If you’ve been scrolling through TikTok this year, you’ve probably come across Paris Paloma’s breakout hit “labour.” The track has struck a chord and gone global.
“I don’t think we’re built to process something that big immediately,” Paloma says to Rolling Stone AU/NZ during her European tour.
“Labour” takes a swing at outdated patriarchal norms with its bold lyrics like, “All day, every day, therapist, mother, maid / Nymph, then a virgin, nurse, then a servant,” and a chorus that drives her message home, “It’s not an act of love if you make her / You make me do too much labour.”
Since its release in March, the song has become a feminist anthem around the world, racking up over 160 million streams, charting on the Billboard and the UK Singles charts, and sparking a slew of TikTok videos.
“It’s been a confidence-builder, knowing I have a caring audience,” Paloma reflects.
But Paloma is more than just a viral hit. Hailing from Derbyshire, she’s a talented singer-songwriter known for her rich storytelling and deep explorations of womanhood. Influenced by Florence Welch and Hozier, her music combines gothic intensity with a powerful edge.
Her background in fine art and history adds layers to her work. “Labour” draws from Madeline Miller’s Circe, while her debut album Cacophony weaves Greek myths inspired by Stephen Fry’s Mythos.
Cacophony is packed with 15 evocative tracks, from the haunting “my mind (now)” to the raw “last woman on earth,” along with lighter tunes like the heartfelt “knitting song” and the playful “triassic love song.”
With sold-out shows and festival slots ahead, Paloma’s ascent shows no signs of slowing down. Read Rolling Stone AU/NZ‘s full interview with Paloma below.
Paris Paloma’s Cacophony is out now via Nettwerk.
Rolling Stone AU/NZ: Cacophony has a really reflective and archaeological feel to it. How did your past experiences shape the album?
Paris Paloma: There’s something very earthy and warm about the album sonically – I wanted it to feel visceral and evocative of those themes of burial that repeat throughout the album. I was fascinated by myth, archeology, and palaeontology. The idea of things lying sleeping, things stirred and dug up, and how painful that process is, but how necessary, and it is a cycle that repeats throughout our lives.
Your Fine Art and History background is interesting. How does it influence your music and visuals?
My music and art practices all inform each other, every song feels really visual to me, there’s a tangible world they exist within. On the art history side, so much of my fascination with mythology and history comes from my study of art, and on the fine art side, I enjoy creating those worlds so much and illustrating, painting as I go, so that the music and all the artwork for it comes from the same raw emotional place.
“Labour” went viral in a big way. Did you see that coming? How has it changed your music?
I don’t think anyone could expect something like that to happen, to be honest, I’m so incredibly grateful it did. It took me a long time to process, as I don’t think we’re built to process something that big immediately. That was partially why I wanted to release “LABOUR (the cacophony)” to commemorate the year anniversary of “labour,” as it felt like by then it had really sunk in, the gravity of what happened around that song.
I wouldn’t say it’s affected the way I write now. I think having that door onto my music at the time for people to walk through has certainly been a confidence-builder, in knowing I have this wonderfully attentive and caring audience to receive the art I make.
“Knitting song” is a really lovely ode to female friendships. What inspired it initially?
“Knitting Song” is predominantly inspired by my grandma, who passed away when I was 17. I see love between women, true love, in friendships and family, as never-dying. It’s sort of like the law of conservation of energy, where it can’t be created or destroyed, the love just takes different form as it’s passed down and across women. “Knitting song” is about my memories of learning to knit with my grandma, and my realisation of her spirit and her love being reincarnated in me.
What led you to write “last woman on earth’” during such a dark time, and how do you hope the song helps others who are also affected by the violence and fear you describe?
I was feeling very despairing when I chose to write that song. We are watching an epidemic of grievous violence against women all over the world at this moment, and it’s shocking watching that, feeling it everywhere, fearing it every day, without speaking on it.
“Last woman on earth” serves as my shedding light on something I was almost too scared to. It’s the most vulnerable and darkest song on the album, so I’m really grateful it’s been received with such love and understanding from all the women who feel close to it.
Self-producing “pleaser” must have been a really unique experience. How has your experience with producing your own music evolved over time?
I really enjoy producing myself, but don’t often have the confidence to say so and put it out there. My earlier songs, like “the fruits”, I produced from my bedroom at uni, and I didn’t know what I was doing but just had a really instinctive, by-ear relationship with production.
I think now, being asked about a song I produced myself (by Rolling Stone, no less) kind of makes me blink and realise a lot of it is just imposter syndrome, which never really goes away. But that’s comforting in a way so maybe I’ll be stepping into that area more.
Were there any songs you were particularly nervous about sharing after working on them for so long? How did you feel when they were finally released?
“Last woman on earth” was the one I’d say I was most apprehensive about. It’s hard conveying something so big and dark and trusting that your audience will hold those feelings. But I couldn’t feel more heard than I do now.
Your visual art background seems to really shape your music and visuals. What’s been the most enjoyable part of this creative process for you?
When it comes to making the artwork and visuals for the album, I’ve had so much fun. I’ve also had the opportunity to work collaboratively with so many creatives on music videos, shoots, and shows. My wonderful stylist, Leith Clark, is so artistic and has a real sensitivity to the creative world I live in, and every music video we’ve done feels like just for a day we’re truly living in that world.
Your music seems to draw a lot from nature too. Has your upbringing in the Derbyshire countryside influenced your songwriting and the natural themes in your music?
I think so. I need a lot of time in nature in order to feel creatively energised. I think that’s a result of having grown up in the countryside, and nature as a device, language or trope constantly comes up in my songwriting, as it’s the world I understand.
What do you hope listeners will feel or take away from Cacophony?
I hope they feel held, and like it’s there for them, or helps facilitate their journeys in the way it documents mine. The album is in essence about what comes out of your pain on the other side, as all of these songs were written out of great need. I hope the listeners find what it is that comes out of theirs.
What got you into songwriting? Any artists or writers who inspired you?
I fell in love with songwriting, I think, when I was around 11 or 12. It’s when I got my first guitar, inspired by writers like Ed Sheeran, or Joni Mitchell, who made writing and storytelling through songs seem so accessible.
How would you describe your music to someone who hasn’t heard it before?
“Visceral” would be the key word for me.
Have you ever been to Australia or New Zealand? Would you want to tour here?
I never have!! I’d love to. I’m also a massive Lord of the Rings fan so I’ve dreamt of coming to NZ since I was a child.
How has 2024 been for you so far? What are you excited about for the rest of the year?
2024 has been the best year of my life and career. I’m touring this autumn and winter and then looking forward to having some more writing time.
