FakerAfter more than a decade of silence, Faker is finally making music again, and for Nathan Hudson, it feels less like a comeback and more like a return to self.
14 since Faker last released new music as a band, the project has re-emerged with Comet which serves as the first taste of their upcoming record, Enjoy Your Problems.
This release isn’t shaped by industry momentum or nostalgia, but by lived experience and a deeply personal relationship with creativity.
For Hudson, music has never really been a straightforward pursuit. The long gap between releases isn’t a result of disinterest or creative drought, but rather a reflection of time spent searching for clarity in a world that can feel disorientating.
“I’ve hit a lot of walls when I’ve tried to do things,” he explains. “I found myself going around the block many, many times to get home.
“[Comet] is about trying to do something in the face of a world that doesn’t really make sense. The feeling of trying and recalibrating runs through Comet, which feels expansive yet deeply introspective.”
Central to Hudson’s reconnection with Faker is a growing understanding of himself as neurodivergent, something he speaks about with openness.
“I think I’m a bit neurodivergent – I know that,” he asserts. “I think that means I’m a little bit empathic, and I get overwhelmed by things quite a lot. But I also find the joy in things, and both of those things are in this song.
“I think that songwriting or following some kind of music-based thread is my most succinct form of communication, and I treasure that.”
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Hudson says on his ability to open up through song that when language falters, music offers a way through. It’s in this place that his thoughts settle, feelings become tangible and connection feels possible.
The years away from Faker were anything but static. Hudson moved through countries and creative disciplines, chasing meaning and purpose.
“I’ve been doing different projects, but I also got really lost in the world and ran from one thing to another trying to figure out how I can make sense in the world,” he says. What followed reads like an A24 movie script.
“I went to Berlin and studied filmmaking and then I went to the US and live in LA for a year. I crashed my car in New Mexico as I was trying to cross the US and then ended up in Mexico, meeting a guy and falling in love.
“Then I moved to New Orleans and landed in New York where I’d never been. I just moved there with a guitar and 300 bucks, and started working in a vintage eyewear store and had all these ridiculous adventures…”
It was after all of this motion that something settled. “At some point, I’d realised that making creative work and putting it into the world is the best way for me to figure out who I am,” he notes.
Faker was never abandoned, but instead was waiting for Hudson to find himself again.
Releasing new music now feels refreshing rather than fraught. “I love it, and I like and appreciate that other people do, and I’m also fine if they don’t,” he notes. “But I love it.
“I’m not worried about whether people feel the same as me, but I do hope that people get to see it and experience it and share it and find something that’s super meaningful.”
There’s a confident, grounded sense of purpose in that stance – not caring what others think but not being ashamed to say that you love your work. This very same confidence carried over to Hudson’s evolving relationship with the live stage.
“When I was playing just by myself, I really made a point of trying to be articulate – well, my version of articulate,” he explains. With a band, this dynamic shifts.
““I think I’ve learned something about the way that I want to speak on stage, but it just becomes a different thing because you have a different way to build momentum. With a full band, I get to dance. Really, that’s the biggest thing I get to do.”
Recalling a moment where this confidence and vulnerability collided, Hudson recalls, “When I played with the band, sometimes in between songs I would develop a stutter. I would be dancing around the stage, confident, but then I’d have this gentle stutter where I get displaced in my speaking…
“Since the release of This Heart Attack, I started rock climbing. I do that because I have to not think when I do that. The same thing happens on stage when I’m dancing and moving; I find a flow state.”
When it comes to Faker’s upcoming studio album, Enjoy Your Problems, Hudson isn’t aiming for anything other than a solid, honest record.
“I’ve played it to people and they’re like, ‘Oh, that’s a Faker record,’” he notes. “There’s a lot of heart in the record and it’s been a space for me to figure some stuff out.
“It’s not a Faker record because I want it to sound like a particular thing, I just think all of the songs are inherent to who I am and what I’m going through.”
The album leans into Hudson’s own experiences – his hypersensitivity being a big part of that. “Being hypersensitive plays into the way I move on stage and everything; I’m always kind of itchy and I fidget,” he explains.
“There’s a song on the record about that, where the analogy is about somebody who has a nightmare that they’re turning into a tree and they’re stuck in the ground, but growing and sprawling into the sea. These kinds of analogies play with that experience.”
After 14 long years, Faker’s return is about far more than reclaiming a moment. It’s about honouring a journey and finally coming home, even if things look a little different now, and with an album release on the horizon and a tour having just been announced, Faker are ready to do just that.
Tickets to Faker’s forthcoming Something Is Happening tour are on sale now.
Faker – Something Is Happening Tour 2026
With special guest Cry Club
Thursday, February 26th – The Lansdowne, Sydney NSW
Friday, February 27th – The Outpost, Brisbane, QLD*
Friday, March 6th – Hamilton Station Hotel, Newcastle, NSW
Saturday, March 7th – Fun Time Pony, Canberra, ACT
Friday, March 13th – The Tote, Melbourne, VIC
Sunday, March 15th – Gluttony @ Adelaide Fringe, Adelaide, SA
Saturday, March 28th – Fuzz Fest, Byron Bay, NSW*
*Cry Club not appearing
This piece of content has been assisted by the Australian Government through Music Australia and Creative Australia, its arts funding and advisory body
