From the halls of Taroona High to the international stages, musician Finn Rees returns to Hobart to headline the Clarence Jazz Festival with his band Close Counters.

How did growing up in Hobart influ­ence your music and how you approach collaboration? I’m grateful to have grown up in the small community of Hobart/ nipaluna where I was able to find my first entry points into music through things such as busking with friends at Salaman­ca, playing at Cygnet Folk, Falls Festival, Clarence Jazz or DJing in local clubs be­fore I was 18. The close proximity to other people as well as the natural environment that hugs the city made it easy to find a balance between social musical connec­tions and a sense of groundedness on the land. I had Suzuki lessons from a young age with Eric Mitchell – who introduced Suzuki to Tasmania and rigorously avoid­ed AMEB exams – and then went through Taroona High with an amazing music program which definitely helped my sense of collaboration and ear training.

Your band Close Counters moves across jazz, house, soul and electronic music. How did you guys get started? We got started 12 years ago (would you imagine) when Allan was starting Uni and I was completing high school. We had access to the conservatorium studios and would spend after hours nerding out together and exploring beat making or collaborating with local singers. We played our first gigs at the FKA Wunder­land – now High Altar, and other small venues around town.

You were a Clarence Jazz Festival Jazz Scholar back in 2015. Headlining the festival this year is a full-circle moment. What does this mean to you? It means a lot! Returning to the shire is al­ways a great time. The Tassie community has been so beautiful and supportive over the years, but I’m even more grateful to have been invited to bring two full bands to Clarence this year. Maintaining the connection whilst still pushing my career overseas requires a lot of travel but it’s always worth it. I still think Tassie crowds seem to have the most unpretentious and genuine fun at gigs.

You’ve performed major festivals like Meredith and MONA FOMA, as well as Glastonbury last year. How does that feel? I guess it feels rewarding and also exciting that we’re doing something that is appreciated not only locally but interna­tionally. And also I hope other Tasmanian artists can experience the same joy wheth­er it’s at similar festivals or locally within their community.

You’ve collaborated with artists such as 30/70, Allysha Joy and Audrey Powne. What do you look for in collaborators, and what have those partnerships taught you? I’ve been a core member of 30/70 since 2019 and have broadened my collaborations since moving to Melbourne and then London. I think the biggest thing I look for in collaborators is if they can listen well, and if they will bring out the best in me and vice versa. The goal is to create something which is greater than the sum of its parts and surprise each other with how we play together. All of these partnerships have taught me to be humble, drop the ego on stage but also serve the music to its highest potential. Listen to the music as a whole rather than focusing on yourself too much, giving what the music is ‘asking for’ which could be laying out (not playing) or maybe taking a big solo, it depends! A lot of these are lessons that I think can be applied to everyday life.

How does your solo work, such as your solo album Dawn Is A Melody, differ creatively from Close Counters, and what does it allow you to explore? I’ve always had the vague idea of a solo record in the back of my mind. Delving into my own music definitely allows me to explore other colours of the musical spectrum and lean more into the improvisation and arrangement side through my role as the band leader. I approached this music in a more old school way, less editing and more live playing together in the studio. There’s more focus on the natural sound textures of the instruments and dynamic expression of each player. It’s a lot more sensitive I’d say.

For young musicians coming through now, what advice would you give about building a sustainable career? Sustain­ability is all about patience and good rela­tionships I think. And things will happen at the right time if you keep your heart at the centre of your decisions. I’ve been performing publicly for over 15 years and it’s amazing how every little connec­tion you make can affect your musical journey. Be kind, respectful and genuine to everyone. Don’t stress about the fast moving trends because they’ll disappear as soon as they arrive. “Overnight success” is often a decade of practice and hard work beforehand. Learn about all kinds of music or art from different periods of time and look for the ones that stand the test of time. Good music will survive for many years to come.

What do you like to do when you’re back in Tassie? I’m always trying to get out into nature, go on a bushwalk, have some cold swims, hang with family, eat as many oysters as humanly possible, go to the farmers market, have some space to think about the next creative project.

Catch Finn performing at the Clarence Jazz Festival, from 19-22 February. www.rosnyfarm.com.au.