A critically acclaimed, classically trained artist, Gretta Ziller’s career to date has seen her accrue two Golden Guitar nominations, with her single 5,4,3,2,1 also currently sitting just shy of 500K individual streams on Spotify alone. Destined for a life in the creative arts, Ziller was able to whistle before she could talk, hailing as the token musician in a family of farmers and going on to take up the violin when she was just 3 years old. Picking up other instruments along the way, including the bagpipes, Ziller went on to complete a Bachelor of Music at Melbourne University, majoring in voice and starting her musical career as an opera singer and teaching the notoriously complex art that is the bagpipes.

Over the years, Ziller’s potent talents have garnered resounding praise with each new release, including two full length albums, an acoustic album and her debut EP which released back in 2014. Armed with a sharp self-awareness alongside her irresistible blend of modern Americana, blues and beyond, 2022 saw Ziller support Australian legends Ian Moss and Troy Cassar-Daley for their Together Alone tour, a tour which remains one of her career highlights to date. But the talented Melbourne artist also continues to burgeon her own individual fanbase alongside her trademark sound, with the release of All These Walls set to stun both on and off the stage.

Stylistically inspired by a potent array of influences, including Bishop Briggs, Rag n Bone Man, Tom Petty, Foy Vance, Alabama Shakes and HAIM, All These Walls follows in the footsteps of Ziller’s earlier works, including 2021’s Judas Tree and 2017’s Queen of Boomtown, while firmly showcasing joyful creative evolution alongside a significantly thriving core message summed up by Ziller herself: “The main themes on All These Walls are love, self believe and self-worth …with a hint of self-doubt cause we can’t be too cheery!”

Case in point, All These Walls opens in silken fashion via Cross My Fingers, morphing into a sharp ode to facing one’s demons complete with modern gloss and hints of twanging charm, before sliding into maudlin beauty on the wistful and winsome Dear Damascus. Effortlessly flitting between gossamer restraint and powerful glee, Ziller’s mesmerising vocals thrive throughout the album’s journey, from jaunty, bold tracks coated in brass (Ain’t Even Your Lover), to heart-rending country ballads (Whole) and anthemic stompers brimming with positivity (Bones). In between moments of mellowed beauty (Golden Days, Who Knows) and lush modern production, witnessed in spades on the album’s very title track, Ziller’s capacity to concoct authentic narratives alongside glistening guitars, warm melodics and an unmistakable alt-country flavour shines loudly and proudly, effortlessly baring her soul with self-awareness and captivating compositions – and, ultimately, an unmistakable love for her craft.