The Profound Sound of Youth: Hayden Phillis’s Debut Album, “Too Young”
By Christian Lamitschka for Country Music News International Magazine
In a music landscape often dominated by seasoned veterans or manufactured pop, it’s a rare and striking experience to encounter an artist whose debut album resonates with a maturity far beyond their years. At just 18, Hayden Phillis has achieved precisely this with his first full-length release, “Too Young.” Recorded at Rabbit Hole Studio, the creative sanctuary of Kasey Chambers and producer Brandon Dodd, this album is a raw, reflective, and emotionally honest body of work that truly demands attention.
The recording process itself seems to have been a cornerstone of the album’s authentic feel. Phillis emphasizes the collaborative and immersive environment at Rabbit Hole Studio, noting, “Everyone is together as a band and you’re performing the song live, so you get to really feel the music, instead of recording it individually. You can be immersed in it. It’s a lovely environment with plenty of cool instruments to play around with.” This live-band approach, where the musicians feed off each other’s energy, undoubtedly contributes to the organic and deeply felt performances heard on “Too Young.” The album’s sonic palette is further enriched by an adventurous approach to instrumentation, from slamming a bag of nuts and bolts against concrete for percussive texture to weaving in evocative organ parts on tracks like “Lies.” Phillis was supported by a stellar team of musicians, including Kane Butler on drums, Jeff McCormack on bass, Brandon Dodd pulling double duty as multi-instrumentalist and producer, Gabi Louise on strings, and the legendary Bill Chambers contributing lap steel and dobro.
Remarkably, “Too Young” was conceived and written during Phillis’s final year of high school, a period already synonymous with immense pressure and personal growth. Balancing the demands of academic excellence with the creative intensity of album creation was no small feat. “Recording the album was an absolute juggle. I was doing a lot of writing music during the HSC,” he recalls, referring to Australia’s Higher School Certificate. He shares a particularly intense anecdote from a songwriting retreat: “When I went to the DAG Sheep Station, I’d been given a really big English assessment to do — I had to send it through the day before the songwriting retreat finished. That was a brutal week. We’d stay up late, then I’d go into the office and work. There was a lot of stuff like that I had to balance — getting really good marks and doing music.” This glimpse into his dedication underscores the sheer tenacity required to produce such a polished and profound album at such a young age.
The album’s focus track for radio, “Sorry’s Not Enough,” emerged from a songwriting session with Felicity Dowd at the DAG Sheep Station Autumn 2024 Songwriters’ Retreat. The genesis of the song was a casual conversation about life, relationships, and the often-frustrating reality that sometimes, words simply fall short. “Sometimes an apology doesn’t cut it,” Hayden explains. “It’s more about the actions someone has done, not just what they say. We started talking about that, and I had some chords and a bit of a vibe I brought in. We just sat and talked about our lives and ended up landing on this idea.” Musically, “Sorry’s Not Enough” benefits from the core band’s solid foundation, with Gabi Louise’s fiddle adding layers of texture and Bill Chambers’s nuanced touch on lap steel, creating a compelling soundscape that perfectly captures that poignant space between regret and the longing for resolution.
Another deeply personal and undoubtedly powerful moment on the album is “Tell Me I’m Okay.” Phillis reveals the song’s origin, stating, “‘Mum, would you please tell me I’m okay’ — I wrote that first line when I was a kid, when I had my first seizure, as I had childhood epilepsy.” He continues, “I ended up writing that song on the final night of The DAG. It’s about my epilepsy and a very personal thing that happened to me.” This level of vulnerability and willingness to share such a private struggle is rare, especially for a debut artist, and speaks volumes about Phillis’s artistic courage.
Indeed, “Too Young” is an album that bravely confronts difficult topics head-on. Phillis doesn’t shy away from addressing childhood epilepsy, youth homelessness, drug use, and his own grappling with questions of faith and identity. “There are a couple of songs that hit home with those more personal issues,” he notes. “With this album especially, I wanted to focus more on topics that are important.” This thematic depth elevates “Too Young” beyond mere entertainment, positioning it as a significant artistic statement from a young voice determined to use his platform for meaningful commentary.
The album also includes previously released singles such as “Broken Angel” (featuring Jen Mize), the title track “Too Young,” and “Lies.” These earlier releases have already resonated with listeners, lauded for their unflinching honesty and emotional weight, setting a high bar for the full album.
Reflecting on the entire creative process, Phillis expresses satisfaction with his journey: “I’m happy with all the learnings that I got from the process.” He views “Too Young” as a crucial marker in his artistic evolution: “With this album, it’s almost like a timestamp of where my music was when I was recording it. It gives anyone who wants to know a bit about me and my music a very easy way to access a snippet of time and what I was doing. The beginning of everything.”
“Too Young” is more than just a debut; it’s a testament to the power of authentic storytelling and the remarkable talent of Hayden Phillis. It’s an album that offers a window into the mind and heart of a young artist grappling with complex realities, delivering profound insights with a lyrical and musical sensibility that belies his age. This is not just “the beginning of everything” for Hayden Phillis; it’s a compelling arrival that promises a significant and impactful career in music.