Bailey Tomkinson & The Locals - Interview

Ahead of their new single - Supermoon, Bailey Tomkinson & The Locals sat down with By The Fans Magazine and spoke to us about their influences, their new single and more!

Words & Interview: Grace Taylor

What’s your earliest memory of falling in love with music?

I reckon it predates memory! My mum swears my rhythm started in the womb, she’d tap the beat of her favourite pop songs on her bump in the bath and I’d kick right back in time. Dad says the only thing that settled newborn‑me were his 3 a.m. Elvis lullabies. My own first solid memory is MTV buzzing in the background and the realisation that every video was a three‑minute movie. When Hannah Montana burst onto our screen a little later, eight‑year‑old me suddenly had a blueprint: write your truth, coat it in glitter, and sing it! I renamed my battered notebook “My Greatest Hits (so far)” and started filling it with lyrics I wanted to perform on a real stage.

Can you walk us through your songwriting process?

Lyrics come first, nearly always. I’ll catch a phrase, on my phone, in a half‑heard conversation, and write it down before it evaporates. Once I have a line that sparks, I sit at the piano or with an acoustic guitar and let the words chase a melody. I try to build stories like a short film: set the scene, twist the plot, give it closure. When the bones are strong I bring the song to the band. They add so much colour to it that by the time rehearsal is done, it can feel like a different song.

Let’s talk about “Supermoon”. How does it fit into the rest of the EP?

With the EP we’re connecting dots between ’70s Laurel Canyon warmth and ’80s arena pop. “Supermoon” is right in the centre, up‑tempo, big sax and synths sparking off the guitars. Lyrically, the record wrestles with fate versus accountability; this song plants its flag by admitting that even when the moon feels magnetic, the choices are still ours.

What feeling do you hope people will leave with once they listen to the song?

I hope they feel both understood and energised, like someone read their diary but then turned it into a dance‑floor anthem.

I want listeners to recognise themselves in the story, that split second when your eye wanders even though your heart is taken. If the track makes someone think, "I have felt that," then it has done its job. And if the hook is strong enough that they tap replay on Spotify before the silence kicks in, that is the bonus. Bruce Springsteen once said he writes so people know they are not alone, that is my aim here too.

Are there any lyrics in “Supermoon” that are particularly sentimental to you?

“I was just window‑shopping” says everything I wanted to say in four words. It’s honest, a little cheeky, and it’s the line people shout back at shows, so it feels shared.

Are there any songs or bands in particular that influenced this track?

Fleetwood Mac’s Tango in the Night inspired the layers of shimmering guitars and close harmonies. The easy swing of America’s “Sister Golden Hair” shaped the verses, and Sabrina Carpenter reminded us a pop chorus can be fearless and fun. Throw in a nod to Springsteen‑era sax and you have “Supermoon.”

“Supermoon” has a scientific meaning, but what does the phrase mean to you?

I love moon folklore, the idea that lunar cycles pull at our emotions, but the song flips the myth. When I sing “can’t blame it on the supermoon,” I’m calling myself out. Yes, full moons feel electric, but at the end of the day I own my actions.

Who are your biggest musical inspirations and how do they shape your writing?

I gravitate to storytellers who also know their way around a hook. Springsteen’s eye for small town detail, Carole King’s honesty at the piano, Neil Young’s rough edges, and ABBA’s gift for melodies are all in the back of my mind when I write. Add the rest of the band’s playlists and rehearsal feels like five record collections playing at once, the sweet spot is where they overlap.

If you could have witnessed the recording of any album in history, which would it be and why?

I guess most people might say this but Fleetwood Mac’s Rumours. To see heartbreak, hope and harmony forged in real time and realise that tension can create something timeless, that would be the best masterclass a songwriter could ask for.

What else can we expect from you in the near future?

First, a video for “Supermoon.” and then an EP in the Autumn. After that, as many shows as we can string together. Our dream is to take these songs everywhere, from tiny clubs to festival fields, and watch them grow with every crowd we meet. I have a theory that the Live Music experience is going to be even more important to us in a world where so much of what we read, see and hear is becoming artificial. First and foremost we’re a live band that wants to play for people!

Listen to Supermoon here: