Stella Donnelly, one of our favourite Australian voices and writers, has returned with Love and Fortune. The Melbourne-based artist's third studio album was written in a period of introspective, reflective honesty in Melbourne's inner north, exploring romantic heartbreak and friendship breakdowns. Created alongside longitme collaborators and friends Marcel Tussie, Jack Gaby and Julia Wallace and new guests Sophie Ozard, Timothy Harvey, and Ellie Mason, the album features impressive arrangements and raw, vulnerable lyricism to create Donnelly's most assertive work to date. We spoke to the artist about the making of the record:

Thank you so much for taking the time to chat and for letting us listen to the record. It really resonated with me.

Yeah, thank you, I’m really glad it resonated. The general energy of this album was about processing loss and endings, and finding ways to nurture all those facets of grief. I set some lyrical limitations for myself—like being really petty on one song, and on others, fully admitting guilt and all the things I’ve done wrong. Essentially, it’s a breakup album, and I tried to compartmentalize each song to reflect a different stage of processing.

It’s very well done. Why did you choose Love and Fortune as the title track? Why was it the right name for the album?

I was in a bit of a dark place and had been reading so many self-help books and listening to podcasts, hoping they’d solve everything. But I’d never finish them. I realized I was looking for a solution outside myself instead of appreciating the life and friends around me. Love and Fortune is kind of a tongue-in-cheek way of acknowledging that we’re all aspiring to this idea, myself included.

I read that this album traces your journey back to yourself. What helped you process everything while making it? Were there special places or routines that supported your writing?

Repetition was key. I rode my bike every day between the bakery I worked at, the local swimming pool, the park, and my house. It made this small, cute square, and the album cover was originally going to trace that map. That routine is where I found joy. It was the opposite of touring life.

Where were you based while making the album?

I was in Melbourne, Brunswick, living in a big share house with friends. We built a little music studio in the shed, so I’d sneak away there to work on music every day.

How did living with other people shape the album?

Being around stories and communication constantly definitely influenced me, but it also pushed me into solitude. I love that comfort of going to sleep while others are still talking. Making music in the shed while friends hung out in the house was really comforting.

Who did you collaborate with?

We kept it very in-house. My band - Julia Wallace on ugal horn and keys, Marcel Tassie on drums, Jack Gaby on bass, and a few friends for additional vocals. Julia engineered it, and we all contributed to production.

Did your production skills grow on this album?

Yes, but I won’t do that again. It suited the intimate, raw themes of this album, but now I’m ready to hand over control to inspiring producers who can enhance my ideas without changing my songwriting.

Do you have any dream producers?

John Parrish, who’s worked with PJ Harvey, and Elders Harding. Locally, I’d love to work with Jerome Blase - his album Living Room is incredible, and I admire his field recordings and commitment to capturing place.

It’s great that you proved to yourself you could do it. Even the birds on the record make it feel very Australian.

Thank you! I love capturing sounds. It’s the most fun part.

Is there a song you’re particularly proud of or that was a challenge?

Year of Trouble, a ballad I’d tried to turn into a dance-floor pop song initially. I wanted it to be like a sad dance song with fast drum beats, but ultimately, I’m proud I captured it in its purity on piano. Julia really encouraged me to let it sit in its own world. I’d love to do a remix one day.

Which other artists are you excited about in your creative community?

Hannah McKittrick is amazing. Her song Crowd Scene completely changed how I engage with music and people. Since hearing it, I’ve been going to more gigs and rallies, it’s really pushed me to take action. She also hosts her own radio show, Soak, on PBS at 5 PM, designed to be listened to in the bath. She’s deeply embedded in music, and I’m excited to see what she does next.

Listen to Love and Fortune HERE.

@stelladonnelly