single ‘Vintage Red Clubman’. It is the first taste of her upcoming EP Orbits & Echoes, due for release on 9 April.

Written by Beth with Andrew Meyer and Jeauneil Baptiste, ‘Vintage Red Clubman’ is a dreamy electronic-synth-pop track with regular flashes of 1980s synthpop, while remaining completely contemporary. Inspired by dreaming about her partner’s life before she was part of it, the song explores her realisation of how important he has become to her ‘Might fuck around and wife that dude…I question everything / But I don’t question you’.

“Today is my 8 year anniversary with Drew and I couldn’t do any of it without him,” Beth said on the song’s release. “The least I could do is dedicate this song to us - in a world where I question everything I have the privilege of being certain about my human.”

Beth first released music in 2016 but has spent the last few years immersed in the local music scene, including working at Elefant Traks, and founding NSW artist-led studio hub Offbeat Collective. At the end of 2024 she says “something clicked’ for her which allowed her to find creative balance. Her upcoming EP Orbits & Echoes was the result.

Created by writing through collaboration and place rather than with a fixed concept, the first step in the EP’s creation was with producer Andrew Meyer in Aotearoa, where ten songs were written in ten days. Beth then refined the collection with close collaborator Jeauneil Baptiste in the Blue Mountains. With a focus on repetition and return rather than linear narrative, the EP is Beth surrendering to trust - in collaboration, process, and letting songs reveal themselves in time.

A fantastically diverse artist with music that explores rap, R&B, soul and electronic pop, Beth’s return to creating music is a joy, with her upcoming EP guaranteed to be a gem. Shalane Connors recently met up with Beth to chat all about the EP and her music career to date.

Hi Jannah! How are you doing?
I'm doing very well. Definitely a crazy, busy time, but thanks so much for making time for me, it’s so exciting.

Congratulations on the release of your new single ‘Vintage Red Clubman’. You've been taking a bit of a break from your own music the last few years, talk me through that decision and the impact that that's had on you as an artist.
There's been some parts where it was a conscious decision, and other parts where it was sort of a realisation, accepting and going on the journey that the last few years has been. In 2021, I put out my first EP, and was able to tour that after Covid, which was really exciting, and then I went for this A&R and sync role at Elefant Traks, which is a label that I've looked up to for a really long time. So I was juggling that at the same time as a space that I had founded in Marrickville called Offbeat Collective, which was made up of six artist studios. That was just a whole crazy thing on its own that was also accidental. I think that was the beginnings of really focusing on building and supporting all of those ecosystems just naturally, that wasn't really the plan.

As I got deeper into that, started working with a lot of artists, created a label and all these artist programmes, I made a decision that it wasn't the right time for me to throw in creating and making music on my own. Something clicked about a year ago, where I took myself over to Auckland, linked up with producer and songwriter Andrew Meyer and was literally crying ‘I don't know if I can do this!’ It was quite scary, but I came out with this beautiful EP. Something clicked, there's a balance there, and now I'm juggling all the things, but much more at peace now that I'm making music.

Songwriting for so many artists is quite a solitary act, and you've been very much embedded in musical community with a whole bunch of artists. Has that collaborative experience and facilitating other people's projects bled into your own work?
Absolutely. I think the two inform each other so much, hey mesh together. I don't think I would be able to support other artists if I didn't go through the experience of what that's like myself. But at the same time, supporting other artists has really helped bridge a little bit of understanding and how I can approach and maybe detach a little bit from some of the business world when I'm in my artist seat. I would recommend for every artist to mentor another artist or to coach another artist for what you get out of it for your own practice and your own approach, it's a really, great experience. They definitely mix and meld, and I definitely wouldn't have one without the other.

It’s also got that element of because it's not personal to you, as someone else's art, being able to see the bigger picture and not being so intensely worried and connected to the outcome.
Totally, it's outcome, it's also maybe process, intention. You are always going to give your best friend better advice than you give yourself. Once you spend what feels like the last five years being on that side of that process with artists, it's meant I can coach myself a little bit more now to have that perspective. And that's great, because it's nice just to be caught up in the things that matter the most when you're writing music.

In a weird way, I think I've always liked it. I signed myself out of school when I was in Year 10, and went and studied a Diploma of Music Business at TAFE, so even back then, 17 year old me was going okay. I really want to learn what this part is so you can still treat that part of it like an art form as well.

Let’s talk about the single ‘Vintage Red Clubman’, I want to talk about the production choices on this. It's really interesting track, it starts off as one song, and then very quickly builds into this entirely other thing. It gets sparse and then it really builds, it's so cool. Talk me through the sonic choices on this track.
The track was made about a year ago in Auckland with Andrew, and then we had a second phase of working on the tracks up at my place here in the Blue Mountains with another collaborator Jeauneil Baptiste. I knew he was going to add some really cool layers and sounds. And so we spent a couple of days with him, and he basically just kind of put all these layers down. I was just sitting in the living room alone, and just got this inspiration to essentially reorder the whole song and just make use of these different layers and bring them out. From the build where I sing ‘I question everything, but I don't question you’, it just felt like a repeated motif, and I just played around with the arrangement, bringing different things in. I was super stoked with that, because it can be a confusing thing to rearrange a song that was already one way, but once I put it that way, I was like, ‘job done!’. It felt really finished at that point.

Your EP, Orbits & Echoes is coming out on 9th of April, and you developed this in a session that you've called ‘instinct led’. Talk me through the process of writing by instinct.
Over the last couple of years, whenever I went to sessions, I was trying to write a song. Whereas, when we were in this studio space that Andrew set up, it just became freestyle, jamming, and that quite quickly formed into the songs that we're hearing. Two of them are pretty much just the actual raw freestyle. We didn't really have any goals to write a specific thing or a specific song or a specific meaning or message. So it really was just what came up in those sessions and through that process, which was definitely guided by instinct. We wrote about 10 songs in 10 days, just that same process, all the way along. And the songs we were left with were the final ones I decided that we should put together.

I'm interested to know what first got you onto the electronic path, because it is one of those genres that you become interested in, either as a teenager or later in life. What was that point for you? And was there another genre of music that you lent towards before that?
Definitely year 10. I don't know how, because I didn't really have a huge relationship to music, we were all listening to John Mayer and playing guitars and that kind of thing. But still, somehow Subtract, the amazing UK electronic producer and artist made his way into my orbit and and has never left. I used to just listen to that constantly, and still do.

I still didn't really know how to make music like that at the time, just with my guitar and so I slowly got into production and playing drums. Orbits & Echoes is definitely the most in line with that inspiration that I've managed to pull together.

Who were your idols before that?
Definitely. Lily Allen, Missy. Higgins, John Mayer. I also loved R&B as well, that's always been in there. I didn't grow up in a particularly musical family, we did go to church early on, and so I was in the church band. I did have a granddad who lived in Scotland who was a jazz banjo player, and he would gig a lot before my mum was born, so it’s definitely in there. Apparently he had a record that came out in the 60s and they lost all the copies, so I'm on quest. Help me find my granddad's record from the 60s! I'd love to hear what kind of music he was making.

You've just wrapped up a national tour supporting The Herd. What's it like to be back on the gig circuit, and what have you missed most about that experience?
You have your first show where it's the bad pancake - so that was the first show. But it just comes back to you, sort of like riding a bike, because you just get a muscle memory and a feel. The feeling I've been chasing most throughout the shows is being able to have that feeling that I felt when I wrote the music in the first place. Really being in the moment, leading with instinct, those kinds of things, instead of kind of analysing ‘there’s people, oh now they're watching me. Oh, my God, there's sound coming out of my mouth!’. It's better just to be in the moment. At the Sydney show, the second show of the tour, I felt really helped being in the moment. It's been really great, I love playing live, it's such a privilege and a blessing to be able to connect with people like that.

And what's coming up for you? We've obviously got the release of Orbits & Echoes, how are you hoping that people are going to respond to the EP?
I think this EP is another project that I feel like it's a bit like my diary, I can't really imagine people responding to it. It's a similar feeling I had with my first EP. I’m really just happy for me that I've made this, and it's given me such a huge confidence boost and sense of self and direction again. I am very excited because through this collaboration with Andrew, we have decided to form a duo and that's really going to be popping off from May. I’ll leave it at that, but it's just such an exciting project that I am way more in tune with how I feel like that will be received. That one exists a lot more in my mind's eye, outside of my bedroom than what my own project does.

So will you be doing a solo tour and the duo?
Yeah, I'll just be doing a couple of solo shows here, and then I’m heading over to the UK and juggling both projects over there. There will be a South by Southwest London performance as well on June 5, which is co-curated with One Off Traks, which is our writing camp that we run, and New Gen Artistry. We're taking seven artists from Sydney over to London to perform. So super exciting and busy year. It’s juggling both projects for a little bit, but I think they neatly fit into each other, in the sense that Andrew and I created both of them. Just the vehicle has changed a little bit.

That's so amazing. The music community is such a wonderful part thing to be a part of, but you're actively creating community yourself through this camp and the all opportunities that gets. What a cool many jobs you have!
Yeah, it's kind of funny, I found my first little business plan from probably around the same time as doing TAFE, in a drawer when I moved recently this year, and I was like, holy shit. I wrote this stuff down, like 15 years ago! So it's pretty crazy that I didn't feel like it was intentionally being built the whole time, as I said before, it felt like Offbeat was an accident, so to see that it actually was in the back of my mind for quite a while, and now it's happening.

'Vintage Red Clubman' is out now, You can download and stream here
Orbits & Echoes will be released on 9 April. You can pre-order now here.
Follow Jannah Beth on Instagram