Oliver Cronin is back in the “land of opportunities,” catching his breath in a sleek private room at Warner Music’s downtown LA headquarters. It’s been a busy day, packed with back-to-back A&R meetings and a lavish lunch of fresh tuna poke on the sun-drenched rooftop of Soho Warehouse, complete with a sparkling pool and clear blue skies. Later, he’ll be courtside at a Dodgers game, donning brand-new, blindingly white Reebok sneakers – spotless and ready for the spotlight.
For any young artist chasing the world stage, it doesn’t get better than this, right?
“Right now, I’m exactly where I always wanted to be,” he tells Rolling Stone AU/NZ. “But I keep having these moments where I think about where I want to go next, changing my mind and just trying to grow.”
Cronin’s high standards make sense. The son of science writer Leonard and former music teacher Laurel, he’s a classically trained multi-instrumentalist who scored a major label deal in 2019 through a mix of talent and strategy.
His 2022 debut EP Beautiful Nightmare, featuring the breakthrough hit “Boys Don’t Cry” (10 million streams), set the tone with its polished dark-pop sound. Since then, he’s kept the momentum going with viral TikTok remixes and a sold-out Australian tour.
Despite his rising star status – he attended Coachella and Fashion Week this year and showcased in Toronto, Berlin, and Singapore – he’s still driven, and even a bit restless. Instead of rushing his highly anticipated full-length studio album, he’s taking a step back to reassess, feeding the streaming beast while keeping some surprises up his sleeve.
This week, fans got a taste of what’s next with his EP, Halfway to Paradise, featuring seven tracks – a prelude to the forthcoming album Paradise – if he can get there.
“As I write my next album, I’ve realised my idea of paradise feels further away, and I don’t feel quite there yet,” Cronin admits. “We thought we finished the album a year ago, and I even told everyone on social media it was 99% done. Then I realised, wait, this isn’t what I want it to be, so we changed it again. So now we’re giving people a taste of everything we’ve been doing along the way. We’re halfway there – halfway to paradise.”
But that doesn’t mean Cronin hasn’t soaked up the views along the way. He recalls a standout moment from August, winning over new crowds while performing atop Hong Kong’s largest mall, enjoying a breathtaking panoramic view of the harbour. “I love audiences in Asia. They’re so attentive and polite; when you say, ‘put your hands up,’ everyone puts their hands up,” he grins.
And it’s not just the scenery elevating Cronin’s expectations; it’s also the impressive people he’s meeting. He recalls a memorable session with Trinidadian-American rapper Trinidad James, co-writer of “Uptown Funk” and collaborator with City Girls and Kehlani.
As a huge rap fan (“Kendrick Lamar was my biggest inspiration coming into making music,” he enthuses), Cronin was struck by James’s flamboyant style, reminding him of the boldness necessary to stand out in this industry.
“Every time I go to the studio, I dress, like, comfy, right? Like, trackies or whatever. Trinidad rolls in the studio the first time I worked with him wearing this insane red suit and matching red boots with a top hat and a basketball, just as a prop to his outfit. His drip is crazy.”
To be clear, Halfway to Paradise is anything but half-baked.
The angsty “Hello Goodbye” hits hard with its synths and guitars, while the upbeat “Burning House” showcases Cronin’s powerful vocals and knack for catchy hooks. Sweet ballads like “In the End” and “Balance” reveal his softer side, and the playful “Girl Next Door,” featuring Charley, along with “Heartless,” with SAHXL – both local talents Cronin hugely admires – add depth to the EP.
Supporting local talent is a big deal for Cronin, who’s all about bringing his peers up with him. “I think that’s the coolest thing about being able to travel is to show people that, hey, we’ve got some crazy stuff going on in Australia. It’s hard to get noticed, especially since we’re so far away from places like LA. Going global takes a lot of work.”
And Cronin knows how hard it is to reach the top. With a wide-eyed but strategic approach, he’s focused on building a lasting career in this fast-paced industry.
“There was a time in my life, maybe three or four years ago where I didn’t think any of this was actually gonna happen,” he reflects. “I believed in my music, but I was like, you know, maybe this isn’t for me. But I didn’t give up.”
Now, he’s mastered balancing music and the social media grind. With 782K followers on TikTok and 342K on Instagram, the hustle is real. But it can throw off his creative flow.
“I’m still figuring out the balance,” he says. “Some weeks, it’s all content, then I’m like, wait, I need to make music. Both matter.”
It’s not always easy, though, and Cronin’s learning to manage the pressure.
“I’ve been trying to get a better headspace,” he says. “With social media, things blow up fast. One day you’ve got a massive song, the next it’s quiet. I used to stress over numbers and stuff, but now I’m more focused on making amazing art. If people connect and relate to it, that’s amazing – whether it’s one or a million.”
Cronin’s heading back to Sydney for a few months, focused on finishing his album. After invaluable time in LA and releasing new music, he’s feeling inspired.
“I really want to go in and flesh out the album properly. I’m in the right headspace now to be like, yo, get it done. I’m gonna be this little studio rat,” he insists.
In the end, he’s starting to realise that true paradise might be closer to home than he thought. “I’ve been all over the place with recording this year. Travelling is fun but exhausting, and creating content takes a lot of time. I’m excited to get back home and lock in. My best work happens in my bedroom – that’s my safe space.”
Oliver Cronin’s Halfway to Paradise EP is out now via Warner Music Australia.
