Hollie Rogers Talks New Album, Single And More

Acclaimed singer-songwriter Hollie Rogers returns with the announcement of her new album “Everything’s Fine”, released on 5th June 2026, She sat down with JLTT:

 

What is your earliest musical memory?

Aged about 4, listening to ‘The Best Of Blondie’ on vinyl with my Mum, who diligently helped me to learn the rap from ‘Rapture’ word-for-word. It swiftly became my party piece as a child, and still comes out on occasion today if I’ve had enough cocktails…

 

 

When did you begin songwriting?

Aged about 15. I’m not really sure you could call them ‘songs’ though… they’ll certainly never see the light of day!

 

 

You have your new album ‘Everything’s Fine’.  How did you want to approach the making of the album?

That’s a big question… it’s been 4 years in the making and I could write an essay about how it’s all come to fruition. But the main thing is that it wouldn’t have been possible without my crowdfunders – I ran a Kickstarter campaign which raised £13K (which, after platform fees, is about half what it costs to make a record.)

The songs were written over many years (including some that were written before or during the release of my last record, ‘Criminal Heart’.) There are also a few co-writes on this record, as I’ve started collaborating more in recent years. I feel very lucky to have so many wonderful contributors and musicians on this record – from Elles Bailey and Beth Nielsen Chapman to The Budapest Symphony Orchestra!

 

 

Where did you record the album and who produced it?

I worked largely with the same team as I did for my 2022 album, at Masterlink Studios in Surrey. James Welch engineered all the instrumentation at Masterlink, and I tracked my vocals separately at Quiet Money Studios, with 5-time Grammy Nominated James McMillan. He specialises in powerful female voices and his resume includes work with Whitney Houston. I co-produced the album with Stefan Redtenbacher, who also plays bass on the record and led the session band on recording days. Beth Nielsen Chapman’s vocals on ‘Everything’s Fine’ were recorded over in Nashville, and The Budapest Symphony Orchestra recorded their beautiful string arrangement on ‘Spaceman’ from Tom Tom Studio D, Hungary.

Do you have any interesting, funny or memorable stories from the recording sessions?

There definitely will have been – but it was all such a whirlwind and quite a long time ago now, that I can’t actually remember! Thankfully what DIDN’T happen this time was me losing my voice – which is what happened on day 1 of recording week for my previous album. The horror!

 

Did you use any particular instruments, microphones, recording equipment to help you get a particular sound/tone for the record?

I leave all the technical stuff to the engineers – but they certainly know how to get the best out of our sound! When tracking my vocals, James and I used 2 mics at the same time. One was an old and antique mic from the 1960s (I forget its model number) but it gives a wonderful analogue, classic sound to the recordings. At the same time we used a super-modern ‘modelling’ mic, which allows you to digitally pick essentially any microphone that has ever existed, and it mimics its sound. So you record the vocal, and then you can hear it back as though it was was recorded on your chosen mic. You can change the mic sound infinite times. Doing things this way really allowed us to get the best sound for each different track, and you’ll be able to hear that variety on the vocals if you listen through to the record in one go.

 

Which of your new album tracks hear you at your a) happiest, b) angriest and c) most reflective?

a) Happiest – I know I’m not alone in saying I don’t tend to write about happy stuff! Upbeat, sure – but even the upbeat tunes haven’t usually come from a happy place. So I don’t think there’s a track that overtly screams ‘happiness’, but ‘All For You’ probably comes closest. ‘Unholy Trinity’ always reminds me of the writing session for that song, which was a really happy day, with Ed Blunt & Daisy Chute, my friends and co-writers.

b) Angriest – ‘Some Kinda Lover’, without a shadow of a doubt!

c) Most reflective – ‘Spaceman’. It was inspired by true events but took on an invented narrative as we were writing it – people have interpreted it as a metaphor for grief, which I think is appropriate; it is certainly about loss in one way or another.

 

Who were the musicians who were on the album with you?

Probably too many to name in a list! But my core band on the album for most tracks was:
Ed Blunt – keys and backing vocals

Stefan Redtenbacher – Bass

Ross Stanley – organ

Mike Sturgis – Drums

Simon Johnson – Electric Guitar

Daisy Chute – Backing vocals

And myself on acoustic guitar, electric guitar and vocals.

There were many other contributors though, from songwriters to orchestra members to additional instrumentalist on certain tracks. And of course Beth Nielsen Chapman and Elles Bailey, who co-wrote and co-performed the title track.

 

 

Does the album’s title have a specific meaning/significance?

Yes! It’s a sarcastic title. So often we say “everything’s fine,” when what we mean is “everything is on fire and I cannot cope”. That’s exactly what this title means, and the idea is explored more directly in the title track.

 

 

Was it a difficult album to write?

Not really. It’s a mix of co-writes and songs I wrote alone, and those 2 processes are like apples and oranges. Solo writes happen at times that I don’t control and really feel I have no conscious part in. It’s usually 3am or some other inconvenient time, and the songs just ‘happen’. Sometimes I feel like I’m just the messenger, and yet those are the songs that are the most deeply personal. It’s usually a very cathartic experience.

Co-writing is very different – songs are more consciously crafted and usually more fun. It’s also less painful because you tend not to be writing about your most personal stuff. You may not even be writing from personal experience at all in a co-writing session, and you might be working with total strangers. Sometimes co-writes flow really easily and others can be a slog, but they’re never boring.

 

Who designed the album artwork?

The photograph was taken by Scott Chalmers who has been my photographer for my last 3 releases, and graphic design was by Mike Storey. The concept for the front cover was my idea; it’s supposed to be a little open to interpretation, but in my own mind, I’ve just slipped on a banana skin and I’m mid air, about to crash down on to the floor. This is to fit with the sarcastic title, ‘Everything’s Fine’… when it clearly isn’t! I didn’t want the cover to feel too comedic though because it’s not a comedy album.

Where is your hometown and could you please describe it in five words?

Penzance.

1) Cornish.

2) Pasties.

3) Pirates.

4) Rainy.

5) Unique.

 

How do you look after your voice?

Not as well as I should, I’m ashamed to say. There are warm ups I always try to do before a gig, but they’re very hard to do without sounding like a complete maniac, and a lot of venues don’t have anywhere particularly private or quiet, so it can be difficult. But I try to sing often, keep the muscle exercised – that in itself helps.

 

Do you have any live dates planned in the UK/Europe in 2026?

Yes, loads! I’ll included a list below.

 

What two things do you hope to have achieved once you have left the stage?

Just to be happy, and to be able to say I completed all endeavours to the best of my ability.

 

Do you have any favoured stage instruments, effects, pedals, microphones etc?

Actually no, I have a very basic setup. I run my acoustic guitar on stage through a tuning pedal and that’s it. Technology on stage freaks me out a bit – I feel like the more I use, the more there is to go wrong!

 

You are given the opportunity to write the score for a film adaptation of a novel that you enjoy. Which novel is it and why?

It’s obviously ‘The Very Hungry Caterpillar’. And why not? It’s got everything. Drama, intrigue (will he eat the pear??), survival, metamorphosis… and the quiet inevitability of becoming someone entirely different after a very intense week. The score would be epic!

 

One of the tracks is the single ‘Everything’s Fine’ out now. What was the story/inspiration behind the song?

Beth, Elles and I wrote this together on a writing retreat, and Elles was really poorly. But that didn’t stop, and she didn’t go home, because there was work to be done. It led to a discussion about how much we have to juggle and how often we have to ‘power through’ as independent women. We do it all with a smile and say “everything’s fine.” That’s what the song is about.

 

How did the collaboration with Elles Bailey and Beth Nielsen-Chapman arise?

Chris Difford (Squeeze) invited us all onto one of his writing retreats. There were about 20 songwriters, and the three of us were grouped together one day for a write. We already knew each other so that made for a nice, relaxed session.

 

 

The single is accompanied by an official music video. What was the thought process behind it and who directed it?

It was devised by me and directed, shot and edited by Nick J Henderson. I wanted something that matched the light-hearted, sarcastic vibe of the lyrics in the song. And as you can probably tell, I don’t tend to take myself too seriously.

 

Who are some of your musical influences? Do you have any recommendations?

Blondie, Joan Armatrading, Joni Mitchell, Damien Rice, and, believe it or not, Eminem. (I’m not joking!)

 

What makes Hollie Rogers happy and what makes you unhappy?

Happy – a full crowd singing the words of my song back to me without being asked.

Unhappy – lack of snickers.

Feature Image Photo Credit: Scott Chalmers

Hollie Rogers new album ‘Everything’s Fine’ will be released 5^th June 2026.
 
 Some Kinda Lover is OUT NOW on all digital platforms https://slinky.to/SomeKindaLover
 
 Website: https://www.hollierogers.com/
 FB: http://www.facebook.com/hollierogersmusic
 INSTAGRAM: www.instagram.com/hollierogersmusic 

SPRING Pre-Release Duo/Band Tour – “Everything’s Fine Tour (Chapter 1)”

  Apr 18 – Temperance, Leamington Spa (Duo)
  Apr 19 – Greystones Sheffield (Band)
  Apr 23 – Half Moon, Putney (Solo, support for Brave Rival)
  Apr 24 – The Bear Club Luton (Band)
  Apr 25 – Sudbury Arts Centre, Suffolk (Duo)
  May 1 – Otford Hall, Sevenoaks (Duo)
  May 29 – The Lighthouse, Poole (Duo)
  May 31 – Cromer Centre, Norfolk (Band)
 Jun 7 – The Harlington, Fleet (9 piece band – ALBUM LAUNCH) 

 SUMMER
 Jul 11 – Drawing Room, Chesham (Duo)
  Jul 30 – Spring Arts Centre, Portsmouth (Duo)
  Aug 8 – Nuernberg Guitar Festival, Germany (Solo)
  Aug 21 – Old Bush Blues Festival, Worcestershire (Band)
  Sep 3 – Ropetackle Arts Centre, Shoreham (Band)
 Sep 6 – British Country Music Festival, Blackpool (Band)
  Sep 12 – South Downs Folk Festival, Bognor (Duo)
  Sep 16 – St Ives Arts Centre, Cornwall (Solo)

  NOV “Everything’s Fine Tour (Chapter 2)”
  Nov 6 – aRTy Barn, Hemel Hempstead (Band)
  Nov 13 – Cranleigh Arts Centre (Band)
  Nov 19 – Ropewalk, Barton-Upon-Humber (Duo)
  Nov 20 – The Live Room, Saltaire (Band)
  Nov 24 – Tuesday Night Music Club, Coulson (Band)
  Nov 27 – Chapel Arts Centre, Bath (Band)
  Nov 28 – The Acorn, Penzance (Band)
 Dec 5 – Nelly’s, Stratford-Upon-Avon (Duo)