AUSTEL

Austel is the project of artist and producer Annie Rew Shaw. Her second album Mirror To Mine is an acoustic-led alt-folk record blending reflective lyricism with themes of identity, growth and self-discovery. Following the album's release, Austel will tour across the UK throughout June.

The B-Side Hour: Mirror To Mine began as the final project for your MA in Music Production but eventually became something bigger and more personal. At what point did you realise it had grown beyond its academic framework?

Austel: I think I always knew it would become its own album, but I wasn’t ready to release it at the time. I’d switched back into release mode for my debut record Dead Sea, which came out in early 2024. As an independent artist, I had to prioritise where I was placing my energy, so that took up a lot of my time following the MA. 

Once I had some more headspace again, I asked Grace Banks if she was interested in mixing the record. I’d struggled to reopen the projects with so much time having passed, but working with her breathed new life into them again and made me really excited to work on it as a fully fledged album.  

The B-Side Hour: This second LP feels like a progression of the acoustic sound from your debut album Dead Sea. What was it like to build on that and further shape your musical identity?

Austel: In a way, it actually signals a return to the music I’d been making as a teenager, before I’d met anyone from the music industry or been influenced as to how I should sound. I just wanted to make a record that felt really instinctive and natural, without overthinking the details and worrying about commercial success. I’d shared some of the early demos with my friend Ruby, and remember her saying ‘this is like the music you actually listen to’, and that really struck a chord with me. It feels like the most honest music I’ve made. 

The B-Side Hour: The album opens with the line “I’ll paint you a picture”, and visual imagery runs throughout, including in the song titles themselves (Hotel Room Window View, The Beach in December, Olive Tree). What role does visualization play in your songwriting? Do songs usually begin with an image, a feeling, or something else entirely?

Austel: Absolutely. Hotel was written after a dream. My dreams are often very filmic, and I can think about them for days. I’d started conjuring this surreal world in my head, where each room contained a different memory, and I was passing through them all. 

When it comes to writing, I would say I write to understand - whether that’s a feeling, untangling a conversation, or how to navigate a situation. I think imagery can be a really powerful tool. While I find a lot of peace and belonging in nature, it’s also ever-changing and mystical. There’s a lot of poetry and relation to be found. 

The B-Side Hour: Mirror to Mine feels both cinematic and intimate at the same time. How did you balance those two qualities throughout the writing and production process?

Austel: I think I write very differently on guitar to the piano, and the songs naturally feel more folky - telling stories in an intimate way. My production style is quite dreamy and cinematic, so I wanted to place these stories in a wider atmospheric environment, and field recordings became a really cool way to do that. One of my favourite albums of all time is Diamond Mine by King Creosote & Jon Hopkins. They really balance that sense of intimacy and expanse, so I took a lot of inspiration from that. I’m also a sucker for layering up instrumental parts like the cello and saxophone, and of course stacks of vocals, so it naturally became this blend of sonic worlds. 

The B-Side Hour: You described this project as an independent pursuit that grew into a deeply collaborative effort, involving friends and family. How did their presence influence the final shape of the record?

Austel: I think once I’d proved to myself that I could do everything on this record, I realised I didn’t need to, and that it would actually be a much better album if I involved other people. The beautiful arrangements brought to the songs by my band members Kai, Drew, Kit and Louie completely lifted them to a whole new level. Working with Grace and Katie not only resulted in excellent mixes and masters, but were also really educational and enjoyable experiences. I think I see and feel a lot of growth within myself - letting go of control a little and trusting that other people will take care of the music, too. The album is 1000 times better for it, and it’s made it all a much more enjoyable, less lonely experience! 

The B-Side Hour: Mirror to Mine explores how early experiences shape your adult life. How much of the record is rooted in specific experiences, and how much comes from gaining perspective after the fact?

Austel: I swing between intensely autobiographical experiences and artistic license, so it’s a mix of my own personal perspective and a wider commentary on the impact of these early encounters. I had EMDR therapy a few years ago, which was really helpful and fascinating. I’d underestimated how a lot of early experiences and relationships were still lingering around, so it was a relief to take some time to acknowledge them and, to an extent, let them go. Writing is very therapeutic, too. I even say that in one of my songs - ‘Write it out, I’ll make myself immune’. I think by recognising and naming things that are affecting you or holding you back, you can start to really figure out what’s going on, and how to move past it. This album explores a lot of that.

The B-Side Hour: In Hotel Room Window View, you sing: 'I’m never quite sure that I made it whole from the fragments I found'. Do you think we ever arrive at a complete sense of who we are, or is identity something we’re constantly piecing together? Was writing Mirror to Mine a part of that process for you?

Austel: Yeah, totally. I think I’ve never felt quite ‘whole’ or at peace with myself - I think a lot of people feel that way. But I feel more content right now than I’ve ever felt - and I can attribute that to a lot of work, and the love and support of my friends, family and community. In a sense, Mirror To Mine arrives at the conclusion that we’re all in this boat together, and while we might never feel complete, we know we’re not alone.

The B-Side Hour: You will be touring the album across the UK this June. How are you imagining these songs translating into a live setting?

Austel: I’m really excited for the tour. The band and I have been working really hard to create a special show, and we’ve got brilliant local support acts for every gig. I love playing live and experiencing that human connection - it’s what really makes me feel like a musician.

The B-Side Hour: Your music draws equally from songwriting, production and atmosphere. Who were some of the artists or writers that inspired this record?

Austel: Alongside King Creosote & Jon Hopkins, I really love Cassandra Jenkins’ use of field recordings, and also Adrianne Lenker’s on songs and instrumentals. Adrianne’s writing generally is a huge inspiration, and of course, Big Thief’s gorgeous indie folk rock sound. More traditional singer-songwriters like Joni Mitchell and Nick Drake have played a huge part, and then Bon Iver - always - especially with the layers of saxophone, and the rawness of Elliot Smith have been big inspirations.

The B-Side Hour: Having completed a project this personal and expansive, what are you most excited to explore next, either creatively or personally?

Austel: I’m moving soon and am excited to set up a new studio to work on new music and other production projects. Austel-wise, I’ve already written two more albums! I just need the funding and support to create them. So hopefully much more to come - I’m far from done.

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Tickets to the Mirror To Mine 2026 UK Tour

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