Full Flower Moon Band: Ego Is Not a Dirty Word

Brisbane rockers Full Flower Moon Band are back with rollicking new single ‘Scene’, a collaboration with New York’s Gustaf. In the lead-up to the release, FFMB’s Kate 'Babyshakes' Dillon opened up to The Note about the track, her songwriting process and working with mixer Tony Buchen.

Words Tobias Handke // Image supplied

After the massive success of Full Flower Moon Band’s 2024 album, Megaflower, the gritty rock and rollers return with their first release of 2025, ‘Scene’, available now via Dirty Power Studios.

A collaboration with New York art punk collective Gustaf, ‘Scene’ is the type of tune to get you nodding along after half a dozen pints at your seedy local. The track is steeped in reverb and hazy riffs, with FFMB’s Kate 'Babyshakes' Dillon and Gustaf’s Lydia Gammill's powerful vocals sure to make you weak at the knees.

Earlier this week, The Note was lucky enough to ask Babyshakes a few questions about the single, how the collaboration with Gustaf came about and what the rest of the year holds for FFMB.

---

Congrats on the release of ‘Scene’. It’s a belter of a track. Tell us more about how the collaboration between Full Flower Moon Band and Gustaf came about.

I was in New York on a writing trip last year as part of the Grant McLennon Fellowship and I ended up hanging out with Mel [Lucciola], Gustaf’s drummer. The fact that we were both fans of each other’s work kind of stuck with me. Later, when Megaflower hit #1 on the Australian ARIA Charts, I started writing ‘Scene’ as this absurd, rock and roll victory lap. I knew it would be super effective to add Lydia’s [Gammill] voice; she’s just untouchable in terms of vocal swagger, so we called them up.

Why was Lydia the right fit for this song? 

She’s just untouchable in terms of vocal swagger. The fact that Lydia had the time and the interest to do it was lightning in a bottle. But even when something looks perfect on paper, it's still a creative risk – you never really know how two voices will mesh until you hear them together. That first playback of her vocal in the mix was such a relief – I knew we’d captured this hybrid power trip that the song was always meant to be.

How did you find the collaborative process?

There’s all this mythology around classic bands having chance encounters that end up shaping music history - like The Beatles and The Beach Boys or Queen and Bowie. I used to think that once we were big enough, we’d enter this magic melting pot of culture being made in some third space. But I don’t know, at the moment, I’m still on my laptop 80% of the process. The band and I just sort of agreed that if a song ever needs it, we should hit up other bands we like and keep that dream alive a bit. But it’s got to be about being in service of the song. So working with Gustaf was my way of chasing that feeling.

‘Scene’ has a real scuzzy, dive bar vibe to it that merges perfectly with the playful lyrics. Is that what you were aiming for?

Yeah, in the demo I was doing a straight-up Bon Scott impression. That helped me get the words out and not take the track too seriously. I would fill in the missing lyrics with ‘and you ask me how I comb my hair’.

Speaking of lyrics, the track pokes fun at the rock and roll lifestyle. Is there a sense of self-indulgence within the music industry, and do you ever run into people whose egos outweigh their talent?

Oh, truly, I am just playing with my own ego and not referencing anyone else. I love the part of the rock star myth where characters act like a diva without consequences. I think everyone has a version of this fantasy where they can just be an untouchable egomaniac, but in reality, those choices catch up with you. That’s what makes ‘Scene’ fun – it’s the fantasy version where you can act untouchable, and there’s no fallout.

I wouldn’t call the industry self-indulgent – it’s more like a pressure cooker that brings out raw, very human experiences. I’ve seen it up close, but I also understand how someone could get there.

You roped in Tony Buchen, whom you’ve worked with previously, to mix ‘Scene’. He’s done another fantastic job. What is it about Tony that brings the best out of FFMB?

I think it’s his broad back catalogue, which he makes all sit in this really creative pleasure zone. Tony’s catalogue is just artful - he mixes experimental flutes on Monday, a punk band on Tuesday, and it all sounds top shelf. For Megaflower, he pitched this vision of where Full Flower could go sonically if we wanted to level up, and was always willing to throw ideas around. I like to foster relationships that work. We can keep pushing the envelope and skip the small talk.

READ MORE: Little Birdy: This Is a Love Song

Speaking of Megaflower, there’s a real growth in both the sound and songwriting from your previous album Diesel Forever to Megaflower. How did your approach to songwriting change over that period?

We pushed ourselves in lots of different ways for Megaflower - some of it was deliberate, and then some of it was in response to circumstances. For example, I find it really easy to write a short song - our most popular track is 2:30. But this time I wanted longer structures, to not leave any ideas on the cutting room floor. That meant more complex arrangements, which had a ripple effect across the whole album. We wanted to multi-track the album and use a click (the last album was live), so we could put more instruments on each song - but that required more time. So it was like making deliberate choices and then learning the consequences.  All of this just naturally progressed the sound of the album, and it all culminated quite naturally into what Megaflower is. Mega both personally and sonically. 

A lot of the songs on Megaflower are, to me, love songs in some shape or form. What is it about love, connection and human relationships that inspires your songwriting? 

I love that you added “in some shape or form”, cos yeah, it’s in there, but in so many variations. The songs all have a narrative and theme, but I’ve had too many conversations where people interpret them in totally different, yet valid ways. I tend to let people take what they need. I think good lyrics give you heaps to hold onto, but still wrap themselves around the listener’s own experience. 

You were also behind the boards for the album. Do you prefer performing or producing?

I have produced a few albums outside of FFMB and I really enjoy it – it’s such a cool role. But I have such a deep respect for producing as a singular mindset. When there’s been a choice between getting better at producing in general or being a rock star, I tend to choose the latter. It’s a full-time job.

Finally, what can we expect from FFMB for the rest of 2025? 

We’re heading out on 25 UK and Europe shows starting in August. We have great management at Tiny Minds Agency, so I could pretty much tell you what we are doing until about December 2026. There is a lot, and we are looking forward to all of it.

‘Scene’ by Full Flower Moon Band is available to stream now.

---