There is a particular kind of pop song that does not just arrive; it carries people with it. With “So Long, Solo”, Collette Brady-McEntee steps firmly into that space.

Written within a collaborative songwriting environment and shaped by the hands of experienced writers, the track holds both scale and substance. It is built on connection, not isolation. There is craft here, but more importantly, there is intent. At its core sits a simple but enduring idea. That even in moments of solitude, there is movement toward something or someone. That sense of quiet resilience runs through every layer of the song.

What sharpens this release further is the context around it. The involvement of Ian Curnow, Larissa Tormey, and the late Joy Solomon brings both weight and legacy into the frame. The track stands not only as a contemporary pop release but also as a tribute to collaboration itself and to a creative voice no longer here.

Vocally, Brady-McEntee leans into what she does best. Control without rigidity, emotion without excess. Her classical foundation is evident, but never restrictive. Instead, it gives the performance structure, allowing the emotional narrative to take the lead. There is also a clear awareness of scale. This is a song designed to land beyond headphones, with a stage in mind.

In this conversation, she reflects on instinct versus intention, the journey of the track from the writing room to recording, and the emotional undercurrent that sits beneath the surface.

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This new single is out in the world now. What does it represent for you at this point in your career, beyond just another release?
Being chosen by the songwriters for this track made it feel like more than just another release. It’s a big, emotional song, and I think they saw something in me that could deliver that.

Where did the track begin, and how far did it travel from that original idea to what we hear now?
The track actually came out of a songwriting camp in the UK, written by Ian, Larissa and Joy who are very experienced and well-known writers. Larissa heard my vocals and felt this song would suit me, so she sent it my way and recorded in London last year with Ian. From there, it really became about how I connected with it and brought it to life in my own way.

There’s always a tension between instinct and intention in a song. Which one led this track?
It was a mix of both, but instinct came first. The song found me through Larissa, and my initial reaction was really instinctive. From there, it became about intention, refining the vocal and performance so it would really land on a big stage.

What’s sitting underneath the surface of this single? The thing people might not catch on a first listen.
The beauty of human connection and the strength it takes to move forward until the right people enter your life. It’s about love, friendship and resilience.

Sonically, who do you draw influence from, or is it just life in general?
Sonically, I’m drawn to big, vocal-led pop songs that really lean into emotion and have that kind of cinematic feel to them. But I wouldn’t say it’s coming from one specific artist or influence. It’s more a mix of listening to a lot of pop music over the years and then just how I naturally connect to a song. At the end of the day, it’s also life experience, how I interpret emotion and bring that into the way I deliver a vocal.

How does this release differ from what you’ve done before, not just musically but in how you approached the process?
This was a possible Eurovision submission so a big performance vocally and on stage was always at the forefront of my mind.

Every release lands in a wider ecosystem. How conscious are you of where this track fits right now, culturally or within the industry?
It’s a pop song that is an everyday song that can be played everywhere for people to sing along to and find its place in any soundtrack of life. The little piano hooks, the shift from darker tones into something more uplifting, the catchy chorus and a theme that everyone can resonate with.

What was the first piece of music you remember loving and being stirred by?
Michael Nyman’s The Piano soundtrack as a teenager. So melodic and intense. It got me.

When people sit with this song properly, what do you hope lingers with them after it ends?
Feeling good, hope, and strength.

Looking ahead, is this single a standalone moment or part of a bigger body of work we should be paying attention to?
I have written and recorded folk, emotive pop and commercial pop so far. It’s a journey. I love singing different songs. It’s not a style category for me, it’s about if the song sits in my heart. If it hits me, I can give it my all in performance. I’ve been exposed to so many different styles of songs over my life so once I engage or a melody comes to me, I’m locked in.

Solong Solo, Collette’s new single, is out this Fri May 1st.