Emily's scaling Hillsides and Mountains
Melbourne singer, songwriter and Champion of Australian music, Emily Ulman has unveiled her brand new single ‘MOUNTAINS MOUNTAINS MOUNTAINS’. The new track is a second taste for fans of her forthcoming album which is scheduled for delivery later this year. We got the opportunity to fire some questions at the talented artist and advocate, were we asked her about her return to the other side of the microphone, the new music she’s delivering, and the best and worst parts of making music in this country.
Firstly,Emily congratulations on the release of your new single 'MOUNTAINS MOUNTAINS MOUNTAINS', how has the song been received by your fans?
Thank you so much. It’s been surprisingly emotional. A lot of people have reached out saying how happy they are that I’m releasing music again after such a long break, which has been really touching. Some people who’ve known me through my work in the industry didn’t even realise I was a musician, which is both funny and a little disorienting. It’s strange being on the other side after so many years behind the scenes. Funnily, I wrote the song while thinking about that Japanese proverb, “The reverse side has a reverse side,” and now it feels like I’m living that idea. A bit inside out. A bit upside down. But in the best way.
What inspired the writing of this song?
It started with that Japanese proverb. I couldn’t stop thinking about it. The idea that nothing is ever just one thing, that there’s always another angle or another truth waiting underneath, really struck me. I went on a picnic with some friends and was immediately taken with the mountains. The Australian country landscape became a kind of metaphor for that tension: the beauty and the decay, the pristine and the overgrown.
“I kept second-guessing everything and whether I even had the right to call myself a musician again”
Did you face any challenges bringing the track to life?
Omg constantly. The biggest challenge was getting out of my own way. Not just with this track but in general. After not releasing music for so long, I kept second-guessing everything and whether I even had the right to call myself a musician again. It’s so annoying when we’re our own harshest and hardest critics. But once I was in the studio with the right people, the noise started to quiet down. The song took the lead and I just followed.
'MOUNTAINS MOUNTAINS MOUNTAINS' features on your new album 'Every Hillside' which you unveiled in March, tell us more about the new album. Does it have a concurrent theme? Do you have any songs that particularly stand out for you?
Actually, Every Hillside is the name of the first single I released in March. The album itself is due out later this year and I’ll be revealing the title soon. As a collection, the songs contain a lot of imagery that leans into landscapes: mountains, fire, lakes, hillsides, vast skies, with place and space as thematic touchstones. I love the idea of pebbling and dropping singles over the journey, but I cannot wait to release the album later in 2025.
Were there any fun or unusual moments during the recording process?
I would joke in the studio that every day felt like I was in a day spa. I felt so pampered and indulgent working with this team of supremely talented humans, all focusing on my music and creativity. So many wow moments that I was constantly squealing and in a ridiculous state of perpetual awe.
“even though I wasn’t releasing music, I was still writing and always thinking creatively”
What made now the right time to step back in front of the microphone?
Hmm that's a great question. I guess even though I wasn't releasing music, I was still writing and always thinking creatively. But what made now the right time? I hope now is the right time haha. I'm not sure it's a decision I even made, just a pervasive itch I need to scratch. Or a dripping tap I couldn’t keep ignoring.
Will you be touring for the new body of work?
Definitely. That’s the plan. I’m starting with a few intimate shows to ease back into it and remember how to play on stage again. Once the album is out later this year, I plan to take it on the road and play it live in as many places as will have me. There’s nothing quite like sharing songs in a room while trying not to lose your tiny mind in front of an audience. Like therapy with strangers and a PA system.
“I truly believe in the power and brilliance of what is being made here, and I would not want to make music anywhere else.”
Emily, you have been a massive advocate of Australian music and Australia Artists/Bands, what are the pro's and con's of being a music maker in this country?
Thank you. I feel incredibly lucky to be part of such a vibrant music community here in Australia. One of the biggest pros is the talent itself. There is so much creativity in this country across every genre, and the support networks among artists and the wider industry are strong. We really do show up for each other.
The cons are probably the familiar ones. The size of the market can be limiting, and it can be hard to sustain a long-term career here without eventually looking outward. The geographic distance makes touring or performing overseas difficult and expensive. Sometimes it feels like we have to fight a little harder to be heard in our own backyard. But I truly believe in the power and brilliance of what is being made here, and I would not want to make music anywhere else.
Do you think the 25% minimum quota of Australian music on our radio stations is a fair number given the ever-expanding talent pool we have in this country? Would you like to see that number increased or even a dedicated Aussie station?
I think 25 percent feels outdated, especially considering the sheer volume and quality of music being made in this country. It should be the floor, not the ceiling. There is so much talent here, and yet Australian artists still struggle to get (consistent) airplay on commercial radio. I would absolutely love to see that number increased, and yes, a dedicated Aussie station would be incredible. But more than anything, I’d like to see quotas actually adhered to in meaningful ways, not just tucked away in off-peak hours. If we want to champion local voices, we have to give people a chance to actually hear them.
What are your thoughts on streaming services? Are they helping or hurting the industry?
Ooft, tricky. Streaming services are complicated. On one hand, they’ve made music more accessible than ever, and that’s a powerful thing. It’s easier to discover new artists, build audiences across borders, and share your work instantly. New fans are finding me just as I’m discovering new music I love. But the current model itself is deeply flawed. The payout structure is not sustainable for most artists, and it often feels like the value of music has been reduced to background noise. That said, there are some great initiatives and playlists out there that are really trying to help local artists break through. We just need more of that energy, and more platforms willing to put artist development at the centre of what they do.
“there’s this perverse expectation to be endlessly visible, when so much of music-making actually happens in quiet, private moments”
What role do you think social media plays in the life and career of an artist in 2025? Is there a pressure to always be online and available?
Social media plays a huge role in the life and career of an artist in 2025. It can be a brilliant tool for connection, storytelling and discovery, and I’ve definitely found and connected with listeners I wouldn’t have reached otherwise. But yes, the pressure to always be online and available is very real. I was thinking recently that there’s this perverse expectation to be endlessly visible, when so much of music-making actually happens in quiet, private moments. I think my current challenge is finding a rhythm that allows for both. Being present without being consumed.
What advice would you give to the artists and bands just starting out?
Surround yourself with people who inspire you, challenge you, and support your growth. Whether you're on stage or behind the scenes, the Australian music industry is full of the most brilliant minds and creative talents. Careers are built on relationships, and a strong community will help keep you motivated, supported, and always learning.
Career wise you have rostered for some of the best venues in the country including The Gassometer and The Prince Bandroom and devised the lineups for some of our greatest festivals such as Brunswick Music Festival and ALWAYS LIVE. How does the selection process work? How do you decide who makes it onto the stage?
It always starts with the artists. And also the audience. Who you're programming for and why. Every event or venue has its own identity, and part of the job is understanding what kind of experience you're trying to create and who you're trying to reach. Budget plays a role of course, as do the goals of the event or project. Whether it’s about discovery, celebration, community, mid-career artists, global stars or something else entirely. I look for artists who are doing something that feels vital, and then I try to build a lineup that feels generous, inspired, surprising and balanced in all the ways.
“Isol-Aid was the communal demonstration of how powerful music is when everything else feels like it’s falling apart.”
In 2021 you created and ran your own festival, Isol-Aid, which won the Best Festival Award at the Victorian Music Awards in 2021. What was that experience like and would you do it again?
It was intense, ridiculous, beautiful and completely surreal. Isol-Aid was born out of necessity during a time when everything felt uncertain, and became this weekly gathering that connected artists and audiences all over the globe. It was a huge amount of work, (emotional, logistical, and deeply personal), but also one of the most rewarding things I’ve ever been part of. Would I do it again? Firstly, let us never need to be locked down again. Secondly, maybe not exactly like that, but I’ll never stop finding ways to support artists and build community. Isol-Aid was the communal demonstration of how powerful music is when everything else feels like it’s falling apart.
You have also been the Excutive Program Director for Victoria's ALWAYS LIVE. Are Government initatives important to the survival of the Australian Music Industry and should other states being following suit given the success of the Victorian model?
Government initiatives like ALWAYS LIVE can play a valuable role in supporting the music ecosystem, especially when they focus on access, employment and lasting cultural impact. The Victorian model has shown what investment can do, and the real opportunity lies in building programs that are sustainable, inclusive and responsive to the whole industry. A balanced approach that supports both major moments and grassroots scenes will always create deeper, more lasting value for the state and the industry.
Who in your crew or team deserves a shout out but never gets one? And what is it they do that keeps your world turning?
Definitely the Ulmans (Ul pronounced like ultimate or unbelievable). All of them. Hyphenated, honorary, or otherwise. My family is the backstage, catering, moral support crew, and emergency logistics hotline rolled into one. The family chat is never not pinging, and I swear, though they never ask for credit, they keep the whole show running emotionally, practically, and sometimes literally.
What's next for Emily Ulman? What does the rest of the year look like for you?
Releasing more music, playing more shows, trying to remember how to be a performing artist again after a long break. I’ll be sharing more singles in the lead-up to the album release later this year, and taking the songs on the road. In between that, I’ll be making playlists, writing my substack, overthinking everything and continuing to champion the artists and community I love.
EMILY ULMAN - UPCOMING TOUR DATES:
02/06 MERRI CREEK TAVERN, NORTHCOTE VIC - Tickets
Stream: Mountains Mountains Mountains
Official single artwork: Emily Ulman
Interview by Michelle Symes
May 2025