Straight Talking: Interviste with Zan Abeyratne
By the mid-1980s, Melbourne had become an incubator for artists working against the grain. The industry was still largely defined by it's export-ready rock – but in studios tucked into inner suburbs, bands were experimenting. Groups like I'm Talking – led by vocalists Zan Abeyratne and Kate Ceberano – alongside progressive acts like Big Pig and Wa Wa Nee, weren’t just borrowing from American groove-based music – they were reshaping it into something that felt global, but still unmistakably Australian.
There were precedents. Renée Geyer had already pushed soul into the national consciousness in the decade earlier. But this movement felt more ground-up: it never dominated the mainstream but it left an indelible mark.
Image: Zan – Good Love 12" white label (1989)
Originally active between 1983 and 1987, I’m Talking were more than a local emulation of an established post-disco sound. Their lineup pointed toward what would become defining features of Melbourne’s studio-oriented music culture: it was collaborative, diverse, and globally informed. Decades later, playing a gig in Dandenong with my group Silver Linings, someone in the crowd yelled out “I’m Talking!” and gave us two thumbs up, as if they'd bumped into an old friend. It was a quick exchange, but it stayed with me as proof that regional sounds can change hands and remain recognisable, even when the context is different.
Since then, the picture has filled in. Zan was central to that earlier wave, and she’s carried its sensibility forward. From her work within landmark groups to her evolution as a solo artist, her music has remained committed to groove, songcraft, and self-determined production – a balance between independence and legacy that continues to evolve.
This interviste traces that line: from early beginnings, through the formation and impact of an iconic band, and into a solo career defined by persistence, independence, and a continued commitment to sound. We are thrilled to have Zan Abeyratne unpack this special journey for us.
You came up in Melbourne at a time when new sounds were seriously taking shape. What were you listening to early on, and how did you first find your way into making music?
We always had music at our house, my father loved Louis Armstrong and Nat King Cole and he was always playing those records at the house. Since my teens, along with my twin sister Sherine (who was in the group Big Pig), we used to both sing to records in our living room – Renee Geyer was a favourite and then Chaka Khan, etc.
Then when Countdown started on ABC, we were literally glued to the TV – like a lot of other people – every Sunday night. As an aside, my older brother had a band that used to rehearse in his bedroom and James Freud (from The Models) used to be in one of those bands and he used to come to our house from time to time, it was funny that when I eventually got to sing with The Models that he reminded of that fact.
My sister started singing in bands before I did, and then eventually I got asked to do a gig with her, a combo band initially with members of the Hunters & Collectors at the Prince of Wales Hotel in St. Kilda. From there I found my own way into the Melbourne scene which was incredibly vibrant back then. I got into a band called The Late Show with drummer Des McKenna who was playing with Joe Camilleri (aka Jo Jo Zep) at the time – and went on to be Animal on Hey Hey It’s Saturday in Wilbur Wilde’s band.
Another singer, Rob Price, used to live next door to where we used to rehearse, and he introduced me to the Grand Wazoo soul band, who are still going strong today. We used to play on Monday nights at the Grainstore in Melbourne, and I got to sing some of my favourite Aretha Franklin songs. This is where I met Kate Ceberano who, along with my sister eventually joined the band as there were always a multitude of singers in the lineup.
Image: I'm Talking (left to right) – Zan Abeyratne, Kate Ceberano, Barbara Hogarth, Robert Goodge, Stephen Charlesworth, Cameron Newman, and Ian Cox (1980s)
Since then, the picture has filled in. Zan was central to that earlier wave, and she’s carried its sensibility forward. From her work within landmark groups to her evolution as a solo artist, her music has remained committed to groove, songcraft, and self-determined production – a balance between independence and legacy that continues to evolve.
This interviste traces that line: from early beginnings, through the formation and impact of an iconic band, and into a solo career defined by persistence, independence, and a continued commitment to sound. We are thrilled to have Zan Abeyratne unpack this special journey for us.
Image: Zan performing with I'm Talking (photo by Michael Haddad, 1986)
You came up in Melbourne at a time when new sounds were seriously taking shape. What were you listening to early on, and how did you first find your way into making music?
We always had music at our house, my father loved Louis Armstrong and Nat King Cole and he was always playing those records at the house. Since my teens, along with my twin sister Sherine (who was in the group Big Pig), we used to both sing to records in our living room – Renee Geyer was a favourite and then Chaka Khan, etc.
Then when Countdown started on ABC, we were literally glued to the TV – like a lot of other people – every Sunday night. As an aside, my older brother had a band that used to rehearse in his bedroom and James Freud (from The Models) used to be in one of those bands and he used to come to our house from time to time, it was funny that when I eventually got to sing with The Models that he reminded of that fact.
My sister started singing in bands before I did, and then eventually I got asked to do a gig with her, a combo band initially with members of the Hunters & Collectors at the Prince of Wales Hotel in St. Kilda. From there I found my own way into the Melbourne scene which was incredibly vibrant back then. I got into a band called The Late Show with drummer Des McKenna who was playing with Joe Camilleri (aka Jo Jo Zep) at the time – and went on to be Animal on Hey Hey It’s Saturday in Wilbur Wilde’s band.
Another singer, Rob Price, used to live next door to where we used to rehearse, and he introduced me to the Grand Wazoo soul band, who are still going strong today. We used to play on Monday nights at the Grainstore in Melbourne, and I got to sing some of my favourite Aretha Franklin songs. This is where I met Kate Ceberano who, along with my sister eventually joined the band as there were always a multitude of singers in the lineup.
Image: Zan Abeyratne and Kate Ceberano (1986)
How did I’m Talking come together, and when did you link up with the group?
Having recently met up with Kate, she mentioned that she was starting in a new band doing original music and asked if I'd be interested in doing some backing vocals for the band. I had only been gigging for a short while, so I thought it would be a good opportunity to hone my skills.
I went and saw the band at one of their first gigs at The Club – I really liked their vibe, it was new and fresh. After this, Kate asked me to come along meet the band and have a sing with them. Things began moving quite quickly after that and I think it was their third gig when I joined them on stage at Inflation nightclub. The band literally took off from there and before I knew it, we were gigging regularly and appearing on TV shows.
Video: I'm Talking – Holy Word music video (1986)
I think recording what was to become the one and only I’m Talking album Bear Witness (which is having a re-issue soon) was a great experience. I worked with Fred Maher from Scritti Politti, who produced the album, and got to sing lead vocals on two of the tracks – one of which was Holy Word.
We were signed to Regular Records here in Australia and London Records internationally. The only disappointment being that we were whisked off overseas to New York to record a new version of Lead The Way (with Fred Maher) and then to do a tour of the UK, as this meant that I couldn’t fully enjoy the success of Holy Word at the time. However, when we did the reunion tour in 2019 it was nice to get some recognition, and for people to comment on how much they liked Holy Word.
The Australian Made tour (1986-87) was an amazing experience, as well as the Rocking With the Royals concert (1985) in Melbourne for Prince Charles and Princess Diana. For us to be included in the lineup for both of those gigs was pretty special. Another incredible highlight for me was when my sister Sherine and I had the privilege of singing on three gigs with U2 and B.B. King on their Lovetown Tour, which was filmed for the BBC – definitely a memorable experience.
Image: I'm Talking performing at Australian Made (photo by Bob King, 1987)
At the time, did it feel like you were doing something distinct within the Australian music landscape, or did it feel like the conditions were finally right for that sound to land locally?
I think we were somewhat unique in the music scene in Australia at the time, as we were doing dance / funk / soul type music with two girls of colour out the front and a female bass player. Back then music in Australia had a leaning towards what you might call pub rock, not all music mind you – there were plenty of exceptions to that – but I think we did have something different to offer and luckily people embraced what we were doing.
My sister’s band Big Pig were also unique, along with The Models and Kids In The Kitchen, etc. I think in the 80’s individuality was a thing to be celebrated.
To what extent did studios, labels, and collaborators support this sense of individuality? Did it feel like a shared push, or something you had to carve out yourselves?
I don’t feel it was a shared vision at all. Along with our contemporaries, we definitely had to make our own way. I will say that Countdown helped us a lot and I was thrilled to get on the show after watching it for so many years – Molly Meldrum was always a champion of young Australian talent.
Video: I'm Talking performing Lead the Way on Countdown (1984)
There was a camaraderie at the time amongst the different bands though, as we used to share various stages. Kate, my sister, and I had the privilege of singing and appearing in the videos on a couple of The Models hit songs, including Outta Mind, Outta Sight and Barbados, as well as Kids In The Kitchen’s album Shine, with my sister. Sherine also sang on tour with INXS as well as on their song Burn For You and appeared in that video too.
After the group, you moved into solo work and released several singles including Good Love. What did stepping out on your own switch up for you creatively?
Well the obvious thing was being front and centre I guess. It was a challenge after being somewhat cocooned in a band where other people were responsible for making all the decisions – the songwriting and song choices, etc.
At the time I had Marc Hunter from Dragon and Daryl Braithwaite from Sherbert reach out wanting to collaborate with me – which I found extremely flattering given they were literally my two favourite bands growing up in suburban Melbourne – but unfortunately nothing transpired from these interactions.
Well the obvious thing was being front and centre I guess. It was a challenge after being somewhat cocooned in a band where other people were responsible for making all the decisions – the songwriting and song choices, etc.
At the time I had Marc Hunter from Dragon and Daryl Braithwaite from Sherbert reach out wanting to collaborate with me – which I found extremely flattering given they were literally my two favourite bands growing up in suburban Melbourne – but unfortunately nothing transpired from these interactions.
I think I found it difficult to find my footing musically as I wanted to be more soul / pop / funk / dance influenced, but the record company people I think wanted more of a pop sound. In the end it’s what prompted me to head to New York and then London to explore things over there.
You appear to have maintained a very independent approach over the years. How do you balance that with being part of a group like I’m Talking, which still holds such a strong place in Australian music history?
Record companies can be notoriously difficult to navigate, hence the preference for autonomy. I can’t say that any of the experiences I’ve had in relation to record labels was ideal – they tend to want to bend and shape you, and that’s often quite different from the vision you have for yourself.
I totally loved being part of I’m Talking again when we reformed in 2019 to support Bryan Ferry on a few shows, and doing some interviews, etc. along with that. It was quite a different experience being back in the mainstream of things for sure. But doing your own thing has it’s appeal too, as you get to retain control over your own music, though this may not always be as lucrative or high profile.
You appear to have maintained a very independent approach over the years. How do you balance that with being part of a group like I’m Talking, which still holds such a strong place in Australian music history?
Record companies can be notoriously difficult to navigate, hence the preference for autonomy. I can’t say that any of the experiences I’ve had in relation to record labels was ideal – they tend to want to bend and shape you, and that’s often quite different from the vision you have for yourself.
I totally loved being part of I’m Talking again when we reformed in 2019 to support Bryan Ferry on a few shows, and doing some interviews, etc. along with that. It was quite a different experience being back in the mainstream of things for sure. But doing your own thing has it’s appeal too, as you get to retain control over your own music, though this may not always be as lucrative or high profile.
Image: I'm Talking on tour with Bryan Ferry (photo by Sonia Bettinelli, 2019)
Your recent work still carries that same groove-driven sensibility. There are plenty of influences that come to mind for us – can you share some of them, and how they shape your own approach to music?
I will always have groove in my music – that’s a given, even if it’s a slow groove. My earlier influences were the likes of Chaka Khan, Chic, Sade, Barry White, Marvin Gaye, etc. But more recently Shalamar, Gap Band, Dynasty, Dazz Band, The Whispers, etc. 80’s funk / soul / boogie is what I look to for inspiration, usually something with a vibe that makes you feel good.
I will always have groove in my music – that’s a given, even if it’s a slow groove. My earlier influences were the likes of Chaka Khan, Chic, Sade, Barry White, Marvin Gaye, etc. But more recently Shalamar, Gap Band, Dynasty, Dazz Band, The Whispers, etc. 80’s funk / soul / boogie is what I look to for inspiration, usually something with a vibe that makes you feel good.
You’ve chosen to press new releases to vinyl in a very digital era, which we love. What draws you to the format now, and what does it represent for you as an artist and your legacy?
I think some people still really like to have a physical copy of an artist’s music, which is a different experience from streaming it. I know I used to pore over album covers to discover who played on what album and loved to check out the cover art, etc. It gives me as an artist a sense of achievement to complete and release an album on vinyl, that I think doesn’t quite equate in the same way as it does in the digital world. Having said that Spotify, etc. are now the platforms that we all have to utilise – there’s no getting away from that really.
Video: Zan – Nightfall, from her self-titled LP on BDQ Records (2024)
I feel that along with my collaborator and husband Neil Corcoran we have slowly tried to craft a sound that is unique, and both old and new at the same time – well that has been the goal anyway. Some 80’s funk / soul / boogie flavours with some modern production. The key thing moving forward is to be able to continue making music that is true to myself – that’s the ultimate satisfaction really, and hopefully people get to appreciate and enjoy the music along the way.
Records often have a second life with collectors and DJs over time. How does it feel knowing your music is still out there being rediscovered in that way, now many years after its original release?
It’s been an amazing privilege and honour to know that I’m Talking’s music is still beloved and treasured. People often tell me that Holy Word is one of their favourite songs, which is really very heartwarming and something to cherish – and so pleasing to know that it has lasted the test of time.
And thank you for re-discovering Good Love – that was a Paul Gray song (from Wa Wa Nee) with one of the producers being Todd Hunter (from Dragon).
Zan's independent releases including physical copies can be purchased at her Bandcamp.
Words and research by Benny Badge.