As they prepare for a summer of festivals, we caught up with Scottish Act of the Year, Terra Kin to talk about vulnerability, performing, and internet obsessions.

Releasing their debut single “Flames” in 2022, Terra Kin has had a whirlwind ride to the top, winning BBC Introducing’s Scottish Act of the Year in April. The Glaswegian singer uses angelic vocals and beautifully sparse instrumentals to ensure their poetic lyricism is the main focus. Throughout their debut EP, ‘Too Far Gone’, these raspy, folkish tones are kept at the forefront as they explore the journey of self-obsessed infatuation.


The EP has undergone a journey of its own. Terra was originally inspired by the idealisation of someone whose flaws are masked by the fairytale rush of a new romance. It has since become symbolic of the “immortality of dreams” and trying to reach someone who isn’t there.


Through stripped-back instrumentation, Terra maintains this vulnerability with lyrics that express the pain and desperation of wanting to be desired as they sing, “You make me, me” in “Shadows”. A melodic guitar riff, distant brass and choral harmony make it feel like you’re ascending to the gates of heaven, accompanying Terra as they romanticise this new lover. The only hints of unrest come from dissonant key changes which turn Terra into an unreliable narrator of their own love story, blind to the other person’s flaws.


After collaborating with Fred Again.. on his second album, performing at Glasgow’s King Tuts and preparing for this summer’s British festival circuit, we spoke to Terra about vulnerability, self-reflection and their musical idols.

Hey Terra Kin, how are you? How’s the reception been since you released your debut EP ‘Too Far Gone’?

Hello, I’m good thank you!


God, it feels like many moons ago since the EP release – life has been moving so fast. It feels funny to have music out in the big bad world; it was something I was very anxious about but I’m proud of that. People have been very kind which I’ve been trying to accept more graciously.

Is it something that you listen back to, or are you someone who can’t bear hearing their old music?

I really struggle listening to my own music, old and new. In the same way most people cringe listening back to themselves talking, I feel like a little ball of sludge listening to myself. Sometimes I listen to it and I think, hey not bad not bad and other times I want to hide from the world.

You’ve previously said, “I imagine each track as a different stage of emotion”. A personal favourite is “Liquid Love”, can you tell us about how this came about and the stage of emotion you’re referencing on there?

Liquid love is about the ‘falling’ stage of a relationship, fancying someone and the thoughts that rush alongside that sensation.


I wrote it after meeting someone on a night out, so you know, the dopamine + alcohol cocktail was working wonders. The overarching tone is more so about struggling to let things get too far – I definitely wrestle to keep things in the lighthearted stage before getting too deep. “Liquid Love” explores that battle of being taken by surprise by someone but also not wanting to let my guard down.

Who’s an artist you’d love to collaborate with that no one would expect you to say?

Jeff Buckley would be pretty unexpected.

If you could go back in time to a moment of musical history, where would you go and why?

It has got to be Woodstock. I just imagine it being the most free, loving, harmonious and beautiful time! Smart phones can get in the bin – in fact, to be at any gig pre-mobile phones would be nice.

You’ve previously supported Kokoroko, Pip Millett and a host of other names. What have you learnt from supporting such high-profile artists that you take into your own career?

It’s been surreal meeting, never mind getting to play my music for some of the artists I’ve met the past couple years. It’s so easy to caricature famous people to the point of dehumanising them but the beautiful thing about what we do is getting to see each other as beings who all just have a real passion for music. I’ve learnt that people are people and love and kindness is what gets you furthest in this industry and life in general.

You played not one but two dates at The Great Escape this year. Which song from the EP were you most excited to perform?

I actually ended up playing three! I got called in last minute for a Thursday show, so I hopped on the train with my guitar. I think I like playing “Flames” the most; the reception is always so warm and what that song has done for me over the last few months has been really special. I’m really proud of that one.

Have you ever been to Brighton before? If so, what’s one thing you’d recommend our readers do there? If not, what did you get up to beyond playing The Great Escape?

I haven’t but I’ll definitely be back – I loved it! I honestly spent most of my time at the beach dodging seagulls and playing Deal or No Deal at the arcade. I recommend readers to visit Skuxx at the market. Max has the best vintage jackets in the game.

What’s your current weirdest internet obsession?

I owe “Reece’s Therapy” big time for getting me through some rough patches, it’s basically this guy who interviews kids in the park in New York asking them big questions about life. It’s the sweetest.

And finally, what’s next for Terra Kin? Beyond this EP and The Great Escape, are there any venues or festivals that you’d like to play?

I’m playing a round of festivals this summer which I’m so chuffed about: TRNSMT, Connect and Boardmasters! I love going to festivals as a punter so to be in the artist area is just insane to me. I’ll hopefully have some more things to chat about soon but for now, summer is as far as my eyes can stretch.

Listen to Terra Kin below: