Kathleen Halloran Steps Into the Spotlight With Debut Album ‘Nobody’s Baby’
15 years into her career, singer, guitarist and songwriter Kathleen Halloran’s long-overdue debut album is here. Nobody’s Baby is an emotional snapshot of her journey, with Halloran telling her story across 10 guitar-driven tracks. Opening up to The Note, Halloran spoke about the creation of her debut, the difficulties she’s faced and her joy of playing live.
Words Tobias Handke // Image WILK
Congrats on the release of your debut album, Nobody’s Baby. It’s been a long time coming. After 15 years in the industry, how does it feel to finally have your album out in the world?
Thank you! It’s completely surreal. I’m still processing all the different emotions that come with putting out a debut record. I’ve spent a long time playing in other people’s worlds, and this album is me stepping out from behind the guitar and backing myself as an artist. I’ve learnt and grown so much through the process, and as I put it out into the world, I’ve never felt more grateful or connected to my creative community, who have contributed to and brought this dream to life.
How difficult has the journey been? Did you ever want to give up or think you might never get the chance to release an album?
It’s been the best kind of challenge — definitely a marathon. When I began the recording process in 2023, I only had three songs. The rest formed naturally in the studio and through life as it was happening. It’s been a huge journey, one I’ve been completely in the moment with.
Even with delays and it naturally being put on the back burner at times, I never considered quitting or that it wouldn’t happen. The creative team and environment allowed me to trust the process. I’ve grown into this album, and I wouldn’t change any of it.
When you began writing Nobody’s Baby, did you have a goal or theme you wanted to achieve or represent, or was it more about putting all your thoughts and feelings on wax and seeing what happens?
Reflecting back, I’d have to say no. I didn’t have a title, and I didn’t even have more than three songs. Part of the beauty of this project for me is how it evolved and grew with me. Can’t wait to start the next!
What is your song process like? Do you come up with a melody and then lyrics, or vice versa?
It’s definitely different every time for me. Some (rare) songs arrive almost fully formed — ‘Stolen Night’ was one of those. Others come together more gradually in the studio, through playing and responding to what’s happening in the room.
I’m interested to know what it was like working with producer Roscoe James Irwin (The Cat Empire, The Bamboos, Paul Kelly) and engineer/mixer Ben Edgar (Gotye, Angus and Julia Stone). How did they influence the outcome of the album?
Absolutely incredible. Roscoe James Irwin gave these songs a life, depth and colour I could never have imagined. His patience, generosity and open mind in the studio really shaped the whole record.
Ben Edgar’s studio became the perfect home for the album — his knowledge and approach allowed everything to come together in a really natural way. I also have to mention his ridiculous guitar and tone knowledge. I worked so closely with him on every guitar sound across the record and learnt so much in the process.
It’s a real blessing to have a creative team you can wholeheartedly trust. That trust allowed me to focus purely on the performance.
One of my favourite tracks on the album is ‘Wolves Like You’, which was co-written with SA artist Dustyn Lee Stephensen. How did that collaboration come about, and what was it like working with Dustyn?
The greatest gift of a life in music is the amazing souls you connect with along the way. Dusty and I became instant friends working on a Led Zeppelin show together for the Adelaide Guitar Festival — nothing like a mutual challenge of studying Jimmy Page to bond two guitarists!
We snuck in a late-night writing session in amongst rehearsals when I was in Adelaide, and it was an instant match. We wrote two songs that night — ‘Wolves Like You’ and the beginnings of ‘Heal Me’, the album closer.
I love the way Dusty works — he’s fast, incredibly skilled and knowledgeable, and always chases the inspiration until the magic is found. I can’t wait to write with him again — we’ve got a third song in the wings.
Another highlight is ‘Cost of Living’, which explores the cost of chasing your dreams. Talk to us about writing this track and how much it was influenced by your own career.
‘Cost of Living’ is deeply personal — I live and breathe the content of this one. It’s about the emotional rollercoaster of choosing a creative life. One night you feel unstoppable, like the whole world’s in the palm of your hand — and the next day you’re back on the ground questioning everything.
But despite the chaos, the doubt and the exhaustion, you wouldn’t trade it for anything. It’s an all-in kind of life, living without a roadmap — and that’s a beautiful thing. Roscoe James Irwin’s string arrangement lifts the song into a whole other cinematic space.
Is there a particular song on the album that’s your favourite, or one you are currently digging?
‘Stolen Night’.
What do you hope people take away from listening to Nobody’s Baby?
I hope people connect to the realness and vulnerability of the record. It really was me stepping into something brand new and building it as I go.
The album touches on a lot of themes around the creative pursuit, so I hope it resonates with people who are living without a manual and chasing inspiration day by day.
You’re embarking on a national tour in support of the album. How excited are you to perform songs from the album for audiences?
SO EXCITED I CAN BARELY BREATHE! I am very much a live artist - and these songs don’t fully come to life until they hit the stage!
What’s your favourite thing about touring, and do you have a favourite venue or city?
Over the last couple of years, it feels like my life has been one long continuous tour. I absolutely love being on the road — discovering new locals away from home…country bakeries, cute cafés.
My favourite thing is the privilege of being able to connect with new audiences from my favourite place on earth — the stage.
You’re performing at The Wheatsheaf in Adelaide. I imagine you’ve played several shows over the years in Adelaide. Do you have any memories or stories from performing here?
Adelaide genuinely feels like a second home to me, thanks to the love and support of communities like the Adelaide Guitar Festival and Adelaide Festival Centre.
I’ve had so many memorable performances there, but a big one is that I actually played my first ever solo gig in Adelaide — at the Dunstan Playhouse as part of the Guitar Festival. That really was the beginning of this whole journey for me. I’ll never forget that one or how nervous I was!!
What does the rest of 2026 hold for Kathleen Halloran?
The focus right now is taking Nobody’s Baby out on the road and really letting it find its life on stage. Touring through May and June is a big part of that — connecting with audiences and letting these songs grow night by night.
Beyond that, I’m always writing. This record has opened something up creatively, and I feel like I’m only just getting started. There’s also a real focus on building the world around the music — growing the audience, deepening that connection, and continuing to carve out my own space as an artist. This record definitely feels like the beginning of something, not the end of it.
Kathleen Halloran’s Nobody’s Baby is out now. Listen here. Catch her performing at The Wheatsheaf on Thursday 28 May. Tickets on sale at oztix.com.au.
