CREATIVE CONVERSATIONS 117: SARAH YAGKI ON TAKING CONTROL BACK AND THE BEAUTY OF ARTICULATING EXPERIENCES

Interview by Mark Griffin.

Sarah Yagki’s latest single, I Love You, I Lied, is deeply personal. Drawing on her own experiences with trauma and dysfunctional relationships, Sarah has used music as a way to reclaim her past and fuel her art.

More than that though, she’s managed to do it without being maudlin or overbearing—I Love You, I Lied, and the EP of the same name that’s coming soon, is straight indie-pop. Put simply, the themes may be heavy, but the songs bop.

I’ve been lucky enough to play in a few line-ups that featured Sarah, so I’ve seen up close how she translates the raw emotion of her lyrics into a high-energy pop performance. I was pleased to hear that energy hadn’t gone missing in the recording process.

In anticipation of the release of I Love You, I Lied—both the single and the EP—Sarah jumped on a Zoom call for a chat. It was 9pm when we’d arranged to talk, but it was clear immediately that the lateness of the hour was no hindrance to Sarah’s energy, nor to her capacity to articulate in detail her creative process.

What follows is an incredibly articulate (on Sarah’s part at least) discussion of the power of art and music to inspire, to allow us to reclaim our past and to stake a claim on our identities. And a warning, because of the personal nature of her music, we discuss her own struggles with Mental Health and past-trauma quite frankly.

FMM: Is it doing the thing? It’s going really slowly. Hang on a second, now, I’ve still got the little spinny wheel of nonsense. There we go. Recording. Awesome

Sarah: Amazing. Wait. I think my internet is having a moment.

FMM: That’s alright. Oh yeah, you just froze, that’s fun. It’s always the worst possible face too, oh there we go. Hello!

Sarah: There we go. *laughs*

FMM: That was a really funny face for a second, it was good.

Sarah: Oh no, it’s late as night as well. So I feel like a lot of energy for some reason. So I’m like poor Mark. He’s gonna see me like pew pew pew. *laser noises, hand gestures*

At this point in the interview, I already knew we were in for a good chat.

FMM: Oh no, that’s fine. Are you a morning person or an evening person?

Sarah: I’m kind of an all person I think. I work a lot along with my music, so it's sort of like I'll wake up and I try and get into a waking up at six thirty, seven routine. To keep on top of like health and making sure that as an artist, I'm staying on top of that. But I also do stuff really late at night too,  like gigs and… he's hiding at the moment, but tonight I actually have my drummer over because we're getting all the tracks ready for the show that we have coming up. 

FMM: Oh, sick. 

Sarah: So yeah. But it's sort of like a whichever one I kind of need to be, but late at night I feel like my energy just kind of like picks up a little bit more.

FMM: *laughs* Yeah. I think it's your brain's way of saying ‘fuck you, it’s bedtime coming.’

Sarah: *laughs*

FMM: So do you work from home or—
Sarah: —Right now? Or just in general?

FMM: Either or.

Sarah: So I work a couple of jobs: So full-time artist, full-time music publicist as you probably know.

FMM: I did. I did spot your name on a couple of emails. I was like oh that's so funny. That's Sarah. 

Sarah: *laughs* Um, I also do teaching, I teach, music to kids four days a week and then on the weekends I do covers gigs and work in retail. 

FMM: I feel like that's a really 21st century indie-artist story right there. 

Sarah: *laughs* It is. I used to work at a cafe which made it even more like that. But yeah, it's definitely just… I'm really lucky ‘cause I get to work in all aspects of things I love. So they're all music and everything that I do goes straight back into being an artist. That's my goal, that's what I'm focusing on. So I'm just really lucky that I love where I work as well. Like Good Intent [music PR] and I love the retail job because, I get to socialise with people. I actually had someone last week… Is this on off topic? Is this okay that I'm just babbling. 

FMM: Go for it. I haven't really officially started, but I'm sure I'll include most of this anyway, so let's go. 

Sarah: *laughs* I remember being at work last week… and it's happened a few times now, which is really exciting. But you know, when you're at work and you're kind of just like, I don't want anyone to talk to me, I just wanna be in my little cocoon. I feel gross. I, felt gross. And then someone at the cash register was, ‘you are Sara Yagki.’ And I was like, ‘yes I am.’

FMM: Do you get recognised often? 

Sarah: It's been happening a bit more, which is really nice. It was at retail that I had that, and then a couple weeks ago I have a really good friend that owned a bar in Sydney, like one of those underground cocktail bars, and I had a lot of people coming up to me just like congratulating me saying that they've been watching what's been happening and they really like what they see, which has been really nice as well. 

FMM: So is that mostly from social media or from live shows? 

Sarah: It's social media and live shows. So, I think right at the moment it's been a lot of social media, but when live shows do happen I feel like it's definitely another aspect of me as an artist that you don't really get to see on social media. I like to keep things quite minimal, especially because I am putting a lot of effort in trying to create the songs and work on those and work in general. But when it's live, there is that really big energy from the band, which I'm really grateful that I have them for and that just elevates everything that I do. Right. Which is insane. Which is great. 

I may have only been writing for FMM for a short while, but, at four minutes, Sarah had just broken the record for longest time talking without a question to prompt it. Even over the unreliable (as Sarah’s frequent internet drop outs demonstrated) medium of Zoom her energy was infectious.

FMM: Awesome. Well, we may as well kick off with some question questions. So, obviously you got the single coming up and the EP coming out. I was just having a listen to some of the tracks and they’re really cool. But there’s also a lot of personal themes going on. How do you find that? Does it feel like you're really exposing yourself putting this out there? Are you scared at all?

Sarah: I'm not so much scared. It's more that I've had to take a couple of, I guess a couple of different tries to find the best way to articulate these stories. I'm definitely an artist who wants to wear their heart on their sleeve. Like I wanna be able to rip out the stories that I have and share them and not just in that idea to, you know, that I love creating music, but that idea that I'm experiencing something that someone else will probably be experiencing and there's a way for them to connect. I think that especially in pop music, there's a lot of topics that don't really get spoken about a lot or as straight to the point. And a lot of the EP is that idea of, you know, I Love You, I Lied, is an example of where I'm looking at a relationship that I had and kind of taking that out and giving it to everyone that listens to it. And it is very much me trying to give myself in a vulnerable way to people that listen and set up that standard of my music. And as an artist where I go, I will let you take this from me if you will give me the chance to have you listen to it. 

FMM: Yeah. Okay. And I've noticed this sort of… this broader trend at the moment, which I think sort of really ties in with what you were saying, where pop music I think is becoming a little bit less, I Wanna Hold Your Hand and people are starting to sing about different stuff than the traditional love song. I think a lot of it's still very relationship-y based, but there's a little bit more going on with talking about (*lots of hand gestures*) artist’s own mental health or like toxic relationships and stuff like that. Is that something that you are noticing that you are sort of tapping into or is it just where you wanted to go anyway? 

Sarah: It's a bit of both. So, it's definitely where I wanted to go, but I think that it's been really great to see a lot of artists do that. And I had a friend a few weeks ago actually say something which I think was really great and which kind of, you know, envisions what I wanna do. Where a lot of my music before has been, there's been the other person that's sort of like that muse and where this single and the EP shifts to, along with the other singles that come after that, is that you realize that that person isn't just a muse in themselves but they're also reflecting a lot of yourself and then you are the muse through looking at them. And that's where that introspection comes into it. And I thought that that was such an interesting way to look at it. I definitely think that this EP and this single is that shift in my music, especially because the songs after the EP are already done so I know what's coming.

FMM: And obviously you've got a lot of gigs coming supporting this EP. Do you find it takes a lot more out of you on stage with more personal music or do you not think about it while you're performing? 

Sarah: It definitely takes it out of me in the way that I am… every time that I'm singing a song, every time that I'm performing I am put putting myself back in that situation. And for me and which is what I'm trying to speak about a lot more…

So, a lot of the way that I write is based off me kind of grabbing an experience, locking it down because I struggle to remember things. Especially because, I have a long background of c-PTSD [complex Post Traumatic Stress Disorder]. It's definitely a way that I can put a moment, pause it— and actually every time that I'm singing it, I'm letting myself relive that. Which is really beautiful in the way that I see that. And if I didn't have those songs, there's not a lot of me that thinks that I will be able to remember those exact emotions that I feel in those exact situations because with that [c-PTSD], I do have a lot of memory blanks. I do have a lot of memory gaps and I think that there's a lot of music that explores the anxiety side of mental health, the depression side of mental health, but specifically trauma-based situations and c-PTSD, I think that that's something that I really wanna share because these songs are not just songs for me, but they're memories that I may have forgotten about if I don't have these songs. So, every time I perform, when I'm putting myself back, putting myself back in those shoes…

FMM: …So instead of seeing it as sort of fresh trauma every time, for you it's a way to hold onto something that may be seen as a negative thing, but is actually a part of who you are, and you get to reclaim that. Is that it? 

Sarah: Definitely, and I think that there is that liberation in reclaiming those memories and there's that awareness where I know yes, that was something that was traumatic and is, and there's validation in that. But me being able to take, almost that control back and go, I'm performing this, I'm sharing this, I am able to use my lyrics and my words and my music to bring that to light in the way that I feel like it deserves. You know, I feel like that's something that's beautiful and I think, you know, having that space for people even to talk about that… I think that I've had a lot of people and friends that, you know, they'll bring up something traumatic or something that they don't wanna talk about and they're afraid of it. Getting the clap back of, oh that's too sad, that's too depressing, let's not talk about it. I'm like, well this is real and this is, you know, there's beauty in the way that we articulate those experiences, which is what I really want my music to do. 

FMM: Speaking of other people who have had, not the same, but similar experiences; do you find that you're surprised… obviously these songs are really specific in terms of what they are to you… but do you find you're surprised at other people's ability to latch onto them and say, oh actually that resonates with me? 

Sarah: I really do and I think that, I'm always surprised with lyrics. Lyrics are such a big part of how I write and how I… 

FMM: …Well, there was one specifically that I've written down here because it stuck out to me. It’s in the pre chorus of, I think it was, I Love You, I Lied. It goes, “I'm getting used to it. It's a habit, I'm getting used to you. It's a habit, nothing romantic.” And I was just thinking, I think there's a lot of people that can relate to feeling like that in a relationship, where it's sort of something where there's no deep emotion there, it's just you’re used to having that person around, which is assuming what you were talking about. 

Sarah: Definitely.

FMM: And is that one that you've found other people have brought up to as well? Or am I just weird there? 

Sarah: No, definitely they have and I think that especially in the EP there's always those like song grabs that I know that people love. So that's definitely one. And in Ecstasy, that track particularly is a popular one live. Most times when myself and my band are playing it, that's the one that people come up to and they're like, we love that song. Is it out? And I'm like, not yet. *laughs* I hate doing that. But in Ecstasy, there's this part that's like, “someone that I need won't sit and watch me bleed”. And I love that because it's that idea of like, when you are with someone and when you… you know a relationship or family or friend… it's like someone that cares about you won't just sit there and let you, you know, just watch you go through something.

FMM: Is that sort of like what you were saying before when you feel like sometimes people are afraid to bring up trauma because they'll get told that it's too sad and I don't wanna feel sad?

Sarah: Definitely. And I think that when, especially this year, my music is going to definitely take a focus on sharing a lot of stories about what I've been through that I haven't talked about before. Not in a way that I've been scared, but in a way that, I want to articulate that well enough for it to resonate to other people. And I think that especially relationship-based stuff, I remember when I was like…  We’ll go a bit of background on Sarah. Between 16, 17, nearly 18, I lived in a refuge for a couple of years, and it was a woman's refuge, and everyone was between the ages of 12 to 17 really. And they'd all been through different experiences, similar experiences, and I was very, very… I studied a lot, so I was in the books and I kind of saw people with similar backgrounds and how they handled it. 

And a lot of it was relationship based. There was a lot of, um, it was all girls. It was a lot of girls with a lot of trauma that they were holding and they just poured it in relationships and didn't really know how to get out of that. And it was just to see, you know, those sort of distinctions. Even now, even now that I'm in a better spot, I still remember being in that situation and talking to these girls and thinking about what they'd been through and how they handled it in relationships and that sort of trauma-based, you know? Habits that come up. And I think the, you know, it's not just for me that I write this music, but it's all those sorts of girls that I met and you know, who I could have could have been if I didn't have music. Because that's the thing that's kind of kept me going throughout everything. 

FMM: And then music in terms of giving you that, I guess sort of self-therapy, but also an escape and a way to express ideas… did it come to you as something where you were just looking at it as, I want to write and express myself? Or were there artists that inspired you, who you connected with and they're singing about ideas and then that then led you to writing? Which way did that happen for you? 

Sarah: It started with artists first. Growing up it was very much, I felt very isolated in the situations that I were was in. And there wasn't anyone else to talk to. So, when I was listening to music, it felt like I had someone else that could kind of speak to me in a way that no one else could. And I started trying to write myself and I didn't, you know, come from a musical background. No one in my family's musical because in that sort of socioeconomic situation, growing up in Centrelink, living in housing commission, you don't really get that, that's a luxury. And I fought for that. I was inspired by that by other people, but I fought for music as a way to feel like there is better, there can be better.

FMM: Were there specific guys that you remember getting hooked into?

Sarah: Vocally wise? I admit vocally wise, I loved Christina Aguilera. I loved her so much. And lyrically wise, and still to this day, I love this artist called Eden. Eden, I think, yeah, he has always been the longest inspiration for me. The way that he crafts his lyrics, the way that every single note and sound and production choice is all so purposeful to the story. I feel like that's something that really inspires me. 

FMM: Beautiful. And then in terms of your songwriting process now, I'm assuming lyrics first?

Sarah: It's kind of bit of both. So, lyrics first, or if I feel like I need to get a story out or I feel like there's a melody or something in my head, I'll sit at the piano, I'll play whatever chords I need to, to let the melody come, to let the story come. So there is always a way that lyrics will be first, but it just depends on the way that I get them out. 

FMM: And you've also got a pretty tight live band. Do you collaborate with them in the writing process or is it something where you are bringing them songs? 

Sarah: It's a bit of both. I think with my band it's been a lot of me bringing them songs and then sometimes I'll look at them, especially if a song that we got, we've got for the live show coming up that hasn't been heard before, there's space to play around with it. There's space to have creative interpretation in that. And that's something that I really want to do. So not just because my drummer is in the same space as me right now… but I am really grateful for my band and the way that they put that effort back into it. And I hope it is partly because they see how passionate that I am about my music and how, you know, it hasn't just been something that's now for me, it's something that's been that lifeline for me and something that I have fought for. And I think that my live band I have so much trust for, so it's, I'll bring them a song and I'll be like, is this shit? Am I allowed to say shit? I've just said it.

FMM: It's the internet. I think anything goes. *laughs*

Sarah: *laughs* A hundred percent. If this is shit, tell me. I want to know your thoughts, I want to know your feelings. Like I love the fact that as a solo artist, I have such a tight band because I want them to be as important. Like I want, like with live shows, I want the audience to see that I'm here but these guys are putting the amount of work to and put that behind me.

FMM: And do you find being a “quote unquote” woman in pop, being the only girl in the band? Is that a thing? 

Sarah: It's not too bad actually. I think that it definitely, I don't know, I haven't, the fact that I probably haven't recognized it being a thing is probably a good thing. 

At this point the video started freezing to remind us that the NBN is just dandy.

FMM:  Yeah. Okay, so they're, they're pretty chill when…

Sarah: Dunno if you, it's broken. Let—

FMM: No, I can see you as long as you can hear me. 

Sarah: Yeah, they're alright. Amazing! I can hear you. Yeah they're super chill. Like, um, yeah it is all predominantly I've got, female bassists. But the rest of them are all—

FMM: Oh no, I did lose you, Oh hang on. No, still going. It's a better freeze frame this time.

Sarah: Can you? *static noises*

FMM: I can hear you now. Hang on, I can't see you.

Sarah: I'm glad it's a better freeze frame.

And magically the internet began working again.

FMM: You’re back, I got, as far as female bassists. 

Sarah: Amazing. Um, yeah, I've got female bassists, but the rest of the boys, they're super chill. And I think it's because I spend time with them not just in rehearsals. Like my drummer and now my guitarist and I are pretty close because we do covers gigs together. And my keyboardist, my brand new one actually, he's been my best friend for five years. So yeah. They know how I work, and they know how passionate I feel. So yeah, I guess the fact that I don't really think about the fact that I'm a female front woman is a good thing. 

FMM:  Well yeah, I guess it means there's not that sort of tension there, which people, sometimes talk about. Something else that you brought up, which I think is an interesting point, was just the idea that growing up without financial resources… obviously music lessons and instruments are pretty freaking expensive. And anyone reading this later who doesn't know how expensive they are… it's very expensive. And you also mentioned before just how much work that you have to do to sustain a music career. How do you find managing this idea of trying to have a music career with the fact that it's just a financially exhausting prospect? 

Sarah: I think that, which is very much an answer that you've gotten before, all the work that I put in, all the hours that I put just working, the idea of it going to music is enough for me. And it's definitely been a very long time of trial and error for the jobs, for the jobs that don't exhaust me for the jobs that work with my music career. I was doing a bakery for a long time, which means that I was doing late night gigs and 6:00 AM starts. Yeah. Which didn't work. But for work, for me, my passion for music drives it, but it's a lot of trial and error to figure out what jobs make me still feel like I‘m me at the end of it. And I guess to me it's, I've been really lucky even with music lessons and… they're ridiculously expensive. 

But I started, yeah… I worked as soon as I could, 14 straight into it and I worked at Maccas and before that I was just practicing at home trying to look at, you know, YouTube videos to gimme some idea. And then, when I got my job at Maccas, I started singing lessons at a singing school in Burwood, called Platinum Vocal Studio, and they let me pay things off weekly. And, right next door to them, there was a like a music shop, it was like a percussion shop and they let me pay, I remember I was paying like $10 every week at 14, to try and save up for this keyboard. And by the end of it, the keyboard lessons, they gave me all this free stuff. They gave me like a music stand and a music book just ‘cause they saw me going in every single week. And the singing school, I'm still there today. They have supported me for a long time and I think that's been really lucky as well. It's, you know, I work a lot but I've got a lot of people around me that want to help and see that. So, I think that's a big thing, for any artist. It's, you know, getting the balance right between work and music, but also surrounding yourself with people that can also cushion all the stress that comes with that. 

FMM: Yeah, it sounds like a great community that you sort of managed to, to find I guess. 

Sarah: Yeah.

FMM: And then just in terms of the EP itself, how would you, if you were to explain it to somebody who's never seen you, never heard you, what would you say it sounds like?

Sarah: Artist wise or just conceptually? 

FMM: *shrugs* Either or…

Sarah: *laughs*
. 
FMM: Go for it.

Sarah: I think conceptually it's the different stages and feelings of loss. If I went through that really quickly, track by track, because I know you don't have all night, the first song is the stage of loss where you're in denial. The second song is the confusion. The third song is, I guess the frustration when you are the one letting go of someone. The fourth song is the idea that you don't really want to lose them and you're okay to kind of stay in it. And then I Love You, I Lied, it's an interesting one. It's loss, but it's the last song. It's a self-titled one because it becomes that introspection. It becomes an idea of how much of myself have I lost in this? And, that's kind of how I explain it. There’s this really big visual idea that I have of I Love You, I Lied that I kind of had the entire time that I made the song, which is for me…

I love you, I lied, is when you kind of see your entire relationship, whichever relationship it may be, kind of like laid out in front of you. Whether that's family or friends or romantic, and you kind of see it and you have it in your head and it's kinda like a movie. And then all of a sudden, which is why at the end of it there's, there's like sound grabs. You kind of like kind of wake up from it a little bit. And um, for me it's, you know, when you're like, it's like 4:00 AM and you turn on the TV and you've got this like person being like, buy these five pots for $50, buy them now you get them for $20 . And  that's why it's actually a Dr. Phil grab, because American TV runs while we're asleep. It’s sort of like when you do snap back into reality and you realize that it's 4:00 AM you've been in your head for this long and you can kind of hear reality kind of coming back at you. 

But yeah, I Love You, I Lied, is definitely the idea of like, how much of myself have I lost? That's how I kind of visualise it. That's how I see it. And that’s how I created it when I saw it. Speaking of visually… I'm just gonna keep talking…

FMM: *nods encouragement*

Sarah: Speaking of visually in saying that though… so all the track listing was very purposeful. Truly the song before it is definitely my favourite out of the EP. And it's the most visual one because lyrically… and it lays out the entire relationship specifically that I talk about. I had to get an AVO [apprehended violence order] out on a partner when I was just 19. And I say that like I’m much older… Look at me! Elderly! *laughs* 

When I was 19. And it lays out the entire situation and it lays out the feeling of that really well. I think the start of it, that idea of like that love and that lust you have for someone, and then the chorus of you know, you're asking don't do this, please don't… it's like this pleading like, you don't wanna be here anymore. The second verse literally lays out the entire… like a scene that I had where like we were in the bathroom and there was screaming and there was all this sort of stuff that happened and I, I just say it, I tell you guys what's happened and then the bridge is the idea of where you go, right? Well maybe this person hasn't had love, maybe this is all they know, but is this all I know? And I guess that's why we've truly, I left in that spot. It's the most vulnerable, it's the most visual, it tells the most and it leads into that visualization that I Love You, I Lied has yeah… that's a lot of talk. 

FMM: No, it's great. And then sonically, I think something I found interesting is despite the heavy subject matter, it's not heavy going listening to it at all. I think the one thing that I notice that the songs have in common is they all start off a little bit, a little bit emptier, a little bit, maybe more acoustic and then kind of build. The electronic elements get in there and it starts to either get into a sort of a sort of slightly dancier place, or a little bit heavier sort of a place. How would you describe sonically the EP sonically?

Sarah: Sonically? I think that it's melancholic ideas and lyrics matched with a, I guess a, like an almost chaotic, rock pop, indie feel. I think…

FMM: I have here *gestures at notes*; late thousands by way of eighties new…

Sarah: Definitely late thousands. I've gotten that a couple of times. A, the other one I'm like, I can hear it…

FMM: Particularly, the track that really stood out to me was, Sick of You, which I think was the second track [on the EP]. There was this little kind of bass synth thing happening there that really took me back. It reminded me a little bit of there's a track by Club Feet, Heartbreak. It was really cool.

Sarah: Thank you. Yeah, it's, it's really, I'm excited for it. I'm excited to bring it out and I guess, after this EP as well, and after the single launch, which is happening on March the 11th, which if you're around, I think you're in Sydney, you're in Sydney, right?

FMM: Wollongong.

Sarah: Wollongong close. I was like, I think… yeah, it's definitely matches with that. And then I guess afterwards, after the ep, the best way I can describe the songs after that, they're a lot more like, they're a lot more, I don't wanna say cinematic, I don't, but like they have that heavy push. 

FMM: Nice

Sarah: So yeah. 

FMM: And then sort of stepping back from the EP for a second. In terms of Sarh Yagki as your career, where are we headed? What's the goal in the next couple of years? What or where are you seeing yourself? 

Sarah: I wanna be able to release a bunch of more music. I want live shows, so like having a lot more, um, I guess festivals and concerts and shows and being able to stretch that out. 

FMM: Oh no, lost you 

Sarah: Heavier visualisation, like music videos. 

FMM: Sorry, just lost you for a second there. Best backtrack that a little.

Sarah: Okay. Gimme two seconds. See if I can… amazing. Gimme two seconds. I'm just gonna reconnect the internet for a second.

FMM: No problem. 

I twiddled my thumbs for a moment while Sarah logged back on and back off again and looked at my notes. 

Sarah: Uh, is that… Hello? 

FMM: Yes!

She was back!

Sarah: So yes. I guess that it is, you know, having a heavy visualisation, playing more festivals. I wanna do more collaborations with people. 

FMM: Is there anyone on a wishlist of collaborations? 

Sarah: You know, if we're thinking like big picture, like big, big picture. *massive gesture*

FMM: Yeah, let's get, let's nuts, like dreams.

Sarah: Rose, Blake Rose. If you haven't heard of that Australian artist, he's a Perth artist. He's massive at the moment overseas. I don't think he's really hit Australia yet. He has a little bit. But his song, Gone. Please listen. It is so, so good. And it, yeah, he is amazing. So I, I think I've said that a couple of times to like different people. I'm like Blake Rose…

FMM: You’re just hoping he reads that song and gives you a call. 

Sarah: *laughs* Maybe he does. He calls people and plays some random songs. I'm just waiting for a random number to call me to be like singing songs. I'm like, ha I know who you are. 

FMM: Amazing. That's great.  Any festivals or venues that you desperately want to get in into? 

Sarah: I really want to do like literally like any. Like Yours and Owls, Splendour and just like anything with a stage like that on people because I'm like, I can do it, I can get up there, I can perform, I can engage, I… just gimme a stage!

FMM: I love the confidence 

Sarah: *laughs*
. 
FMM: And then before I let you go, anything else that you want to mention? Plug? 

Sarah: Pretty much just I love You, I Lied is out tomorrow… out now?

FMM: Yeah, out now. By the time this is published.

Sarah: I Love You, I Lied, is out now, along with my EP coming up and my single launch is on March the 11th at Oxford Art Factory. So, if you're around, please come along. Come say hi! Thank you so much for taking the time to do this with me. Thank you.

FMM: Oh no, all good. It's heaps of fun. 

I Love You, I Lied is out in all the streaming places now and you if you’re in Eora/Sydney on the 11th of March you can catch Sarah at the Oxford Art Factory in Newtown. And make sure you do, Sarah is definitely an incredible live performing, and this is your chance to say you caught her early in her career.