An Interview That Cuts Through the Noise of the Industry –

In this exclusive interview, Audius peels back the polished exterior of the pop machine to speak candidly about the decades he’s spent helping shape Australia’s sonic identity. Known for penning some of the nation’s most unforgettable tracks, his name has long echoed through the halls of ARIA fame, yet his perspective remains grounded, generous, and fiercely passionate. As he steps further into the spotlight with his own releases, including the introspective single Trigger, he opens up about the shifting tides of songwriting, the quiet power of creative mentorship, and the silent battles artists face when they believe their worth lies across oceans.

Welcome to A&R Factory, Audius. It’s a pleasure to shine a light on an artist who’s shaped the sound of so many defining moments in Australian pop music. You’ve been a key part of some of Australia’s most unforgettable chart-toppers, from Born To Try to Running Back. When you reflect on those early successes, what emotions or memories still stand out most vividly for you?

I remember feeling quite overwhelmed, I knew I was good at what I did, but being trusted at such a level was full on. I guess what stood out was realising that at the core, we were all creatives reaching for the same thing. In those sessions, I made lifelong friendships. I also remember being enamoured by the process of how songs went from ideas to radio to Delta Goodrem winning ‘best single’ at the Aria awards and the first thing she said when she got up on stage was “Where’s Audius?!” There I was looking up at the big screen at myself wading through the tables to join her on stage. It was surreal as I said a few nervous words in front of so many people who I admired and respected. 

With over 15 years in the industry, what does songwriting mean to you now compared to when you first stepped into the studio as a young producer?

The music industry has a deep history of great songs. Artists are still referencing that database for inspiration so from that perspective, nothing much has changed. In the early 2000’s, the focus was on being recognised by a major label, getting signed and all the fame and fortune that came with it. The ‘Independent’ labels were also an option and functioned a little outside the box when it came to popular music. I think the biggest difference today is there is far more independent music being released and the term ‘Indi’ may just as easily refer to ‘Individual’ as 
Artists can effectively release and market their own music using very accessible distribution platforms for streaming. I believe this has freed up what was a far more rigid popular music format. Songs seem to be getting shorter and their structure changing to suit shortening attention spans and viral trends on social media. 

Working with artists like Delta Goodrem and Jessica Mauboy placed you at the heart of mainstream pop. How has your creative instinct evolved as you’ve started releasing your own music independently?

I’ve continued to work with young emerging artists, most of them are releasing their own music. Seeing their untethered approach and total creative control has inspired me to do the same. The mainstream industry is a well oiled machine that serves its function well. The independent artist however is like a kid in a candy shop, nothing stops them from exploring any angle. This doesn’t necessarily make the process easier but opens up individual artistic expression in a way that is accelerating the art form. Social media is driving the bus- so the listener is sometimes doing the asking through virility and trend, instead of just receiving what’s put out. That’s what has inspired me to do the same, I’ve dug deep into my own artistic expression have dared to release.

Your recent single Trigger marks another chapter. What were the emotional or creative catalysts behind writing and releasing this track?

I’ve been on a journey of self reflection, understanding my own human traits and how I may be unique, but still so much the same as everyone. I believe we all have triggers that are a result of unprocessed trauma or stress since childhood. It’s like a defensive mechanism or a way to cope – like a fight or flight reaction. I think all relationships are riddled with triggers that cause even more triggers if unidentified. So I went on a journey to discover my own- and find the source of each trigger. I found ‘triggers’ to be a quirky human trait and put it to song. 

You’re actively involved in mentoring through the APRA AMCOS SongMakers programme. How important is it for you to pass on knowledge, and what has the experience taught you about your own practice?

I find nothing more gratifying than imparting knowledge that would otherwise take forever to learn through trial and error. I found out so much the hard way so I’m motivated to help young creatives reach their goal sooner. I see it as bridging a gap. Sometimes an artist just needs to be told ‘it’s ok, you’re good enough’. Through the SongMakers program, young creatives can get the reassurance and guidance they need to know they are on the right path. There is so much mysticism around how to succeed in writing and producing songs. Demystifying misleading myths can make such a difference in a youngsters creative process. 

The music industry has shifted dramatically since you began. What would you say is lacking in the industry 2025?

Creatively there’s nothing lacking. The only thing missing is a truely supportive local industry that puts our own creatives on the same platform as overseas artists. I’ve travelled the world and written with so many greats and there’s never an implied superiority system in any writing session. So long as we’ve all been listening to music and playing the same instrument, we are all just as capable. The stigma however still stands that a USA artist or producer is better than any Australian. Hats off to the USA industry for believing in themselves so much that they made us believe they are the best. It’s time however that we stop our young artists from believing that the only way they will ever make it is if they go to America – or anywhere else.  If we devote the same principals instilled in young Rugby players or Cricketers to being the best in the world as Australians, we could see a turnaround in perspective and start filling our own radio stations and stadiums with our own talent. 

Has there been a turning point that reshaped your relationship with the craft of songwriting or the way you approach a project?

Yes, I’ve come to realise that creativity is best left to its own individualistic expression. As a producer, I’m now more keen to help the artist express themselves instead of trying to fit them into what I think works best. I use all my abilities and wisdom to assist their vision. When the respect is mutual in that way, magic just happens. 

You’ve spent years shaping the sound and success of others. What made you decide it was time to step out front and release music under your own name?

I guess it’s an itch that never scratched, I was always enamoured by all aspects of the industry and have thoroughly enjoyed producing and writing. In all honesty that is still my passion but I couldn’t silence the artist in me. I’ll continue to write and produce great music for other artists but also take time to show my own individuality. 

Looking at the digital landscape today, what forms of recognition or connection matter most to you as an artist who’s spent so long behind the scenes?

Like all artists I’m on a pilgrimage to find the viral/trend Pandora’s box on social media platforms such as TikTok and Instagram. To wake up one day and find that my piece of art has captured the world’s attention! Or being added to radio across the board! That would be awesome. It’s a nice thought but what drives me most is the idea of being in the game not to win it, but instead be a part of the love for it. Fame and fortune can be a distraction to what Is potentially a loving, honest and integrity based art from. 

–

Tune into Audius’ sound on Spotify, or discover more about the artist on Wikipedia.

Interview by Amelia Vandergast