‘The Classic Tale of Head v Heart’: Sri Lankan-Australian Singer-Songwriter Alisha.K Is a Raw and Honest Storyteller

Sri Lankan-Australian singer-songwriter Alisha.K’s Window Seat compels you to stare pensively into the ether until you’re questioning your place in the world—perhaps, grappling with indecision and the pressure to succeed, like Alisha.K. 

And like Alisha.K, you might chase your dreams, or you might head to MKS Spices’n Things (please send us some pan rolls) with the window down, listening to Window Seat.

The Melbourne/Naarm-based musician’s new single shimmers with striking honesty, blending indie-rock, pop, blues, and folk. Ever introspective and quietly confident, Alisha.K connects the dots between her dual identities as a small-town beach girl from Sydney and a rising pop/blues singer-songwriter.

Her upcoming album, Between State Lines, promises to be a lyrical rollercoaster, ricocheting you from head to heart and back again. The Sri Lankan-Australian singer-songwriter explores the tension of opposites and the push-pull of a conflicted soul. And drawing from a diverse musical palette—John Mayer, Lizzy McApline, The Temper Trap, and more—Alisha. K’s sound is steeped in authenticity. 

Grab your favourite beverage, find a comfy seat, and dive into the world of Alisha.K—a world where music transcends “race and heritage,” and also the occasional family gathering where relatives question your career choices. We know how that goes. And with her heart on her sleeve and her fingers on the frets, there’s no stopping this South Asian Australian muso.

Our conversation has been edited for clarity and concision.

Brown Boy Magazine: Who is Alisha K? Can you tell us a bit about yourself and your musical journey?

AK: I am a Sri Lankan-Australian guitarist and singer-songwriter based in Melbourne. I was born and raised in Sydney and went to a high school that really encouraged performing arts. After I graduated high school, I moved to Melbourne to study jazz music at the Victorian College of the Arts. My family, although unable to understand how on earth I would try to make a career in music, have been incredibly supportive since I started learning guitar at the age of 9.

I did not have a musical gene in my body growing up. No one in my family is artsy at all. So, I was never really a singer—I was a horrible singer—until I started writing songs I liked and felt great ownership over. Then I had to learn to sing because I couldn’t hand my stories over for someone else to sing. So, I just sang every day. In the shower, in the car, in my room, and taught myself to sing. This then became my identity.

BB: Can you tell us about the inspiration behind your new single, Window Seat?

AK: Window Seat is a track that takes listeners right to the intersection of the double life that I have been living. The track tells the story, in quite a literal sense, of what to expect from the upcoming album, Between State Lines. This project is about the tension between opposites, the fight of a conflicted individual and the classic tale of head versus heart.

Window Seat speaks to the pressure I’ve felt as my family has made so many sacrifices for me to be able to chase my dreams. There’s a big expectation for me to succeed because we have put everything on the line for my music to work.

BB: What’s your creative process like? How do you approach writing a new song?

AK: 99% of my songs start as a chord progression on guitar. From here, I create the whole song as just guitar and voice. I then write the chords on paper and take them to my band, who bring them to life. Alex Siderov and Lachy Oliver have been a central part of the writing and arranging of all of my songs since moving to Melbourne. They have been playing with me for four years and have supported me musically and emotionally. The album would not be nearly as incredible as it is without their creativity.

BB: What advice would you give to other South Asian Australian artists who aspire to make music?

AK: Being a musician in Melbourne, I find myself externally looking a bit different from my peers. I try not to let my race and heritage be the centre of my identity because I want to stand out because of my musical skill and ability. At the same time, I am proud to be of Sri Lankan origin. 

My advice to other South Asian Australian musicians would be to stay true to yourself. People love to label and pigeonhole others, but it’s our job to show the world that every human is different and assumptions cannot be made based on how we look or where we’re from. Our culture should be embraced and not hidden.

BB: Who are you listening to right now? Any South Asian artists you’re obsessed with?

AK: At present, I listen to John Mayer all day, every day, but artists I’ve been having on repeat lately are Bumpy, Courtney Marie Andrews, and Pinegrove. In terms of South Asian Australian artists, my faves are Kartik Kuna, Caisha Sprout, and Ayesha Madon.

BB: What song or artist is your all-time guilty pleasure?

AK: I grew up being obsessed with Ariana Grande’s vocal ability. Her voice inspired me to start singing, and I will always be unashamedly in love with her.

BB: If you could listen to one album for the rest of your life, what would it be and why?

AK: John Mayer’s Born and Raised has always been my favourite album ever to exist. That album feels so cohesive and authentic, which is something I strive to achieve with my next works. The album sounds like it was all recorded live in one day with the same group of musicians instead of a miscellaneous set of songs. The instruments are real and acoustic and sound so damn genuine. It tickles my country music fancy.

Brown Boy Magazine (@brownboyau) celebrates worship-worthy tastemakers and changemakers in the South Asian Australian diaspora (without taking itself too seriously).