Romanie is touted as one of Australia’s most exciting emerging voices. Currently based in
Melbourne after having grown up in Belgium, the indie-pop artist left her home country to
pursue music and is now lauded for her muscular voice, tender songwriting, and intimate sonic
stylings.
Having shared the stage with the likes of Blanco White, Yoke
Lore, Jem Cassar-Daley, Keli Holiday, Trixie Whitley, Mia Wray, Katy J. Pearson, Angus and Julia Stone, and more, she has become
renowned nation-wide for her powerhouse performances, drawing exalted praise from triple j,
Junkee, Tone Deaf, Amazing Radio, MTV, and rage.
Romanie’s musical output recalls the wry humour of Wet Leg, the narrative prowess of Big Thief, and the defiance of The Cranberries. Her moving debut album Are We There Yet? Romanie wowed audiences with its intimate songwriting and its exhibition of being able to find artistic grace amidst adversity, garnering accolades such as an Australian Music Prize nomination, the 2023 Upstart Award, and the triple j Unearthed x NIDA music video competition, to name a few. Since then, Romanie has toured across the country’s most beloved venues, and in sold-out shows across Europe and the UK.
It’s Not That Funny marks a bold new era for Romanie. Slated to be released independently on February 20th via Community Music, her sophomore album showcases her lyrical prowess, sonic versatility, and commitment to unflinching truth. The deeply personal project was prompted by her experiences with anxiety and depression. “It’s sort of about my demons. It’s about wanting to make your therapist laugh,” she explains.
While Romanie’s Are We There Yet? explored her journey of navigating a new life on the other side of the world and grappling with the fear of constantly running out of time, It’s Not That Funny sees her dissect trauma and the inability to be properly heard and supported as a woman in the music industry - and in the world at large. “I’ve always had a fascination for ‘broken things’ - and looking for the beauty in them,” Romanie explains, an ethos which is resoundingly clear on this album. It’s Not That Funny is her attempt to explore the “duality of really ugly and really beautiful things coming together.”
The title hints at Romanie’s coruscating sarcasm, and her ability to straddle the delicate line between triumph and vulnerability, displaying multitudes of emotion and personality. The record - which was co-produced by Sam Swain, Alex O’Gorman and by Romanie herself - showcases her athletic vocal range, and is a journey through tenderness, sorrow, mess, and, ultimately, acceptance. The album’s singles hint at the transformative art to come. ‘Uh Oh’ was written with Armlock’s Hamish Mitchell and ‘I Won’t Yell’ was co-produced with Adam Hyde (Keli Holiday, Peking Duk) and Tom Stell (Golden Features) during a co-writing session in Sydney. Together, they also wrote Keli’s hit track ‘Ecstasy’ during this session.
With her music, Romanie merges the personal and the political. Her rigorous dedication to artistic honesty and to social justice define her output. A grass roots oriented artist and a chronic high-achiever, Romanie believes that art is inherently political, and refuses to shy away from having complex, meaningful conversations, and from writing songs with impact.
“Ethereal and melodic with the sort of songwriting prowess that makes you feel privileged to even be listening to such a composition, ‘Stranger In My Skin’ is the sort of song that stays with you long after it has stopped playing.”
“I can already see this capturing the hearts of the nation - gorgeous storytelling abilities Romanie!”
“If the car ride sounded as good as this, I wouldn’t ask “are we there yet?” once.”
“After establishing herself as one of Melbourne’s best singer-songwriters of the last few years, Romanie reflects thoughtfully and maturely on life, her place in the world, and her relationship with others, recalling the quiet contemplation of Big Thief’s Adrianne Lenker.”
“Romanie’s vocals are pure and direct. The lyrics are poignant, the melody gorgeous and the song has an appealing honesty to it. The production is confident and assured, with her captivating vocals gliding above the strident percussion. They work together in tandem seamlessly.”
“The Melbourne-based, Belgium-born singer-songwriter has burst forth with one of the best debuts of the year.”
