By Shauna Hilferty 
Born in Australia and based in Sweden, folk musician Hazlett wanders through an empty Union Transfer, a world away from home. Touching down in Philadelphia to support John Vincent III, Hazlett is no stranger to the States, though it is his first time in this one.
He shares that touring consists mostly of sleeping when he gets the chance, seeing what he can of the city he’s in before soundcheck, and hopefully fitting in a little morning run (and maybe even a coffee). At least, that’s Hazlett’s ideal morning on tour. Having been on the road in the United States for the past month, he recalls being stopped in the street numerous times in New York. ‘I just didn’t think I had a memorable face,’ he says. ‘I mean, I look like a long-haired musician always wearing random caps, so I probably look like everyone in every hipster suburb of every city.’
He talks about the differences between the States and Sweden, where it is actually frowned upon to approach people on the streets. ‘I think Americans are just a lot more forward with how they feel about you or your music or just things in general. You always kinda know where you stand with them. This is the first time I’ve started getting stopped in the street by people, and I’m like, ‘What’s going on?’ ‘
Hazlett ensures that the stage isn’t the only place people see him—he makes a pointed effort to meet fans and audience members before he steps onstage. ‘I try to spend as much time at the merch desk, even before and after the show, because that’s the only tangible way I can see people’s faces or thank someone for listening, or for someone to share something with me,’ he shares. The dynamic he wishes to create with the audience is casual, breaking the ice before the performance. Addressing this divide gives fans the opportunity to interact and have a heart-to-heart with Hazlett, who, when frequently complimented, cannot emphasize enough that he is ‘just a dude.’
Listeners resonate with Hazlett’s most recent release, an unintentional second half of his EP, “Goodbye to the Valley Low (Side B)”. Its six-song predecessor, “Goodbye to the Valley Low (Side A),” comes out in 2023, having been born in a remote glass cabin in the middle of nowhere. Hazlett shares that even after finishing Side A, the project still speaks to him, prompting the eventual creation of Side B. After crafting six or seven ‘skeletons’ of songs, he phones his friend Freddy. Hazlett reflects on feeling that the EP raises more questions than answers, furthering his urge to return to it. Then, booking the same cabin, he explains, ‘We go back out to it, and that’s how Side B comes along. I’m like, ‘Okay, well, I tried to move on from there, and I guess I can’t.’ ‘
Recording from sunrise to sunset, Hazlett and Freddy make the best of an impromptu situation, feeding off the inspiration that culminates in “Goodbye to the Valley Low (Side B)”. Writing and recording while witnessing every season in the glass cabin, “Goodbye to the Valley Low” embodies quiet stillness and introspection—a testament to the feelings felt during its creation. Nearing the end of our conversation, we find ourselves back at the merchandise table, the walls behind it red like the colour of his baseball cap. Hazlett shares he will have about two weeks to recharge before his headline run in Europe. He chuckles, saying, ‘I’ll probably go play basketball with my friends and have some kind of normal day-to-day routine again.’ The full twelve-track album is out now and available on vinyl, and you can catch Hazlett on tour here.
Photos (c) Shauna Hilferty
Bianca Fernandes 
Debb Orrange