BENEE certainly made up for lost time in 2025.
After waiting five to follow her breakout 2020 debut Hey U X, she returned in style last year with Ur an Angel I’m Just Particles.
Shortly after its release, we named it one of the best New Zealand albums of 2025, praising it for being “the record that should propel” BENEE to “bigger stages in her own right.”
“Ur an Angel I’m Just Particles proves that BENEE has the personality, confidence, and songs to rise to the level of [Olivia] Rodrigo and [Tate] McRae,” we wrote.
She’s started 2026 as she means to go on, returning home for Laneway 2026. At the first leg in Auckland, performing within walking distance of Grey Lynn, the neighbourhood where she grew up, BENEE revelled in the moment, even finding time to play the part of Sally during Role Model’s set.
Ahead of her final two Laneway sideshows in Torquay and Melbourne this weekend (ticket information here), read our wide-ranging interview with the Kiwi pop superstar below, touching on her latest album, what she’s learned from working with some of the biggest pop artists on the planet, her thoughts on New Zealand music, and much more.
Rolling Stone AU/NZ: Was it daunting having such a gap between your debut and second album?
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BENEE: Yeah, somewhat for sure. I’ve definitely been nervous to release [it], but I kind of got to the point where I’m like, “I might as well just hold it off and come back with a bang.”
I’ve spoken with other artists who took their time between albums, a long time, and they said it really helped them in the end because it felt like there was less pressure on them.
I agree. I think that that’s definitely how I feel. I did this session with this producer called Buddy Ross and we were talking about it because I was stressed at the time about how long it was taking me. And he was like, “the Frank Ocean Blonde album took years.” Like, they weren’t rushing that, you know, [Ocean was] basically very simply saying good things take time, but I think I needed to hear that because in this music climate I feel like everything is so quick… How people consume [music] is like a snippet on TikTok… so it’s definitely stressful, but I think there’s definitely peace [in] just waiting it out and making the art really, really good.
I think especially in the world that you occupy, pop and alt-pop, there’s so much pressure. Do you ever feel stressed watching your contemporaries?
it’s a weird kind of game where if you don’t release, you’re like, “Am I still relevant?” It’s so toxic, the industry and how even audiences like what’s hot, you know, or what’s new or whatever… It’s pretty weird to navigate, but it’s also been pretty inspiring seeing what my peers are releasing and coming up with creatively.
You’ve had kind of like a pop boot camp, touring with Olivia Rodrigo and Tate McRae, working with Lily Allen. That’s like going to university for pop! How have they helped you?
I’ve graduated! [I’ve] enjoyed it… Olivia and Tate were both insane to tour with. I think just playing arenas of those sizes [was] just so inspiring because I’m like, “Oh my gosh, I want to play an arena.” We’ve only sold out the [Auckland venue] Spark Arena, but that one was that one was big — [in] New Zealand that’s like the pinnacle… But yeah, arenas are just such a crazy amount of people, you know, and when they all know the songs, it’s really, really awesome.
Did you have people singing back the songs to you when you were supporting?
Yeah, yeah… It was pretty cool… There were some countries that I’d never been to, and people were singing a few of the songs, so I was like, “I hear you.”
I did want to go back to Lily Allen because honestly a few songs on this album sounded a lot like her.
Wow, I mean I grew up listening to her. I love the sound Lily, her production and songs like “Smile” and “Fuck You”. That’s very flattering because I love her.
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The last two songs, “Princess” and “Heaven”, the position of those is just so delicate, so perfect. Was that something you wanted to do — you just didn’t want to go at one speed on this album?
I think that, in previous EPs and albums, it definitely has been something that I’m super comfortable with, just having it [being] very eclectic. However, I feel in this album I definitely wanted to make it a little more cohesive, I think with the sound.
Did I also detect a little bit of UK garage in a few songs?
I love UK music and grime and, yeah, I’m definitely inspired by that kind of music. I listened to a lot of the Gorillaz, it’s not grime but I love their music — how they produce their songs is just so refreshing.
I don’t know, it’s just [that] there’s so many cool artists out there, and I think that as an artist, you’re kind of like a sponge… You just absorb everything around you and spit [it] out.
So last year you did a Rolling Stone Musicians of Musicians interview with Bic Runga. How was that?
It actually doesn’t feel like that long ago, and I think I was sitting in the same spot, but that was — I mean, Bic is an icon, and it’s so cool to talk to an artist who has been doing it longer than you because there’s just so much knowledge and you can just connect on such a deep level knowing what each other have gone through in the industry. So it was really cool to talk to her, and she’s obviously a New Zealand icon.
If we got you to do Musicians on Musicians again, who would be your dream Kiwi artist to be paired with?
Let me think, let me think. Can I say UMO [Unknown Mortal Orchestra]?
Of course!
I love Unknown Mortal Orchestra. I would love to talk to them because I just love their music. It’s so good.
We’ll see what we can do… Talking about missing New Zealand, what do you think makes our music scene so unique? Is it the isolation over here?
I think it’s the isolation because I hear a lot of people saying that while I’m over here [the US], that New Zealand music is so unique, you know, or has its own sound, or that there are so many great artists that come out of New Zealand, and then I’m thinking, “Hmm, what other places have that?”
You have a place like Sweden also [with] so many good artists, or like Iceland, so I do think it has something to do with the isolation and being so far removed from everything that you kind of create a sound that sounds like isolation.
I mean, specifically in Aotearoa we have so many incredible artists… starting Olive [Records] was really fun because it gave people a platform and also allowed me to just work closely with a bunch of artists that I love.
I did want to ask about Olive Records. Are you still doing it?
We’re having a little bit of a break. Yeah, currently, but not to say that it won’t reboot.
I mean, it’s amazing to start your own record label at that age. Usually that’s [something you do] when you’re in your 30s or something.
It is really fun, and I do love it, [but] I think that when I moved to LA, it made it harder because I couldn’t work so closely with everyone.
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Have you got a lot of Kiwi friends over there?
I do! It’s extended to Aussies as well, which is really nice. Yeah, it’s interesting how that happens when you’re overseas, but there’s something so nice [about] hanging out with a bunch of New Zealanders… I actually have a house full of New Zealanders right now. I have a couple upstairs who are from New Zealand, and I mean my friend Johann, who I moved here with, he’s also from New Zealand… So we’re always around New Zealanders. It’s kind of funny [how we] gravitate to each other… I want all my girlfriends to come over here.
You’re about to do the opposite route — you’re coming back for Laneway. Did you go to Laneway when you were growing up?
I did. It is definitely one of my favourite festivals ever, so I am beyond excited to be playing that again, and I just can’t wait. It’s just been so long since I’ve played any shows [in] the southern hemisphere.
Do you get back home much?
Not as much as I would like to… I was there at the start of the year [2025] because I did a song for Minecraft, and they were filming it and producing it there. So I got to come back for work, which was really great, and I’m gonna come back for Christmas this year [2025].
I’ve got to ask: are you going to do a New Zealand tour for this album?
Yeah, definitely. It’d be so rude not to… I haven’t announced it yet, but I am gonna be doing a big album tour, and of course New Zealand and Australia will be a part of that.
Beautiful. I’m sure you’ve heard a lot of big artists are missing out New Zealand and people are not happy here.
I know, it’s so mean.
I did want to end on a personal note, because I know you’ve talked about OCD and interviews in your music before. I was diagnosed [with OCD] when I was 12, and I think you’re one of the first artists that I’ve ever heard properly talk about it. I think it’s still quite underrepresented, so I just want to say I’m super appreciative of that.
Oh, thank you. No, I mean, I feel you. OCD is hard, but it’s also a weapon in like a weird way… I mean, I’m obsessed with music, so maybe that helps, but I think it also inspires pretty fucked-up lyrics for songs.
But that’s so nice that you’re managing to turn it into music and a new album.
Mhm, yeah, it is really nice. I mean, I’m just so grateful that I can do it as a job.
I do want to ask about acting because Head South, we all love it in the office. Is that something you want to keep doing more of?
Yeah, definitely, I want to be in a horror movie. I’m putting it out into the universe.
We can make that the headline for the article. We’ll get it right out there for you.
Yes, I wanna be in one of the — you know the guys who did Talk to Me and Bring Her Back, the Philippou Brothers?
Yeah, yeah.
I want them to put me in one of their films.
We’ll put their name in the headline as well.
Tell them I’ve just made an album.
Honestly, it really is a great album, we’re so happy to have you back and we’ll hopefully see you in New Zealand soon.
You will, thank you so much.
