You’ve performed with orchestras, composed for Baz Luhrmann and represented Australia at Eurovision. What has been the highlight? Working with Baz was a huge highlight because it showed that we can work confidently with a world-renowned creative. You never know if these situations can make you feel involuntarily self-conscious, yet it was so natural and, well, fun!

Eurovision shone a light on our self-belief. To be so vulnerable and perform in front of 100 million people, it lets you know very quickly if you actually believe you deserve to be there. And I experienced a deep level of focus instead of unsettling nerves. That strengthened my self-efficacy.

Performing with the brilliant Melbourne Symphony Orchestra and then the Sydney Symphony Orchestra proved our composition and performance craft are a solid quality that is at home in the concert hall of the Sydney Opera House.

But whatever we do, either in music or otherwise, the best feeling is that you're in the right place at the right time. That calms any anxiety or insecurity that steals away the sense of peace that makes me feel good.

How did your collaboration with the symphony come about? Eight years ago, when Electric Fields was only about 12 months old, a lovely person called Guy Ross was working at the Adelaide Symphony Orchestra. He had a meeting with us about a possible show and the conversation continued sporadically over the years. Then Guy became CEO of the Melbourne Symphony and the conversation materialised into our first show with an orchestra. It went so well that we performed with the Canberra, Sydney and Adelaide symphony orchestras and returned to remount the MSO show that was filmed and recorded. It was actually a dream come true that I didn't think was possible. 

What’s your favourite track to play live? “Shade Away” is really exciting to open the set. We have an effect on Z's vocal that adds an octave down in real-time. It sounds super-mystic and like the earth is singing along. "Don't You Worry" always brings the sunshine. We've got a nine-minute ’90s mega mix of tracks like "Ride On Time" and "Rhythm Is A Dancer" – this makes the show feel like a party full of old friends.

How did you meet Z, the other half of Electric Fields? In a big wooden shack in the Adelaide Hills. A music lecturer at Adelaide Uni wanted Z to sing some new songs she'd written and they needed a music producer, so the three of us created three tracks and Z and I went our separate ways. Over the next five years I'd see Z by chance at a café or gay bar. Then in 2015 Z called me to work together on some tracks. We started to write music and the waves of joy we experienced creating music together was a sign that we were on to something special.  

Where do you look to find creative inspiration? I find inspiration anywhere. In a conversation, a documentary. I've got a pad where I write all the ideas down no matter where I am. On the rare occasion I get writer's block, I watch Iris van Herpen fashion videos on YouTube. Her designs and her process are so inspiring and organic, I feel like I just know what to do when I look at the garments she's created. 

When you’re not busy making music, how do you like to spend your time? I have ping pong tournaments at my house with friends – I've got trophies and key rings for the winners. I go op shopping for clothes to alter and I wear these on stage, out to a party or as gifts for my closest. And then when I'm zonked from all that, I'll cook comfort food and watch trash TV in a nest of cushions. 

Describe your sound in three words. Filmic, emotional, energetic, mystic, joyful, medicinal, community, fun, horny. You said nine words, right? 

This chat comes straight from frankie issue 124. To nab a copy, swing past the frankie shop or visit one of our lovely stockists. For future issues, subscribe here.