An industry veteran with more than 40 years’ experience, Paul Louis Villani is refusing to mellow out or simply trade on nostalgia. He shows there’s still plenty of fight left in him with his latest single, “Who Do You Belong To Now? (Great Southern Land),” a brooding rock song with insightful lyrics that explore modern-day Australia. I caught up with him to chat about his latest release, his years in the industry, and the music that’s inspired him along the way.
You’ve just released your latest single, “Who Do You Belong To Now? (Great Southern Land),” which explores some really topical themes like economic pressure and social tensions. What inspired you to write it?
Confusion and frustration probably pushed me into writing it. I reached a point where I was looking around at the country, I’ve lived in my whole life and thinking, “Why does everything feel so tense now?” People are financially exhausted, socially divided, permanently angry online, and constantly being told what they should think or should accept as “the norm.” I’m not sitting here pretending I’ve got political solutions or strategies of resolve, because I don’t. The song was more about documenting the feeling of disconnection and uncertainty that’s been rattling around inside my head and heart for quite a while.
It’s so different from the usual songs we hear referencing Australia, which tend to be very patriotic. How has it been received so far?
Yeah, it’s definitely not “wrap yourself in the flag and crack a beer” type material. But interestingly, a few people have connected with it, and I feel it’s because it doesn’t pretend everything’s perfect. The responses I’ve received have mostly been people saying, “Mate… I’ve felt some of that too,” or “I know what you mean.” There are others who probably hate it, and that’s OK. I’d rather create something people react to than something they forget 30 seconds later. I’ve been really lucky to have some constant support from local and independent Aussie radio stations who have already given the song some airtime.
You’ve released a lyric video to coincide with its release. How important was it for you to make sure people listened to the lyrics of this song?
Massively important. These lyrics took time. I’m usually a five-to-10-minute lyric-writing guy, but these I wanted to be expressive but not intrusive. It would be so easy to write about issues that I’m concerned about and get my own political beliefs thrown into view and forced down listeners’ throats. But, that then would not leave room for listeners to consider what they are feeling or interpreting what they see around them and how it is impacting their worlds. Visually, the lyric video was designed to feel chaotic, fragmented, uncomfortable… almost psychologically intrusive at times. At this stage of my life, things already feel like an overload of noise, headlines, outrage, and pressure, so the visuals needed to reflect that tension rather than soften it.
You’ve been very clear that releasing “Who Do You Belong To Now? (Great Southern Land)” isn’t about telling people what to think. What do you want people to take away from hearing this single?
I don’t want blind agreement. That would defeat the point. I just want people to sit with it for a few minutes and think honestly about how they feel about the world around them. Especially here in Australia. If someone listens and goes, “Nah mate, you’re completely wrong,” that’s still engagement. That’s still thought. I’m tired of everything becoming tribal warfare where people instantly sort each other into teams before listening and thinking for themselves.
Your press release says that this single “steps into unfamiliar territory” for you. Why is that?
Because I normally write more emotionally abstract, psychologically charged material rather than songs directly tied to social, political, or cultural unease. This song is just me basically saying, “Something feels off and I can’t pretend otherwise anymore.”
While “Who Do You Belong To Now? (Great Southern Land)” doesn’t present the most favourable perspective on modern Australia, criticism often comes from a deep passion and love. What do you love about Australia today?
First and foremost, for me, the landscape is where I originally “fell in love”! I’ve had the privilege of getting to drive through five of our states and see a lot of this country. Secondly, the people. Genuine, fair dinkum Aussies are incredibly warm, generous, funny, and whole-heartedly welcoming. I think part of why I wrote the song is because I do care about this place. If I didn’t care, I wouldn’t have bothered writing anything at all.
The single has a dark, brooding rock sound, but you’re an artist who refuses to be pigeonholed. A deep dive through your discography reveals you’ve dabbled in country, folk, funk, and more. I imagine you must listen to an eclectic mix of music. What artists have been enjoying lately?
My taste is all over the shop! Let me be a little self-indulgent here… Andre Segovia, Guns N’ Roses (Appetite for Destruction) Mr. Bungle (Mr. Bungle 1991) Placebo, Mauro Giuliani, Slayer (Reign in Blood) KISS & Ace Frehley (Destroyer & Ace Frehley’s Solo LP 1978) Yngwie Malmsteen (Rising Force), David Bowie, Led Zeppelin, The Beatles, Jeff Buckley, The Cult, Pearl Jam (Yield), Metallica (Justice for All), Prince, Steve Vai, The Smashing Pumpkins (Machine / The Machine of God) Living Colour, Adam and The Ants, Rage Against The Machine, Russell Morris, Tim Buckley, Sepultura (Chaos AD), Faith No More, Powderfinger (Internationalist), Ren, Jimi Hendrix, Angie de Poitrine & The Velveteers.
You’ve been recording music since the ’80s. What’s it like making music now compared to those early days?
Completely different universe! Back in the ’80s, recording felt expensive, inaccessible. You needed studios, equipment, people, permission. Yes, I did have a 4-track Tascam Cassette Home Recording Unit, but it had limitations! Now, someone can sit alone in a room with a laptop and create an entire world. That freedom is incredible, but it’s also overwhelming because there’s almost a tsunami of new music now. Ironically, technology has made creating music more accessible while simultaneously making it harder to genuinely connect with people through it.
What are some of the key things you’ve learned through your decades in the business?
Firstly, the industry owes you nothing. Absolutely nothing. If you create purely for external validation, you’ll eventually become bitter or broken. Secondly, trends are temporary, but authenticity tends to last longer. Creativity needs protecting. The older I get, the more I realise not everyone deserves access to your inner world. Sometimes working quietly and creating honestly is healthier than constantly chasing approval.
Finally, do you have a message for your fans out there?
Yeah! To those who do, thank you for taking the time to have a listen. There’s so much music, chaos and distraction in the world now that anyone giving their time to any independent music, means a lot to me. Whether people agree with every song, lyric, or opinion doesn’t really matter. Art is supposed to make you feel something. If my work has connected with anyone, challenged, unsettled, comforted you, or even just kept you company for a few minutes somewhere along the line, then I’m so grateful for that.
“Who Do You Belong To Now? (Great Southern Land)” is out now on all your favourite streaming services. To learn more about Paul Louis Villani and his music, follow him on Facebook or Instagram.
