Interview: ARXX
ARXX by Rosie Powell
With their second album Good Boy officially out today, Brighton-based duo ARXX are stepping confidently into their next chapter, cementing their reputation as one of the most exciting acts in the indie-rock scene. Known for their energetic live performances and emotionally charged lyrics, the band—comprised of vocalist Hanni Pidduck (they/them) and drummer Clara Townsend (she/her)—have crafted a record that’s both bold and unapologetically authentic.
Described as “queer in its very nature,” Good Boy is a celebration of identity and self-expression, exploring themes of resilience, community, and personal growth. As the band prepares to bring these powerful new songs to audiences across the EU and UK on their upcoming tour, we sat down with ARXX to dive deeper into the inspiration behind the album and what listeners can expect from this next chapter.
In this exclusive Q&A, Hanni and Clara share insights on the creative process, their journey through personal and musical evolution, and the joy of embracing every part of who they are. Read on as we unpack the heart and soul behind Good Boy.
Your new album Good Boy has been described as a bright and brilliant testament to your journey. Can you tell us more about the themes and emotions that run through the album?
Good Boy is an incredibly personal album for me. It encapsulates where I am right now and where I’ve been for the last year. It explores my personal journey with my gender and embracing our queerness. It’s an album to celebrate community and self-expression.
You’ve mentioned that Good Boy is “queer in its very nature”. How important is it for you to represent and celebrate queer joy through your music?
It’s so important, we wouldn’t be here without representation and the people that inspired us. We’ve always wanted our shows to feel joyful and being able to share that with our fans and our community is our main aim.
Your sound has evolved significantly since your early days as an “angry punk band”. What inspired the shift towards a more pop-rock style?
I just got happier! As I grew as a person the things I wanted to express were different and the emotions I needed to let out were different.
The album’s latest single “Swim” is a deeply personal song. Could you share more about the process of writing it and its message for trans youth?
Writing this song felt really instinctual. I imagined I was writing it to my younger self and it just poured out of me. The message with this song and with the whole record is just to let trans and queer people know how wonderful and beautiful they are, and how much they deserve to be celebrated.
How did your vocal surgery impact the writing and recording process of Good Boy, and how did you adapt as a band during that time?
The surgery completely flipped the process on its head. We ended up having to write most of the album instrumentally before we could even get to lyrics and melodies. I think it meant that we went to some different places that we wouldn’t have necessarily gone to had we done it a different way.
You’ve had the chance to tour with some incredible artists, like your recent run with MUNA. What was that experience like, and how did it feel sharing the stage with one of your favourite bands?
Those moments have been so special for us, it makes you realise how far you’ve come but also makes you realise that the artists you look up to and admire are also just people.
Hanni, you faced a health scare just before a tour with Fletcher. How did that moment impact your approach to performing and staying grounded during such a high-pressure time?
It was terrifying. To feel like you could have everything you’ve worked for taken away was really horrible. I’m so grateful that it went well but it took a long time to trust it again and feel comfortable performing.
Hanni, you’ve spoken about coming out as non-binary, and Clara, you’ve shared your experience of embracing your queer identity after growing up in Dubai. How have these personal journeys shaped the music you create together?
These experiences have shaped us as people. The Music we make is just our story so the two are inseparable. We’re very vulnerable in our music and with this album, we’re just at a point where we want to have fun, embrace who we are, and hold space for our fans to do the same.
Building on that, you’ve also partnered with the trans charity We Exist. How did that collaboration come about, and what does it mean to you to use your platform to support such an important cause?
It just felt like something we wanted to do. Our community has done so much for us, it’s a really important value for us to make sure that we are giving back.
“Crying In The Carwash” came out of a surreal time for you, following the news of the MUNA tour. How does the song capture that euphoric moment, and what does it mean to perform it live?
That song was a really easy one to write and it came at a moment when we were both really struggling with the demands of being a musician. I think you can feel the joy in it and the sense of “ holy shit”. Playing that live at the MUNA shows felt like a gorgeous full-circle moment.
You’ve described the track “Trouble” as one of your most experimental, blending electronic and bass-heavy sounds. How do you balance pushing your musical boundaries while staying true to your core sound?
Everything we do is our core sound. I don’t think we’ve made a record that doesn’t sound like us. I think what ties it all together is that our voice.
The song “Dublin” is a poignant tribute to a father figure. How do you approach writing such deeply personal songs, and what do you hope listeners take away from them?
Songs like that just happen for me. They’re written out of a desperate need to get the feelings out. I don’t know what people will take from it, but it felt important to put it on the record to acknowledge what a massive impact that has had on me.
Your live shows are known for their electric energy and blending heavier riffs with pop melodies. How do you create that balance in your performances? Growing up I always loved shows where there was a mix of loud and quiet.
I think the dynamics make it more exciting. For us, we lean into every part of our sound because we love it and we hope that that’s exciting for the audience.
Festivals like Glastonbury, Reading, and Leeds have been on your calendar this year. How does performing at major festivals differ from your own headline shows?
It’s a different feeling altogether, just as exciting and emotional. It’s an opportunity to introduce your music to more people which presents a new challenge but it’s really lovely to feel like you’re part of something bigger.
With your second album arriving just 18 months after Ride or Die, what’s been the biggest lesson you’ve learned since its release?
The biggest lesson is to make sure that you know the release date of your music. It’s awkward when your manager asks how you’re feeling about the single release tomorrow.
Finally, what have you been listening to lately? Any new or old favourites that have been on repeat?
Clara: The new Liz Lawrence album, Middle Kids, The Aces and Fletcher!
Hanni: The Beaches, a lot of Bruce Springsteen and Lykke Li
Good Boy by ARXX is out now via Submarine Cat Records and available for streaming on all your favourite platforms.
