In contemporary pop, where everything seems designed to shout louder, run faster and occupy every available second of collective attention, Olivia Marsh instead chooses a completely different path: slow down. Create space. Let silence, vulnerability and held back emotions do the talking.
With the new single Paragliderspublished by Warner Music Korea, the Australian-Korean artist opens a new phase of her musical journey with an ethereal and melancholic song, built around the idea of letting go: the relationships that continue to weigh, the constant need for control, the fear of truly abandoning oneself to change.
The song moves slowly, almost suspended, accompanied by a dreamy vocality that has become one of Olivia Marsh’s most recognizable traits. No need for emotional explosions or big climaxes: Paragliders works by subtraction, creating an intimate and cinematic atmosphere that seems to float between dream and reality.
The video clip also visually translates this sensation of fragile and luminous freedom, using flight as a metaphor for emotional liberation. The concept of the “daydream”, the daydream, runs through the entire imagery of the project and amplifies the poetic dimension of the song.
Paragliders anticipates the artist’s second EP, which will bear the same title and will continue to deepen his autobiographical approach to writing. A central element in the construction of his musical identity since his debut, which took place in 2024 with the single 42followed in 2025 by the EP Meanwhilewhich had attracted the attention of international audiences thanks to its ability to combine indie-pop sensibilities, emotional storytelling and global aesthetics.
His discography also includes songs such as Strategy, Lucky Me featuring Wonstein e Too Good to be Badtracks that have progressively consolidated his image as an artist capable of moving between Korea, Australia and the international scene without losing authenticity.
And this is perhaps precisely the most interesting point of Olivia Marsh’s journey: in an industry increasingly dominated by excess, speed and the need to immediately go viral, she instead builds a delicate, introspective, almost whispered pop. A pop that doesn’t want to overwhelm the listener, but rather accompany them.
With ParaglidersOlivia Marsh isn’t trying to impress. Try something much more difficult: to make people feel.
Panorama spoke to her.
To start, could you introduce yourself in your own words and tell us who Olivia Marsh is today?
I have always found it very difficult to introduce myself. At this moment I would describe myself as a person who deeply loves music and who is learning to trust and welcome his own voice.
“Paraglider” seems more like a silent release than a dramatic break: where does this idea of a soft, almost suspended freedom come from?
The song came about very organically. I remember perfectly when I wrote it. I was close to what I could only describe as near burnout and ended up taking a short trip to Australia. When I returned, I felt refreshed and healed. The week I returned to Korea I suddenly had a burst of inspiration. “Paraglider” was the first song I wrote during that time. I think that sense of relief after a stressful moment ended up naturally in the song.
There is a very delicate balance between vulnerability and control in the song. How did you navigate that emotional space while writing it?
For “Paraglider” I mainly wrote what came naturally to me at the time. I wasn’t thinking too much about what I wanted to say or trying to turn it into something specific. It was only when I listened to it again that I began to notice the emotional thread running through it. I’m pretty sure that the vocals you hear on the song are also some of the very first takes recorded, and I think that helped preserve the initial feeling I had.
Your voice has an almost weightless, dreamy quality. Is it something you consciously construct or is it just your natural way of expressing yourself?
I think my vocal style has developed naturally over the last few years. Maybe it’s simply a personal preference, but I feel more comfortable singing in head voice or using my chest voice in the lower registers. When I was younger I liked pushing my voice more and singing with a lot more power, and that’s definitely something I’d like to experiment with again in future songs too.
The video clip works on the idea of flight as something internal rather than physical. What does this feeling of “liberation” mean to you, personally?
I know I’m a person who tends to think too much. For me, liberation means freeing myself from all those worries and useless thoughts that fill my mind.
Compared to your previous releases, this song seems more restrained, almost more introspective. Does it reflect a change in the way you tell stories?
I actually think this whole EP is a little more introspective. It wasn’t something I intentionally planned – it just came naturally from the emotional space I was in while writing the songs. I feel a very strong connection with each track because they reflect who I was at that precise moment in my life.
You’ve described your songwriting as autobiographical: how much of “Paraglider” comes directly from your personal experiences?
I think everything in “Paraglider” is, in some way, a reflection of my thoughts and experiences. I wrote it during a time when I was healing and coming out of a very stressful situation. Even if it comes from something extremely personal, I hope that the listener can project their own emotions into the song and perhaps find a sense of healing too.
In the song there is a strong feeling of immobility, something rather rare in today’s music scene. Was this an intentional choice?
It wasn’t really intentional, just that feeling of stillness felt emotionally right at the time. I remember wanting the song to feel like gliding or falling freely without fear.
Your sound mixes delicacy and emotional precision. What influences — musical or otherwise — contributed to building this aesthetic?
I would say my biggest influences are actually the authors and creatives I work with. Over the past few years I have been lucky enough to meet incredibly talented people. I learn so much from them on a creative level, but also through the relationships and friendships we build together. All these experiences naturally influence the way I create music.
You debuted in 2024 and your artistic identity seems to have evolved very quickly. What’s the biggest change you feel you’ve experienced in the last year?
Probably the biggest change was learning to trust my instincts more. I think I always knew what kind of style and music naturally appealed to me, but for a long time I wasn’t sure if it was right to completely rely on that direction. Today I feel much more motivated to create things that I truly love and to create them with sincerity. I hope the listener can feel that and connect more deeply with my music.
With the second EP on the way, how does “Paraglider” set the tone for this new chapter?
“Paraglider” is actually the last track on the EP, so I almost feel it as the final chapter that ties everything else together. In my mind there’s a sort of narrative arc when you listen to the songs one after the other. I personally feel that this EP has a more genuine and organic approach. There are also slight differences in style, so I hope people can surprise themselves in the best way possible.
Is there a line from the song that you feel particularly close to you at the moment?
“You’re the one I live for and breathe for, so set me free.”
It’s a phrase that contrasts with some of the darker lines of the song and almost seems like a small opening towards the light.
How would you like people to feel listening to “Paraglider” for the first time?
I hope they feel a sense of release, freedom, and wonder — almost as if they are soaring above the world and gliding effortlessly through the sky.
Does being an Australian-Korean artist influence how you create or express emotion in music?
Absolutely yes. Even unconsciously, everything I’ve experienced — from my mother singing songs to me when I was a child, to my father’s musical tastes, to growing up and studying in Australia, then moving to Korea and learning about the K-pop scene and music writing culture here — has had a huge influence on my music and my identity.
If you had to describe yourself — not only as an artist, but also as a person — with one word, what would it be?
“Open”. During this time I’m trying to stay more open to different experiences and emotions.
