Connie has done something remarkable with Aeroplane, and the story behind it makes it even more exciting! Recorded in just eight hours after a single rehearsal, this album strips music back to its most honest and powerful form. Voice and guitar take center stage, and the result is absolutely breathtaking.
After working with full jazz arrangements in the past, Connie made a deliberate and bold choice to bring the focus back to the words, letting their meaning and energy shine through clearly and without distraction. That decision changed everything.
At the heart of this project is a beautiful creative partnership with guitarist Brad, a connection that first sparked years ago at a blues gig and grew naturally into something deeply trusting and instinctive. Their chemistry is felt in every single moment of this record.
Aeroplane features seven original tracks and one carefully chosen cover, exploring themes of emotional energy and inner healing. Every song feels personal, reflective, and emotionally rich in the best possible way.
This is music that does not hide behind production or complexity. It stands tall on pure feeling, raw talent, and honest storytelling. Aeroplane is a defining moment in Connie’s career, and it is one album that every music lover needs to experience!
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“Aeroplane captures this pure voice-and-guitar intimacy in just eight hours—what’s the overall vibe of the album, and how does it pull listeners into that stripped-back space?
The space in each songs allows the frequencies in my voice to expand fully. I’ve done two previous albums with an amazing group of jazz musicians, and I feel the power of the words can get a bit lost. I wanted to showcase the words because words have energy and the story helps carry that energy.
Fifteen years ago, Connie sat in on “Georgia on My Mind” with Brad, not knowing he was Ray Charles’s last guitarist, take us back to that fateful blues gig and how it planted the seed for this duo.
I am a terrible networker, so I forced myself to not be shy and friend him on Facebook. He was very kind and I could tell he was one of those musicians that are so comfortable in their talent they don’t have any jagged edges. I am acutely aware of jagged edges and have been stabbed many times.
It was the next time I saw him at The Grape in Ventura, and with two original albums, as well as jazz standard recording, under my belt, that I knew instantly he would be perfect for the space I wanted to create in my next offering.
With Connie as Australia’s top-streamed jazz artist and Brad’s heavyweight credits from Ray Charles to Stevie Wonder, what made you decide to go so raw, no safety net, just instinct?
The rule in the studio is only work with the best. I new I was working with a pro and we both proved an ability to focus intensely.
Recording at Nolan Shaheed’s Pasadena studio in one day after a single rehearsal sounds electric, walk us through that “magic happened” moment Connie described.
All my other recordings have Benn with pianist Mark Fitzgibbon, double bass-Ben Hanlon and drummer Peter Hodges so, rhythm was provided. This recording with Brad could have been difficult, but we both share an internal and quite strong pulse. Brad also knows how to listen, so even if I held a note not in the chart, he went with it. He let me lead, never tried to control it. So masterful.
Coming off an over-arranged collaboration, Connie wanted space and simplicity, how did Brad intuitively nail that on tracks like the title “Aeroplane” or “Broken Doll”?
Brad understood the brief and it almost felt he had been waiting for a project that allowed for his exploration of space. I gave him zero notes. He played for the song.
Seven Connie originals plus that surprising pop cover, “What Was I Made For?” what’s the story behind choosing it, and how does it fit the album’s emotional arc?
Ok, full disclosure. I’m a certified sound and energy healer, something that happened long after I started performing. My expertise is the emotional body and every song I record works with one energy that either needs to be dislodge or infused for real emotional health. My music works with the forgotten trauma that silently ruins our ability to attract our goaIs.
From the beginning my instincts were telling music is more than we know and I guess that’s why I was chosen to bring this knowledge forward. I wrote a book, Your Healing Is A Song that shows people how to use my recordings to release or infuse energy for themselves without have to relive the forgotten trauma. I started Transformational Entertainment™ to bring this knowledge to the world. Bet you weren’t expecting that when you ask that question!
Tracks like “Everything Ends Up in the River,” “Heart of Stone,” and “Starlight and Gold” feel deeply personal—can you share the inspiration or creative spark for one of your favorites?
That’s fantastic that you feel that way, because it means the song resonated with your Soul and that is personal. I treasure every single song that is put in my care. It still astounds me, because I was going to be an actress. I went to drama school in London to achieve this goal I did not study music, so the facet I’m here and creating such beautiful music is thrilling.
Brad’s known for bending rules on his own albums like Cats Have Edge, how did his veteran touch elevate Connie’s crystalline vocals and songwriting here?
By being truly collaborative and by fully respecting the songs. Both of us decided to be brave and let what was going to happen-happen. It was really quite a spiritual experience. I also know when someone is Rin alignment with me.
I know how to check before I work with someone. Sometimes people are in alignment because they are going to mess with you so you learn something and some are going to create beauty. You don’t know until after the fact!
With over 12 million Spotify streams for Connie, what makes Aeroplane stand out in her catalog, and why does this unlikely pairing feel like such a game-changer?
That’s interesting that you would feel it’s a game changer because I do too. It’s a game changer because I truly stepped out in front of with my voice and songwriting. My jazz band is utterly brilliant and it feels safe to be surrounded by their artistry. With Brad, there was nowhere to hide.
One rehearsal, one day, pure instinct, what’s next for Connie and Brad after this unvarnished triumph, and any live plans to bring that duo magic to stages?
We’ve already got the next album in the can. I wanted to take my time releasing tAeroplane because, I’m an independent-that means nobody is their to help- and I wanted to learn to do this effectively, so thank you for bringing attention to my work. As for stages, I would love nothing more. I’m thinking of ways to get Brad to Australia. The jazz scene would love him and he’s keen. There is a video of Brad and I doing Aerplane here: www.youtube.com/…EftSUE
