Moses Sumney plays ‘Plastic’ live & muses on solitude, the human experience and Mac Demarco
March 6th 2018
- Moses Sumney :: Interview with Bernie Bolger
- Moses Sumney :: Plastic (Live)
Off the back of his breathtaking release Aromanticism, Moses Sumney adorned the studio with a beautiful live version of ‘Plastic’. Hear him on Arvos chatting solitude, challenging conventions and his newfound obsession with Laneway mate, Mac DeMarco.
True to his debut album’s focus on solitude, Sumney took to the mountains during the songwriting process. The lyrical side was born from complete isolation, embodying a personal take on the intimate love he can’t seem to navigate for another being – a feeling, he explains, that can only be understood from originally sharing the human experience. “One of the most interesting things about solitude is that it can’t exist without some concept of togetherness or community or society… If you have strong feelings about being alone it probably means you’re used to being around other people.”
Although strong in its stature, Sumney doesn’t believe that his vision for each track is necessarily important – it’s more how the audience absorbs the material of their own accord; both in concert and in their headphones. “Songs are dynamic and ever-changing… I don’t think what they mean to me is very interesting, it doesn’t actually matter at all especially when they’re being performed live. It’s about how people interpret it and what they take from it.”
Aside from unpacking his spine-tingling debut release, Moses Sumney let us in on a newfound soft spot for an unexpected artist before launching into a stunning live rendition of ‘Plastic’. “I’m kind of obsessed with Mac DeMarco, which I never really expected to be. I only knew maybe two songs before the Laneway tour started, I could only name one [laughs], but I’ve seen his set a million times. I went to his show at the Enmore Theatre and it’s kind of my favourite thing. His shows are truly psychotic, and I find it really inspiring.”
Hear the full chat and Sumney’s elegant falsetto above.