The electric unknown _{by Madelaine Empson}

Courtney Barnett’s music confronts the unknown, embracing vulnerability and transforming it into something deeply human, electric. Her signature blend of moody guitar, witty lyricism, anecdotal storytelling, and laconic talk-singing has cemented her as “One of the most distinctive voices in indie music” (The Mancunion).

The GRAMMY®-nominated singer-songwriter was born in Sydney, grew up in Hobart, honed much of her career in Melbourne, and is now based in LA. Now, for the first time in five years, she returns to our shores. The Michael Fowler Centre concert on the 22^nd of November pairs Barnett’s fourth studio album Creature of Habit (2026) with her extensive catalogue. Seen live, every track becomes a shared experience.

Centred on the question of how to get out of your own way so you can live and truly feel your life, Creature of Habit is “a fierce reminder of why Barnett remains one of the most vital voices in modern guitar rock – restless, self-aware, and still finding new ways to hit the nerve” (Paste).

I love the Creature of Habit album cover – what is the significance of the praying mantis?

Somewhere in the middle of writing the record, I had this moment where one appeared on my door. I was having a bad day where I was doubting myself and stuck with the songwriting. I looked up, and it felt like this little sign from the universe. It felt really special, and I’d never experienced anything like that before. It became this recurring thing that pops up every now and then. It felt like a really important part of the album.

You’ve been touring Creature of Habit across the UK and Europe since May. Are the songs transforming as you perform them live?

Yeah! I think that happens quite often; the songs always take on a new life once they’ve been recorded and then as soon as you start playing them, they kind of evolve on their own, which I really like. Some of the songs that weren’t released as singles, sometimes they end up being the more exciting, fun, or singalong songs. It’s always unexpected, but I like that unknown element.

Do you have a new favourite as a result of that evolution?

I really love playing Sugar Plum live, and Wonder. I’ve been playing Mostly Patient as a solo in this set, which feels like a nice little reset, a breath of air.

How do you think the album compares and contrasts with your 2015 debut, Sometimes I Sit and Think, and Sometimes I Just Sit?

Albums kind of feel like a document of time to me. Each one is a document of a few years in my life – the writing, the recording, the touring. It feels like the next chapter in the archival process of my life. There are some elements that feel similar, some elements where I feel like I’ve grown as a person and as a songwriter. We still play a lot of songs from [the debut] live, and it’s still really fun to perform them.

How would you define Creature of Habit in that documentation context?

I think I’m still understanding the album and how it represents this time.

Do some albums reveal what chapter they encapsulate quickly, while others take longer to come into relief?

Yeah, and they also shift and change with time. Or sometimes the meanings of songs evolve in a weird way. I know what I’ve written something about, but it takes on a new meaning. Just like when someone listens to it, they project their own meaning onto it. It’s an interesting part of the process.

The last time you toured New Zealand coincided with COVID. Strange times…

Yes, it was kind of on the cusp of something happening. When the tour finished, I think I had to stay longer because the border had closed down? It was a strange time to be touring for sure, but for that reason, that tour especially sticks out in my memory. It feels really special. I did a stripped-down duo [show] with Stella Mozgawa, who made the album with me. It was quite intimate and different compared to a regular band tour. During COVID and then afterwards, I found this new appreciation and gratitude for performing live. Being in a room with people, considering what everyone in the room went through to get there – there’s something so meaningful about that. We’re all in a room together for an hour and a half, singing songs to each other. I remember that tour really fondly.

What are you most looking forward to about returning, and performing in Wellington in particular? The Michael Fowler Centre has stunning acoustics.

Oh, cool! Wellington is the first place I ever went in New Zealand, before I even toured. It reminds me of Hobart – just beautiful. I’m really excited to come back. I always love playing shows there and doing a little bit of exploring. Looking for the best coffee – that’s always my favourite thing to do wherever I go [chuckles].

Do you have any pre-show rituals, and any that might go down a treat in Wellington?

I spend a lot of time by myself, do vocal warmups, stretch, get my head in the game, sing songs on my guitar, think about the show. On the morning of, I really love to walk around wherever I am, the city, and just explore. I enjoy soaking in the sounds and the sights of a new place. Honestly though, my goal on that journey really is to find the best coffee, that’s my happy place.

If you’re trying to find the best coffee, how many can you drink a day? Do you end up a bit… ‘woo!’

My limit is normally one, otherwise I get really anxious [laughs]. So it’s one! I have to find the one perfect coffee! Honestly, sometimes I get a bad one and it ruins my day…

High stakes! But we do a pretty darn good coffee… I’ll send through a list of the best of our best.

Please, yeah! Great, I’d really appreciate that [laughs].