The Australian singer’s new album, Looking For People to Unfollow, is a punchy rejection of ‘faux-sincerity’ and music being reduced to TikTok-able snippets
On the first Friday in May, a procession of tattooed, pierced and mostly 20-something devotees crowded into a beers-and-burgers dive bar in Sydney’s Newtown. What was originally billed as a listening party for Ecca Vandal’s second album, Looking For People to Unfollow, had evolved into a surprise live set. Bounding onstage, Vandal was a blur of movement and brilliant blue hair, locking eyes with fans in the front row as she, alongside bassist Richie Buxton and drummer Dan Maio, tore through new material with garage-band intensity. Less than 24 hours later, the trio swapped the intimacy of Newtown for an arena where they opened for Interpol and Deftones.
Despite the ease Vandal projects in rooms of any size, the pre-show jitters never disappear. “It’s a very challenging set that we play – musically, physically and vocally,” Vandal says. “Playing music people have never heard before is also a really big challenge. But those nerves just disappear when people are showing you love.”
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The Australian singer’s new album, Looking For People to Unfollow, is a punchy rejection of ‘faux-sincerity’ and music being reduced to TikTok-able snippetsOn the first Friday in May, a procession of tattooed, pierced...
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