We spoke with Ben Provest about “Trying To Be Brave” and more!

Q: You wrote “Trying To Be Brave” while living in an old fish factory in Iceland. What was day-to-day life like there?

A: A few of the artists would do yoga each morning and sometimes I’d join, or sometimes I’d sleep in. After breakfast, I’d walk down to the factory, set up in one of the spaces. I spent most of my time journaling, playing guitar, experimenting with different tunings, and playing the piano too. If inspiration wasn’t striking, I’d make a cup of tea, have a chat with one of the other artists, and take a walk along the fjord or towards the ocean, often with the studio dog, Tumi, and music in my headphones. 

Q: Being in such a remote place, surrounded by all that silence and space, how did that environment feed into your songwriting?

A: I was listening to a lot of acoustic folk artists like Dustin Tebbutt, Ben Howard, and Garrett Kato, music that I felt enhanced the feelings I was having of isolation and at times loneliness, being so far from home and with a new community of strangers. I also think this music captured the vastness of the fjord. 

Q: The title “Trying To Be Brave” feels really personal. What does “being brave” mean to you in the context of this song?

A: In the context of this song I’m talking about a relationship with someone who you have had some rocky times with, but you want to make it work. Trusting again, and being brave in the relationship. 

Q: You mentioned walking along the fjord every day — did those walks become part of your creative routine, or more like a way to clear your head?

A: A bit of both. They helped me clear my head and find inspiration. I’d just come from Dublin, where I was playing traditional Irish tunes in pubs, and before that a month in London writing and catching up with friends. I arrived not knowing what I was going to make, so walking became part of figuring that out.

Q: There’s something really raw about the track, like it captures a moment of reflection. Do you remember when it all came together for you in the studio?

A: I wrote it halfway through the residency, when I was feeling a little socially drained. One day I stayed at the house while everyone else went to the studio and told myself I wouldn’t leave until I’d finished it. Aoife Claffey, an artist from Ireland, was there. I played her what I’d written, and she encouraged me to record it. I tried not to think about chords or technical stuff, just the tone and feeling.

Q: You’ve worked with other artists and even in film music before. How did it feel to go back to making something that’s entirely your own again?

A: I’d been touring and producing for others, so taking time to make something just for myself felt both daunting and freeing.

Q: The sound of the song feels both warm and a little lonely at the same time. How did you find that balance in the production? 

A: I leaned into the palette of the artists I’d been listening to — everything played quietly, with a mix of condenser and ribbon mics on guitar, piano, and voice. I made it completely alone — written, recorded, mixed, and mastered — so there was definitely some loneliness in there. But I loved the process, and the deadline helped me finish.

Q: Your music feels honest and grounded. Do you think that comes more from growing up in Australia, or from your experiences working and traveling overseas?

A: Australia’s a grounding place. We have “tall poppy syndrome,” where no one lets you get too full of yourself. I remember my mum showing the family one of my early CDs at Christmas and my uncles having a laugh, saying she was acting like Michael Jackson’s dad. I think I’m still growing out of that mindset.

Q: When you think back on that time in Iceland, is there a particular moment or memory that’s stayed with you — something that still influences how you create?

A: I remember focusing deeply on timbre. Listening to my guitar and voice, and trying to recreate the same feeling I’d get walking through the fjord with music in my ears.

Q: And to finish up, what’s next for you for the rest of this year? Any new music, collaborations, or plans on the horizon?

A: I’ve got a busy year ahead. I’m returning to the U.S. to produce albums and EPs for artists in Nashville and L.A., and I’ll be touring as a session guitarist for Ryan Larkins, Julia Minichiello and a few other artists. I’m also working on a new band project with Johnny Cattini, Max Challis, Connor Frawley, and Armando Baeza, we’re called Brotherly, and we’ll start releasing songs next year.