With the release of their long-awaited self-titled debut album, New Zealand four-piece Borderline reach a defining moment. Written over two years of growth, experimentation and self-discovery, the record captures a band that has finally found its identity, blending everything from classic pop and rock to R&B and indie into a sound that’s unmistakably their own. Fresh from a 14-date North American tour and preparing to bring their biggest live show yet to Australia, Borderline sat down with Futuremag to talk about the making of their debut, the stories behind the music, life on the road and why Borderline feels like the perfect introduction to who they are today.
Futuremag: Congratulations on your debut album! How does it feel knowing this collection of songs is finally out in the world after spending so long working on it?
Borderline: Thank you! It feels incredibly special. This album has taken a long time to make, and we’ve put so much work into getting not only the music right, but also all the visuals that go alongside it. We’re really proud of how it’s turned out, and it’s exciting to finally have people listening to it.
Futuremag: The debut is self-titled. Why did you decide to call it Borderline, and what does that name represent for you as a band in 2026?
Borderline: We went through a few different ideas for the album title, but nothing really stuck. As soon as we suggested making it self-titled, everyone immediately agreed. It just felt right. This is the first project where we’ve really found our sound. It feels like the first record that’s unmistakably Borderline. It’s a mix of different genres and influences, but it’s all us writing whatever we genuinely want to write. The album was created over about two years, during a period where we grew a lot both as individuals and as a band, so it feels like we’ve come out the other side with a much clearer sense of who we are. Calling it Borderline felt like the most honest choice.
Futuremag: For anyone discovering you for the first time, how would you describe what Borderline is all about?
Borderline: We’re four guys from New Zealand who’ve known each other for a long time, and we make music that draws from a really wide range of influences. What’s unique is that we all come from completely different musical backgrounds. Matt grew up playing metal and blues, Jackson was into rock and funk, Max studied jazz saxophone at university, and Sam was uploading Ed Sheeran covers to YouTube. None of us came from exactly the same scene, so when we started writing together we had all these different inspirations to pull from. That diversity is what makes Borderline. We write the music we genuinely want to hear, and because of that we hope there’s something in our catalogue that everyone can connect with. Even though our influences are different, we’re all on the same wavelength creatively, so it comes together naturally.
Futuremag: Were there any unexpected sounds or influences that ended up working surprisingly well on the album?
Borderline: Definitely. At one point someone became obsessed with a particular Justin Timberlake album and insisted on playing it every time we got in the car. Eventually that influence made its way into the writing sessions. We ended up writing two songs on consecutive days that both made the album, and one of them, ‘Skyline’, leaned heavily into early-2000s R&B with really tight vocal harmonies. It was a completely new direction for us, but it felt so natural. There are also lots of unexpected instruments throughout the record. We sampled flute, used mandolin, ukulele and plenty of other sounds we never imagined we’d include. Somehow it all fits because it’s still us playing and writing everything.
Futuremag: The album has some obvious classic influences, but it still feels modern. How do you balance those two worlds?
Borderline: We love older music, but we never set out to recreate it. We spend more time talking about what we love about those records rather than trying to sound exactly like them. For example, we take inspiration from bands like The Beatles, but instead of making a modern copy, we borrow the elements we connect with and build something that’s our own. A big part of the sound also comes from the recording process. Almost everything was played live by the four of us in the room. Even the synths were real instruments that we were experimenting with together rather than relying on programmed sounds. Working with producer Nick Manders was a huge part of that balance too. He has an incredible understanding of classic recording techniques but also knows how to make them work within a modern pop production. That combination really helped shape the record.
Futuremag: ‘That Girl’ has a fantastic music video with a Scooby-Doo-style haunted house vibe. What are some of your favourite memories from filming it?
Borderline: That video was by far the biggest production we’ve ever done. We had a crew of around 20 people and spent an entire day and night filming at Spookers in New Zealand, which is an abandoned asylum that’s now a haunted attraction. Thankfully there weren’t any actors trying to scare us while we were filming. We did enough of that ourselves. It was such a huge production, shooting across different parts of the location all at once, but it was also one of the most enjoyable days we’ve ever had. Our creative director, Tom, has overseen all the visual content for this album, and he knew “That Girl” needed the biggest scope because of how cinematic the song feels. We definitely invested most of our music video budget into that one, so we were a little nervous, but when we saw the first edit we watched it over and over again. We’re incredibly proud of how it turned out.
Futuremag: You recently wrapped up a 14-date North American tour. What were some of the biggest lessons you took away from that experience?
Borderline: It was an amazing experience. It was our first proper bus tour, so instead of flying between cities we got to travel across the country together, see everything in between and really experience touring in a different way. It also taught us a lot about pacing ourselves. Playing shows almost every night for a month means you have to learn when to rest and look after yourself. The biggest achievement, though, is probably that we didn’t kill each other. Living together on a moving bus for a month is a pretty good test of friendship, and thankfully we all survived with only a few near falls from the bunks.
Futuremag: What advice would you give to younger bands about staying close while spending so much time together on the road?
Borderline: Communication is everything. After years together we’ve learned each other’s personalities really well, and we know when to push each other’s buttons and when to back off. Being in a band is almost like a four-way marriage. You’re working together, travelling together and often living together, so it’s important to be honest about how you’re feeling instead of letting frustrations build up. Sleep is another big one. It’s easy to stay up talking every night on tour, but getting proper rest makes a huge difference. Most importantly, don’t bottle things up. If something’s bothering you, talk about it straight away. That’s what keeps everything healthy. And bring a Nintendo Switch. Mario Kart can either save the tour or destroy it, but we’d still recommend it.
Futuremag: You’re bringing the tour to Australia next. What can fans expect from the live show that they won’t get just from listening to the album?
Borderline: This is definitely the biggest and best show we’ve ever put together. It’s the first time we’ll be performing the entire album live, and we’ve created new arrangements, transitions and moments that expand on what’s on the record. We don’t like simply playing one song after another. We want the whole show to feel like one evolving experience. We’ve put a huge amount of rehearsal into making everything flow, and there are plenty of surprises that people will only get by seeing it live.
Futuremag: Finally, what’s the biggest thing you hope people take away from the tour?
Borderline: Apart from maybe some merch? (Laughs.) More than anything, we want people to leave with great memories. We want every show to feel like an experience people remember long after it’s over. We’ve heard stories of people meeting at our gigs and becoming friends, and that’s one of the coolest things we could ask for. If our shows can become a place where people connect, make memories and leave excited for the next time we come back, then we’ve done our job.
