Folk Bitch Trio truly embodies their name: three friends creating folk music infused with a subtle edge. The trio – Gracie Sinclair, Heide Peverelle, and Jeanie Pilkington – originated from the Melbourne/Naarm folk scene in 2020 and has since enchanted audiences across Australia and now globally with their hauntingly sweet sound.
Their debut album, ‘Now Would Be A Good Time’, is set for release on July 25 through Jagjaguwar (which also works with artists such as Angel Olsen, Bon Iver, and Sharon Van Etten). This ten-track album is intimately confessional with a dark twist, showcasing a delicate interplay of playfulness and maturity. Throughout the record, the trio's rich vocals and harmonious melodies blend seamlessly within gentle acoustic soundscapes. ‘Now Would Be A Good Time’ explores themes of love, sexuality, heartbreak, and the “pathetic tragedies” of daily life, expertly merging sincerity and sarcasm while maintaining a tender folk essence reminiscent of Nick Drake and Laura Marling.
In anticipation of its release, CLASH spoke with Folk Bitch Trio about their journey thus far, the album's creation, and the balance between hard work and letting go.
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Congratulations on finalizing your debut album! How does it feel to be releasing it next month?
Jeanie: We are incredibly proud of the entire record, and it feels amazing to finally share it with the world, especially since it's our first album and a collection of songs we've labored over for quite some time.
Can you elaborate on the title? I know it stems from a lyric in ‘Foreign Bird’ about a shotgun, but what else does “now” signify as a good time?
Heide: It’s somewhat tongue-in-cheek, similar to how our band’s name functions, but it resonated with us and felt appropriate.
Gracie: It also implies that there’s never truly a perfect time. You’re never wholly prepared for something, so it’s like… now would be a good time. Just use what you have available, which is very much how doing a debut record feels.
Jeanie: For us, there was plenty of trial and error in the record-making process. We've recorded a lot of music in the past that never got released, and that was part of our conversation when we decided on this album title; we felt we had to do it.
I sense the album has a deep respect for traditional folk music with its acoustic instrumentation and gentle vocals, yet there’s an edge in your sharp lyrics and imaginative music videos. Who or what were some of your influences, both traditional and contemporary?
Gracie: We draw from classic influences like Crosby, Stills, Nash & Young and Joni [Mitchell], along with being huge Wilco fans, which influenced many of our guitar sounds. Modern influences are also significant; during a recent drive, I reflected on Aldous Harding's impact and how I rarely discuss it in interviews. I also thought about Marlon [Williams] after listening to ‘Make Way for Love’ and examined the songwriting. Julia Jacklin and Courtney Barnett have also been key influences that feel very close to home.
Heide: Additionally, artists like Big Thief resonate with us, especially regarding tone and arrangements, as well as Gillian Welch.
Gracie: And while they may not be as apparent, I have a deep appreciation for Radiohead and The Beatles.
The contrast between traditional and modern reminds me of how you blend light and dark in your name—"folk" and "bitch"—and in your music, with lovely harmonies juxtaposed against heavier lyrics. Has this dynamic evolved over time, or has it always been part of your music-making process?
Jeanie: Our approach has consistently aligned with what we do now, but it's definitely evolved. When we started the project at seventeen, we weren't quite ready to delve into darker themes. Listening to our earlier recordings, our voices sound so sweet. We initially used two electric guitars, possibly as a way to mask that. Once I switched to acoustic guitar, it coincided with adopting a more nuanced view of darkness in music. Playing acoustic allows me to rock out too. Changes have occurred over time; Gracie’s guitar playing and songwriting came into play during the project’s second year as we matured and learned how to express ourselves beyond our earnest sixteen or seventeen-year-old selves. So while the approach has remained consistent, our execution has certainly evolved.
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The stripped-back acoustic style complements your raw and personal songwriting well. In ‘Moth Song’, the direct address of one another in the lyrics feels intimate, yet the theme of unrequited love resonates widely. How do you find the balance between personal and relatable themes, and is this a priority in your writing?
Gracie: I've contemplated the distinction between being personal and relatable before. There's an excellent quote from Diane Arbus about how specificity leads to generality. When you
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Folk Bitch Trio is precisely what their name suggests: three friends creating folk music with a hint of edge. The band consists of Gracie Sinclair, Heide