From Brisbane Dreams to Opening for Kylie: How Mallrat Became One of Australia’s ‘Most Talented Songwriters’

Grace Shaw, aka Mallrat, has a knack for building worlds with her music – but today, it’s her fluffy cat, Barb, who’s demanding all her attention. “She expects brunch every day now,” Shaw laughs. “It’s mid-morning – she’ll make her presence known soon.”

That instinct for creating new realities, whether for herself or her cat, has always been with her. “Growing up in Brisbane’s suburbs, you were either playing sports or getting into trouble – there wasn’t much else,” she says. Now, she splits her time between Melbourne and LA, living out the dreams she once imagined. “I’d catch trains, wander around, or sit on my bed, close my eyes, and build entire worlds inside the real one.”

Shaw’s 2016 debut EP Driving Music put her on the map. The shimmering piano-pop of “Charlie” landed at #3 on triple j’s Hottest 100 and even found its way into The Sims 4. Her debut album Butterfly Blue soared to #6 on the ARIA Albums Chart, earning widespread critical acclaim. Since then, she’s collaborated with The Chainsmokers, BENEE, and shared stages with the likes of Post Malone and Maggie Rogers.

Now, with a coveted slot opening for Kylie Minogue’s ‘Tension’ tour – a momentous opportunity to hit arena-sized stages alongside an icon known for her pop reinvention – as well as her own headline Australian album dates, Mallrat’s career is unfolding in real time.

But success hasn’t come without its challenges. “The first time I wrote something really personal was ‘Charlie’, and I was terrified people would piece my life together from my lyrics,” she admits. “It made me hyper-aware of what I say in conversation, how much of my life I let people in on – like, if they connect the dots, am I too exposed? And then does that make me more guarded in my songwriting?”

She pauses, then shakes if off. “But now I’ve realised that specificity creates connection. That was really freeing.”

That realisation carries into her latest work, where honesty meets sonic experimentation.

Enter Light hit my face like a straight right – an album teetering between light and shadow (and earned a glowing four-and-a-half-star review from Rolling Stone AU/NZ). Mallrat’s daydreams still steer her, but sharper rays cut through, landing her on her truest sound yet. This time round, texture is just as important as storytelling.

If Butterfly Blue was wistful and weightless, this electronic-charged album is bolder – rougher around the edges, and less afraid to embrace chaos. “I think I’ve grown up a bit,” she says. “More decisive. More willing to experiment and involved in how everything sounds.”

She credits key collaborators such as Cub Sport’s Tim Nelson, Butterfly Blue producer Styalz Fuego, Japanese Wallapaper, and US producer Buddy Ross, best known for his work with Frank Ocean. “I became obsessed with him after hearing ‘LaraBar’ by Wet – I’ve listened to it hundreds of times. It really influenced how I treat my vocals – more like an instrument,” Shaw says. That obsession led to “Pavement”, which she says is “maybe my favourite song on the record.”

This time, her vision is bigger, pulling from synthetic textures, gritty breakbeats, and even Gaelic choirs. Dance music innovators like SOPHIE and Hudson Mohawke leave their mark in reverb-heavy sections, sitting alongside chopped-up rap samples she dug up herself.

That balance – between electronic shimmer and organic warmth – defines the album. Deep-rooted nostalgia lingers too: childhood afternoons spent with her Irish grandparents, Riverdance playing in the background. “It’s funny how that kind of melody buries itself in your brain,” she says.

Australian producer and multi-instrumentalist Alice Ivy calls Mallrat “one of the most talented songwriters in the country,” and it’s easy to see why. For Mallrat, though, songwriting isn’t about emotion – not in the moment, anyway.

“When I’m in the studio, it’s creative, but not emotional,” she explains. “It’s like solving a puzzle. The emotions come after.”

Like many songwriters, she often doesn’t fully grasp a song’s meaning until much later. “I don’t always know exactly what I’m describing when I’m writing, but it feels true. Then months or years later, I’ll listen back and suddenly everything makes sense.”

Even the album’s title only became clear in hindsight, once the themes emerged. “I didn’t notice the theme of ‘light’ until it was time to pick a name. I went through the lyrics, and ‘light’ kept popping up, along with this pull we experience towards certain people. It wasn’t intentional, but it tied everything together.”

The album’s closing track, “Horses”, took on a whole new meaning after tragedy struck Mallrat’s life. She wrote it after a visit home left her feeling out of place, and, last year, her sister Olivia tragically passed away at just 21.

Now, “Horses” feels less like her own voice and more like Olivia’s – her presence woven into every line. “It’s about feeling out of place, longing for something or somewhere – even if it’s still there,” she says. “The chorus goes, ‘Hey, I look different now. Do you remember?’ Listening back, it feels like she’s the one singing it.”

The song has struck a chord with listeners, particularly those navigating grief.  Mallrat is humbled by the response. “I feel really privileged to have made something that articulates those feelings. It’s interesting how people project their own experiences onto it.”

And despite her growing global success, Brisbane continues to pull her back. “I’ve been back a lot since my sister passed away. I’m really proud to be from there.”

As the conversation winds down, Barb the cat reappears, rubbing against Shaw’s legs. She scoops her up, smiling. Some things change in life, and some things don’t. 

Mallrat’s Light hit my face like a straight right is out now. For tour dates and tickets, head to lilmallrat.com.