August 14, 2025Interviews, Local Artists, New Album, New Music, New Music Video, New Single, News Comments (0)

MARENE SPECIAL INTERVIEW


Behind the Neon Spectacle – Unveiling MARENE’s Sonic Synth Flash-Rock Journey from ‘Finchie’ to ‘Nevermine’


As South Africa’s premier flash-rock collective, MARENE have always thrived on the electricity of their fan base – melding thunderous guitar anthems with shimmering synth textures that invite listeners to dance, dream and lose themselves in a neon-soaked fever-dream. The five-piece have just unveiled their most ambitious chapter yet: the heart-on-sleeve single ‘Finchie’ and its cinematic video, followed by the genre defying five-track EP.


‘Nevermine’. From their mammoth live shows – where pyrotechnics meet sonic riff eruptions and primal drum storms – to the EP’s inventive reinterpretations of ‘Boys (Summertime Love)’ and ‘Reptile’, MARENE have once again raised the bar for immersive rock experiences.


Q: Your live shows are a feast for the ears and the eyes – what new elements did you introduce on stage during your recent Winterfest performance, and how do you plan to carry them into your forthcoming shows?


MARENE: When we received the invite back to Winterfest after six years, we knew this wasn’t just another gig – this was Metal4Africa Winterfest, and people remembered what we did last time. So, we said to ourselves, ‘If we’re going to do this, we’re going to do it bigger, better, and with a whole lot more fire – literally.’ We brought in spark shooters, smoke cannons that blasted into the sky and then spun around as if they had a mind of their own… and then, the wildcard, a smoke-bubble machine. And let me tell you, this thing was magic. It filled the air with floating, smoke-filled bubbles that drifted out over the crowd, and suddenly you’ve got hundreds of people jumping, reaching, laughing and trying to pop them. That moment – that connection – that’s what it’s all about. It wasn’t just a show. It was a shared experience.


Q: ‘Finchie’ merges melancholic lyricism with soaring synth hooks – what was the initial spark or moment of inspiration that shaped the song’s core melody and mood?


MARENE: The song came into existence during a completely different chapter of my life – a time when everything felt new, raw and a little chaotic in the best way. The melody came to me quickly. I’ve always been the kind of songwriter who starts with the chorus; that’s the heartbeat of the song. They call it a ‘hook’ for a reason – it must grab you, pull you in and make you feel something – and I really believe the main melody does exactly that. So, what was the spark? It came from a moment of revelation. I saw a girl who was quite alternative, edgy, completely unlike anyone I’d ever met. Up until then I’d been surrounded by, let’s say, more traditional, conservative types. Seeing her was like a jolt to the system. As a musician, when something hits you like that – emotionally, visually, spiritually – it tends to come out as a melody, maybe a line or two, and then suddenly there’s a song taking shape. That’s where it all began.


Q: The ‘Finchie’ video blends nostalgic motifs with modern cinematography – how did you collaborate with the director to ensure the visuals captured the song’s emotional heartbeat?


MARENE: When we started thinking about the video for ‘Finchie’, we found ourselves looking back at those iconic videos from the early ’90s – a period when artists were shifting away from the over-the-top flash of the ’80s and leaning into something more real, rawer. That really spoke to us. This song isn’t a big stadium anthem – it’s a ballad. It’s personal. We wanted the video to reflect that. So, instead of going for spectacle, we focused on connection. We wanted people to feel us, the melody, the musicianship and, most importantly, the story. The idea was to invite the listener in, not just to hear the song but to feel it. That meant pulling back the curtain a bit and showing something a little more vulnerable, a little more human.


Q: ‘Nevermine’ moves fluidly between originals, covers and remixes – how did you sequence the five tracks to tell a cohesive story from start to finish?


MARENE: Originally, we played with an order that had ‘Finchie’ followed by ‘Reptile’, and that was very intentional – those two songs speak to each other; they tell an emotional arc. ‘Finchie’ is about that spark, that jolt of love at first sight, and ‘Reptile’ follows it down the road into something darker – a toxic dynamic. Even though in real life there wasn’t a relationship there, it was clear quickly that it never would’ve worked. We were just too different, and once the initial excitement wore off there really wasn’t much holding it together. You start realising that looks can only take you so far when you’re searching for something real – for connection. In the end we decided to put ‘Summertime Love’ second instead. That track has more of the upbeat, vibrant energy people associate with MARENE, and we wanted to make sure our fans still felt us in the release. ‘Finchie’ and ‘Reptile’ are departures – they explore a different sound and side of who we are – so placing ‘Summertime Love’ in that second slot felt like a way of saying, “Hey, we’re still here; this is still MARENE.” We didn’t want anyone to feel lost before they even got to something that felt familiar.

Photo Credit Luka Bramwell

Q: Compared with your 2021 single ‘Something’s Out There’, how have your songwriting and production approaches matured on this new material?

MARENE: We released ‘Something’s Out There’ back in 2021, and it was a real turning point for me – the first time I stepped into the role of producer. From a production standpoint it was a big learning curve, but I think it still stands as a testament to what we were trying to achieve during a time when the world was navigating Covid. We recorded the entire EP in just two weeks in a makeshift studio set up in the spare room where I was staying, and we mixed it in about five days. It was intense and raw, and the performances we captured were solid. But I’ve always felt that, in terms of the mix, we didn’t quite hit the mark the way I’d hoped. That’s why we decided to include ‘Something’s Out There’ and ‘Bad Intentions’ as bonus tracks on this new EP – to finally give them the treatment they deserved. As artists, your ears mature as you grow, as you listen to more music, learn more and experience more, and I try to carry those lessons into every new release. My voice has come a long way, too. It’s stronger, more controlled, and I’m always trying to push the boundaries of what I can do. In the final chorus of ‘Finchie’ I hit some of the highest notes I’ve ever sung at full power. Honestly, that’s exciting to me. That’s the kind of challenge that keeps you moving forward.

Q: When reimagining classic tracks like ‘Reptile’, what technical or arrangement challenges did you set yourselves to ensure the covers felt distinctly MARENE yet faithful to the originals?

MARENE: What really drew me to ‘Reptile’ was the drive it already had. The original had this cool alt-rock vibe, but I felt there was an opportunity to give it more weight and bite. So, we cranked up the guitars, added a breakdown to bring some punch, and handed many of the original guitar licks to Maronay Todkill, whose synth production on this track is next level. She brought a whole other dimension to it – aggressive, cinematic, textured – and it helped us push the song into a space that felt uniquely ours.


Q: Do you have any pre-production rituals – whether a favourite studio snack, a sound-check warm-up or a writing prompt – that help you tap into fresh ideas?


MARENE: Honestly, I think just about anything can be solved with a strong cup of Ceylon Five Roses tea. And no, this isn’t a paid ad! But hey, if they’re ever looking for someone to endorse it, I’d be more than happy to pick up the phone! There’s something about that moment: you sit down with a cup of tea in one hand and an acoustic guitar in the other – that’s when the real magic starts to happen. That’s when the songs find you.


Q: On which track did you find yourselves pushing hardest against one another’s ideas, and how did that tension ultimately improve the final recording?


MARENE: I think Arian and I clash occasionally when it comes to how complex the guitar parts should be. He’s a guitar wizard, truly, and I’ve always leaned more towards the percussive side of rhythm guitar. For me it’s about the vocals – the delivery, the emotion – and sometimes that means pulling back a little on the technical guitar work to let the song breathe. But when you’ve got a player as talented as Arian, naturally there’s going to be a different perspective. In the end it’s give and take. On this release that meant perhaps a few fewer guitar solos and a bit more vocal melody – but that’s okay, because the song must come first. Not the ego. Not the flash. Just the song. When you’ve got a line-up as strong as ours, toes may get trodden on occasionally. But that’s part of it. The best thing we can do is recognise that we’re here to challenge each other, to push each other past comfort zones and bring out the best in one another, and in the music. I think ‘Finchie’, ‘Reptile’ and ‘Summertime Love’ are the result of that push and-pull, and I’m proud of how they came out.

Photo Credit Luka Bramwell

Q: Your lyrics paint Finchie as an almost mythic figure – “white sneakers, short, dyed hair … golden eyes” – were you drawing on a real person, a collage of youthful infatuations, or something more symbolic? How did your conception of the Finchie character shape the emotional core and storytelling of the song?


MARENE: ‘Finchie’ is kind of a 50/50. The visual details – the white sneakers, the short, dyed hair, those golden eyes – all came from a real place. That was based on a real person I saw back when I was writing the song. She had a presence and a style that just floored me; up until that point I don’t think I’d ever seen anyone quite like her. She made a big impression, the kind that sticks with you. But the rest of the story – the romance, the heartbreak – that’s fiction. It never happened, but I think deep down I already knew how it would’ve gone if it had. You rush in, your head’s spinning, and before you know it, you’re left picking up the pieces. That’s where the emotion of the song really lives – in that imagined ending that feels all too familiar. In a way Finchie became more than just a person; she turned into a symbol for that kind of youthful infatuation that burns fast and bright and then disappears.


Q: You’ve released both the full ‘Finchie’ version and a radio edit – what specific changes did you make for radio play, and how do those edits alter the song’s emotional impact and storytelling?


MARENE: For the radio edit we trimmed the intro, so it fades straight into the action, and we tightened up the ending to keep things within the typical radio-friendly window. It was about making sure the song could stand on its own in a more condensed format without losing its essence. I do think we managed to keep the emotion intact even in the shorter version, but the full five-minute cut is still the definitive way to experience the song. That’s where the storytelling has room to breathe, where the dynamics really land and where you get the full emotional arc. The radio version is a snapshot; the full version is the whole film.


Q: How do you adapt or extend the studio arrangements of ‘Finchie’ and the ‘Nevermine’ tracks for the live arena, and are there any surprises fans can expect?


MARENE: If ‘Finchie’ is well received, there’s a real chance we could bring it into the live set – but not in the way people might expect. I’ve been toying with the idea of stripping it right back: just a 12-string guitar and vocals. There’s something very special about hearing a song like that in its rawest form. It’s intimate and honest, and I think it would surprise people more than trying to recreate the full production on stage, which we probably couldn’t pull off in the same way. That kind of acoustic version would let the emotion sit front and centre, and it opens the door for the audience to sing along and really feel the song, not just hear it. As for the other tracks off ‘Nevermine’, we’ve already played ‘Reptile’ a few times live and it’s an interesting addition to the set. Our drummer, Skye, absolutely loves playing it. There’s an energy to it that really comes alive on stage, but vibe-wise it’s such a departure from the rest of our catalogue that it’s always a bit of a puzzle figuring out where it fits in the set. It’s not the kind of song you can just drop in anywhere – it needs the right moment.


Q: Having cemented your 2025 sonic era, what unexplored genres, concepts or multimedia collaborations are you most excited to delve into next?


MARENE: Next, our focus should be on writing something that finally gets us onto mainstream radio. We’ve built a sound that feels true to who we are; now it’s about taking that and shaping it into something that can cut through to a wider audience without losing the heart of what makes it MARENE. It’s a challenge we’re excited about. We want to write a track that still hits hard live, still tells a story, but also has the kind of hook that makes it impossible not to play on repeat. So, hey – if you’ve got any ideas, send them our way!


With an explosive blend of originals, covers and remixes, MARENE have once again proven that their fans aren’t just spectators with ‘Nevermine’ – they’re collaborators in this flash-rock revolution. Make sure to stream ‘Finchie’, dive into ‘Nevermine’, and join the neon highway at your nearest show. After all, in the world of MARENE, the next great chapter is written together.

1. ‘Finchie’

2. ‘Boys (Summertime Love)’ (Sabrina Cover)

3. ‘Reptile’ (The Church Cover)

4. ‘Something’s Out There’ (2025 Remix)

5. ‘Bad Intentions’ (2025 Remix)


MARENE Online


MARENE Biography

  • Tyler Duggan: Vocals & Rhythm Guitar
  • Ozzey Padayachee: Bass & Vocals
  • Skye Nagel: Drums
  • Maronay Todkill: Synth & Vocals
  • Arian Helm: Lead Guitar


You’ve never witnessed anything like MARENE - the definitive 21st century Flash Rock powerhouse unleashing storm forged riff eruptions across a neon highway soundscape, fusing thunderous guitar anthems with shimmering synths, seismic rhythms and breath stealing theatrics.


It all materialised from a dream Tyler Duggan had of being the band he could never see live. For Tyler, it was never just about the music; it was about the experience. The energy. The feeling of being part of something unforgettable.


On bass, Ozzey Padayachee anchors the low end with groove laden precision; Arian Helm’s lead guitar soars like a comet across the stage; Maronay Todkill’s keyboards and backing vocals swirl in kaleidoscopic colour; and Skye Nagel’s drumming unleashes a primal heartbeat that reverberates through your bones. Together, they aren’t just musicians – they’re architects of adrenaline.


Since 2018, MARENE has detonated the South African scene with relentless momentum. From their debut singles ‘Time Machine’ and ‘Thrills In The Night’, through the dark gloss EPs ‘Something’s Out There’ and ‘After Life’, to the genre twisting album ‘Rising After Midnight’, they’ve refused to play it safe. Each release is a calculated collision of flash glam rock swagger, synth pop hooks and cinematic drama – designed to make your pulse race.

Their live résumé is equally explosive: a national TV debut on ‘Expresso’ that left viewers breathless; headline slots at ‘WinterFest’ and ‘RAMFest’ where pyrotechnics met pulsating crowds; and, most recently, their 2025 EP ‘Nevermine’ and thunderclap single ‘Finchie’, which prove MARENE are only accelerating.


When they step on stage, expect an all out sensory assault – lights, sound, movement and energy so dense you can almost taste it! MARENE demands a double take. It’s not just music – it’s a full blown spectacle, a cultural kaleidoscope, a challenge to the status quo. One listen, one show, and you’ll understand … dive headfirst into the storm of MARENE!


MARENE Discography

  • ‘Nevermine’ (2025 EP)
  • ‘Finchie’ (2025 Single)
  • ‘Rising After Midnight’ (2023 Album)
  • ‘Black Magic Girl’ (2023 Single)
  • ‘Prisoner Of Love’ (2023 Single)
  • ‘Partners In Crime’ (2023 Single)
  • ‘After Life’ (2021 EP)
  • ‘Beyond The Night Sky’ (2021 Single)
  • ‘Something’s Out There’ (2020 EP)
  • ‘Something’s Out There’ (2020 Single & Remixes)
  • ‘Thrills In The Night’ (2020 Remix)
  • ‘The King’ (2020 Single)
  • ‘Time Machine’ (2018 Single)
  • ‘Thrills In The Night’ (2018 Single)


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