Running Touch has also just released the second instalment of his Post Modern Collective Sessions.
Running Touch is one of the Australian music industry’s most talked about talents. The founding guitarist of renowned Australian nu-metal outfit Ocean Grove, over the last few years, Running Touch has been turning heads with his solo project.
Having just released the second instalment of his Post Modern Collective Sessions – a new video for his new single, ‘Juno’, featuring appearances from Hayden James, Vera Blue and US bass-playing aficionado Blu DeTiger – Running Touch now readies himself for his first live show in 11 months.
Before he takes to Sidney Myer Music Bowl on Friday February 5, we chatted to the established talent about how he navigated the chaos of 2020 and what’s next.
There’s no denying 2020 was a super tough year for the music industry, and it forced many of us to rethink and reimagine what we were doing. What was 2020 for Running Touch?
I think in retrospect it was a lot harder than I realised. I’m not alone there, I think creatives universally were dealing with a lot of doubt coated by persistence. I probably worked harder than I have ever but I also burned out harder than I ever had.
The year saw you release two new tracks in ‘Meet Me’ and ‘Signs’, but without live shows, the songs were confined to home speakers and headphones. If you were to never play another show again, could Running Touch’s music exist alone as MP3s?
I think they could, but this project is rooted in live performance… so I think it would never be the same… for now anyway!
What does the live setting do for your music?
It’s a release, a gauge, an experience and a tool. It’s a holistic virtue for most creatives. I do this mostly for how incredible it is to convert to a live setting and bring this to life. This project was built through live performance even more so than it was digitally.
You’ve kickstarted 2021 with the release of ‘Juno’ – a buoyant summer track that’s filled with pop culture references, revealing your interest for thriller novels and film. What was the inspiration behind the song?
Film, authors, art, The Mexico Trilogy, La Haine, The Birth of Venus (Sandro Botticelli), Tamara de Lempicka and the art deco era. I like the idea of alternate history, escapism in art. I wanted as much personality as I could in the song, so I brought inspiration from some greats.
Running Touch is characterised by danceable groove, with electronic beats accompanied by guitars and drums. You’ve got a knack for songcraft and writing effortless earworms, yet there is also lyrical depth to your music. What role do lyrics play in Running Touch?
It depends on the song, but I think when the song allows for it like in ‘Juno’ – lyrics are what I focus on most. It’s what I look back on the most and reflect on.
It’s been 11 months since you last played live, and your first Melbourne show back is at Sidney Myer Music Bowl which is no mean feat. What’s in store for the show?
A lot of newness and progression. This set is definitely a scale up on anything we’ve done before. I get to pack in everything we’ve done over this last year.
I see you’ve got a few festival slots coming up too. How are you feeling about these shows?
Incredible. Hopeful and grateful that the scene can get back to place stronger than it was before.
Beyond that, what’s 2021 looking like for Running Touch? Got anything else exciting in the works?
Working with as many people as I can and being as prolific as I can! The minute this album is done I’ll be starting another.
Running Touch comes to Sidney Myer Music Bowl as part of the Live at the Bowl series on Friday February 5. Grab tix here.
