Pop-Culturalist.com

Charlie Pittman has swiftly emerged as a defining voice of his generation, celebrated for his innovative, vibrant, and tongue-in-cheek lyrics. His music weaves visceral and personal narratives that resonate universally, inviting listeners to discover their own stories within his words.

In June, the singer-songwriter debuted his highly-anticipated EP, nothing is forever, a brilliant collection of five songs chronicling his journey into adulthood.

Pop Culturalist had the distinct pleasure of speaking with Charlie about the release of nothing is forever, his love for creating visual storytelling, and more.

PC: You grew up in London and recently moved to Sydney. How different are those music scenes? How have those communities impacted your journey as an artist?
Charlie: They’re very different, to be fair. There’s definitely a sense of community in both of them, but I’ve found Sydney to be a lot more collaborative. It’s been a great way for me to make friends by asking people to write with or for. In London, there are a lot more people trying to do it. In Sydney, the industry is a lot smaller. I’ve been here for seven months, and I feel like I’ve met most people in the industry, which has been great because I’ve made friends really easily. But in London, it’s just a whole other ball game. There are a lot more people. For me, I prefer Sydney, but they both have their perks.

PC: There’s such a visceral quality to your songwriting. What’s played the biggest role in the way that you’re able to craft lyrics that are so visual?
Charlie: Thank you. I’m not the most natural musician, so for me, storytelling is the most important thing. I try to express ideas in ways that haven’t been explored before. If I feel something has already been said, I find it really uninspiring. I’m always striving to convey things in the most visually compelling way, as you mentioned.

I’ll labor over one word for like two hours sometimes, rather than just filling it in and revisiting it later, because I know I probably won’t come back to it. So, I’d rather wait for inspiration to strike than write something vague.

PC: There are so many lyrics in your EP that will stop listeners in their tracks. All the music you’ve released is deeply personal to your own experiences, yet your gift as a songwriter gives them such a universal quality that listeners can apply to their own lives. Is that balance something you’re mindful of during the songwriting process? How have you been able to navigate that line so seamlessly?
Charlie: Thank you. That’s very sweet of you. It’s one of those things where because I write so specifically about my own story, I wonder how others will relate to it. One thing I’ve learned from being on TikTok and social media is that while these are my original experiences, everyone has felt similar emotions. Even if they haven’t experienced them in the same way, they can connect with the lyrics and apply them to their own stories.

Take my first single, “i don’t wanna be here,” for example. I wrote it specifically about being back with my family during COVID. Yet people can relate it to other situations, like going to work and not wanting to be there, or whatever else they might be going through. Sometimes, the more specific I am to myself, the more relatable it becomes to others. It’s a win-win.

PC: You’ve got a new single out now. Tell us about “house in the suburbs” and the inspiration behind the song.
Charlie: “house in the suburbs” was born out of my experiences as a serial relationshipper, a serial monogamist. From sixteen to my early twenties, I went from relationship to relationship without really dating. After a breakup, I realized that my idealized notion of deep romantic love might not be realistic. So, I went into a session with the mindset that it’s okay to just meet someone casually, without the pressure of marriage or long-term commitment. Embracing this mentality made me healthier in relationships and in life. The song flowed out of me quickly and I co-wrote it with a collaborator named Itamar Lapidot—it was actually our first session together.

When I go into a session, I love to come prepared with ideas and notes that guide the lyrical direction, which is really helpful for me. I’m not very good at improvising lyrics on the spot.

PC: The single is coming off your upcoming EP, nothing is forever. There’s so much intention and cohesiveness behind this project. I imagine as a songwriter you’ve written hundreds of songs. What was the process like deciding what five songs would best articulate the themes that you wanted to convey through this EP? What do you hope listeners take away from it?
Charlie: Absolutely. It was really important that the EP was cohesive. I aimed to tell a story throughout, with everything linking back to the idea that nothing is forever—whether it’s relationships, work, bad situations, or good situations, nothing lasts forever. It was crucial that all the songs tied into that concept. Even though I came up with the title idea afterwards, I realized it unified all these songs.

Musically, I wanted each song to tell a different story while staying within the indie pop alternative genre. I avoided making two songs sound too similar to each other both musically and thematically. For example, within the EP, there’s only one song about a relationship or breakup, which adds uniqueness to this project. Relationships are relatable, making them easy to write about, but I kept it to just one song on this EP.

Many songs are deeply personal and reflect my own experiences, which made choosing the tracks challenging. However, for this EP, the selection of songs came quite naturally in terms of what I knew I would choose.

PC: If you had to pick a song off the EP that best encompasses who you are as an artist at this moment, which would it be and why?
Charlie: I think it would be “house in the suburbs,” to be honest. If someone asked me, “What’s the most Charlie Pittman song?” I would say “house in the suburbs.” Musically, it captures the sound I aim for and fits into the genre I explore. It also includes enough tongue-in-cheek lyrics and irony, elements I often incorporate into my songs. So, I’d probably choose that one.

PC: This industry has turned into a singles market, but you’re an artist who continues to release larger bodies of work. Why has that been so important to you and your artistry?
Charlie: It comes down to the artists that I look up to and the way I consumed music growing up, which was through albums. I’m passionate about storytelling, which can be challenging with just singles. While singles are important for intentionality, having a cohesive story and through line is crucial for me.

I admire artists like John Mayer or Jeremy Zucker, who crafted albums like love is not dying where songs connect to form a full narrative. That kind of artistic vision inspires me. Releasing larger bodies of work allows me to delve into that album format, and I hope to continue with that intentionality in the coming years, possibly with an album.

PC: There’s such clever wordplay in all the music you create. Do you have a favorite lyric that you’ve written off this EP?
Charlie: That’s a good question. “dog black” is the strongest song for me, and it will be the next single. In the chorus, there’s a line, “There’s a plate set at the table if you want it. Don’t leave before you leave us, cold and carbon.” It feels visceral, and you can visualize that imagery. When I wrote it, it flowed out of me effortlessly. I didn’t have to think too hard about it, unlike many other lyrics. It just came to me while collaborating with Noah Taylor. I’m really excited to release that one. It’s going to be a lot of fun.

PC: You’ve been sitting on these songs for quite a while. What have you learned from putting this project together that you’ll now be able to bring to future bodies of work?
Charlie: Patience is a huge lesson. I wrote all of these songs in 2022, which allowed me to carefully consider how I wanted to release them visually—something that’s important to my artistic expression and brand. I’ve learned the importance of being extremely patient. I’m grateful that even two years later, I still love these songs as much as I did when I first wrote them. In contrast, with some songs I’ve released before, I’ve found myself wishing I had changed a lyric or adjusted the production shortly after. These songs, however, have maintained their impact over time, reaffirming the value of patience in selecting which songs to release, rather than rushing to release something just for the sake of it.

PC: There’s a timeless quality to the way you write. After the EP drops, you’re going to hit the road to support it. How much do you use the live stage to test out new material?
Charlie: Massively, to be honest with you. These songs are two years old and they really defined a new genre and style for me. A big part of that was wanting to play heavier, rockier, more band-oriented songs live instead of just acoustic sets. I’ve been performing these songs live for two years now, and the audience’s reaction helps gauge which songs resonate with them. Alongside the five tracks from the EP, I’ve also been playing several other unreleased songs. It’s great to receive DMs afterward asking when I’ll release them—that’s exactly what you want as an artist. It’s so fulfilling to have audiences singing back lyrics to songs that aren’t even officially out yet. That’s the coolest thing for me. However, touring will be different this time because the EP will be out. In the past, I’d tell the audience these songs are unreleased, follow me for updates. It’ll be refreshing to finally have them out.

Pop Culturalist Speed Round

PC: A band or artist that fans would be surprised to learn is on your playlist?
Charlie: That’s a good question. I listen to a lot of music every day, but it’s mostly within the style of music I write. Lately, I’ve been into electronic and British garage music, which might surprise people because it’s quite different from my genre. Artists like The 1975 touch on that style a bit. I’ve also been enjoying Rudy’s music a lot recently. I love discovering new artists, especially those with smaller followings—when I see someone with around 3,000 monthly listeners, I’m always keen to dive into their work.

PC: First album you bought or streamed?
Charlie: I used to listen to a lot of music in my dad’s car, where he had physical CDs. I remember albums like American Idiot by Green Day, Maroon 5, and The Wombats. But the first album I specifically remember buying or streaming is Ed Sheeran’s debut album, +. Listening to that album actually inspired me to pick up a guitar and try songwriting. However, the album that really made me take songwriting more seriously was John Mayer’s live album, Where the Light Is. I thought, “That’s how I want to do it.”

PC: First concert you attended?
Charlie: I didn’t attend concerts for many years. The first one my mom always mentions is High Five, which is this Australian kids’ show, which is quite funny. But the first concert I remember attending myself was Ed Sheeran’s. I was sixteen, and it was at the O2 Arena in London, which has always been a dream venue for me to play.

PC: Outside of the O2, is there another venue on your bucket list to perform at?
Charlie: It’s pretty standard, but definitely Red Rocks. It’s such a breathtaking venue, and I see videos of performances there all the time. I think it would be incredible to play there.

PC: A must-have on the road?
Charlie: That’s a good question. I haven’t toured yet myself; I’ve mostly supported other artists. When my manager asks about my rider, I always just say water—I’m not too particular. But I’ll definitely need to start thinking about it more seriously for the tour. I’m pretty low maintenance and just grateful to be on the road.

To keep up with Charlie, follow him on X, Instagram, Spotify, and Apple Music. Listen to nothing is forever today.

Photo Credit: Zac Bayly