Uploaded September 2025 | Updated September 2026, 1 hour ago
Mo'Ju sat down with Australian Musician editor Greg Phillips to reflect on their remarkable career and the release of Mo'Ju with the Melbourne Symphony Orchestra (Double J Live at the Wireless). The live album captures a landmark 2023 Hamer Hall performance, reimagining their catalogue with lush orchestral arrangements and amplifying the emotional weight of their music.
Mo'Ju spoke about growing up in a musical household surrounded by jazz, gospel, and singer-songwriters like Tracy Chapman, alongside the pop and soul influences of their Filipino heritage. They fondly recalled family karaoke, 70s funk and disco, and how this diverse soundscape continues to shape their artistry.
Acknowledging the impact of mentors and collaborators, Mo'Ju reflected on early encouragement from Jimmy Little, the emotional power of performing with Archie Roach, and the deep, ongoing influence of Kutcha Edwards. They also traced their journey from the DIY touring days of Mojo Juju and the Snake Oil Merchants, through early solo albums where they grappled with creative independence, to the critically acclaimed Native Tongue (2018), a deliberately conceptual record exploring identity, ancestry, and family history.
A key turning point in their work has been collaboration with bassist/producer Henry Jenkins and keyboardist Lewis Coleman, whose long-term creative partnership helped crystallise Mo'Ju's artistic vision on Oro, Plata, Mata (2023). That record, partly inspired by Mo'Ju's late uncle, filmmaker Peque Gallaga, wrestled with themes of capitalism, climate, legacy, and parenthood, offering introspective rather than prescriptive reflections.
Discussing the orchestral live album, Mo'Ju explained that its seeds were planted during work on Oro, Plata, Mata, which drew on operatic and classical structures. A chance conversation with the Melbourne Symphony Orchestra led to the collaboration, with composer Jamie Messenger's arrangements and conductor Nicholas Buc bringing the music to life. Despite only one rehearsal, Mo'Ju described the experience as a career highlight, nerve-wracking yet exhilarating, and one of the rare new experiences after two decades of touring.
Ultimately, Mo'Ju's career remains defined by resilience, experimentation, and truth-telling. With Change Has To Come more urgent than ever, they continue to use music as both a message of hope and a call to collective action.
mojumusic.com
#moju
#australianmusician
Mo'Ju sat down with Australian Musician editor Greg Phillips to reflect on their remarkable career and the release of Mo'Ju with the Melbourne Symphony Orchestra (Double J Live at the Wireless). The live album captures a landmark 2023 Hamer Hall performance, reimagining their catalogue with lush orchestral arrangements and amplifying the emotional weight of their music.
Mo'Ju spoke about growing up in a musical household surrounded by jazz, gospel, and singer-songwriters like Tracy Chapman, alongside the pop and soul influences of their Filipino heritage. They fondly recalled family karaoke, 70s funk and disco, and how this diverse soundscape continues to shape their artistry.
Acknowledging the impact of mentors and collaborators, Mo'Ju reflected on early encouragement from Jimmy Little, the emotional power of performing with Archie Roach, and the deep, ongoing influence of Kutcha Edwards. They also traced their journey from the DIY touring days of Mojo Juju and the Snake Oil Merchants, through early solo albums where they grappled with creative independence, to the critically acclaimed Native Tongue (2018), a deliberately conceptual record exploring identity, ancestry, and family history.
A key turning point in their work has been collaboration with bassist/producer Henry Jenkins and keyboardist Lewis Coleman, whose long-term creative partnership helped crystallise Mo'Ju's artistic vision on Oro, Plata, Mata (2023). That record, partly inspired by Mo'Ju's late uncle, filmmaker Peque Gallaga, wrestled with themes of capitalism, climate, legacy, and parenthood, offering introspective rather than prescriptive reflections.
Discussing the orchestral live album, Mo'Ju explained that its seeds were planted during work on Oro, Plata, Mata, which drew on operatic and classical structures. A chance conversation with the Melbourne Symphony Orchestra led to the collaboration, with composer Jamie Messenger's arrangements and conductor Nicholas Buc bringing the music to life. Despite only one rehearsal, Mo'Ju described the experience as a career highlight, nerve-wracking yet exhilarating, and one of the rare new experiences after two decades of touring.
Ultimately, Mo'Ju's career remains defined by resilience, experimentation, and truth-telling. With Change Has To Come more urgent than ever, they continue to use music as both a message of hope and a call to collective action.
mojumusic.com
#moju
#australianmusician
