Last week I spoke with Paul Kean and Robert Scott of New Zealand indie pop legend, The Bats about returning to music, what defines their sound, and their old blog. 

Formed in 1982 in Christchurch, The Bats hold a cult like status in the New Zealand independent music scene. Breaking out from the Dunedin Sound boom, alongside The Clean, The Verlaines and The Chills, The Bats twinkling guitars and dreamy lyrics gained them loyal fans around the world. 

Now, back on the touring circuit, I wanted to know whats changed.
 

Edgington:  Over the years you have taken regular hiatuses, before regrouping and returning, seemingly, stronger than ever. How does it feel to be touring again? Do you approach tour life any differently than you used to? 


Scott:  [It’s] great to be able to tour in Europe and the UK again, its been too long.


Kean:  We were a bit apprehensive about being taken on big tours again at our age and with the current planetary climate - both politically and meteorologically. We had to get fitter in mind and body and while on tour - eat well, sleep and avoid drugs and alcohol. Our 2026 tours of New Zealand and Australia so far have been a great success. The response of love, happiness and adoration from our audiences and hosts gave a big boost to our energy levels. We also have Ryan Fisherman touring with us on keyboards. He's our guardian angel helping us fill out our live sets sound to emulate our recorded releases.


Charlotte:  Are you aware of the twee revival, now known colloquially as laptop twee? And if so what are your thoughts on it? After all, you guys along with The Clean, as jangle pop troubadours, are a major influence on the original twee genre. 

This question seemed to ruffle Kean and Scott. It is often hard, as musicans, to put a label on your unique sound, to pinpoint it’s exact qualities. This label however,  accruate or otherwise, did not sit well with The Bats.


Scott: Don't like the twee label at all, and it doesn't have anything to do with The Clean or The Bats.


Kean:  Twee is an odd word that has evolved over time. It used to be associated with cuteness, naiveity, innocence, kitchiness and overt sweetness. The word apparantly evolved from baby talk using “twee” for “sweet”.  We had some early songs that slipped into that description but there has always been a grounded darker underlying meaning to those.


For those wondering, the band, albeit begrudingly, do accept the label of “psych pop”.  After googling what genre they themselves fell under, Google AI pulled an answer out of the ether for them. 


“Yes. The Bats incorporate elements of psych pop into their music. While they are known for their broader
sound, which includes twisted wistful folk, psychedelic rock, and bouncy twee pop, they definitely have a
strong psych pop influence. Their sound is characterized by catchy melodies, jangly guitars, and sometimes a
dreamy, psychedelic atmosphere, which aligns with the psych pop genre“


They acquiescenced, “Fair enough”.


Over the years The Bats have spent a lot of time in the UK, developing a devoted cult following who have been patiently awaiting their return. 


Edgington:  You recorded some of your earliest music here in the UK and have maintained a loyal fanbase here ever since. How does it feel to be back? 


Kean:  Our first two records were 12” 45rpm EPs (Extended Play) recorded at Nighshift in Christchurch New Zealand and released in 1984/85. Made Up In Blue was recorded at Point Studios in London in 1986 and followed the same format. It was Flying Nun UK's first release. We started recording our Daddy's Highway LP in Glasgow not long after. 40 years ago. So good to be able to return to celebrate both that anniversary and the release of our 11th studio album, Corner Coming Up. We will be meeting up with old friends and fans from way back, along with others who have come on board The Bats jouney over the 6 tours we've done of [the] EU/UK.


Scott: [it was] great fun to record overseas, and engage with our UK fan base again. They have kept the faith over these long years.


Edgington:  While preparing for this interview I came across your old website, which hasn’t been updated since 2010 (I’m a big fan of band blogs. Would you ever consider bringing back the tour diary?) One section that caught my eye was the gear geeks page. What’s some of your favourite pieces of tech/instruments you’ve been using lately?
      

Scott:  I still use my mid 60s vox ac 30 that I bought in England in 86. Guitar wise, I'm using a Mexican jazz master, its robust and works. My guitars at home are too special to bring, Guild D50, Gretchen 63 Tennessean, mid 70s tele deluxe, 70s Hagstrom Swede.


Kean:  Amazed you found the old website. Gear Geeks and Tour diary are both high on my list for restarting. Facebook, Instagram, YouTube, Bandcamp and our current website are all reasonably frequently updated.


Edgington:  It’s tradition for us to ask our guests this question. What are some bands from back home you think our readers in Birmingham would be interested in? Who in the New Zealand scene needs a bigger audience right now?


Kean:  So many ... here's a few:  Ben Woods, Georgia Knight, Pickle Darling, Velvet Cove, Living Clipboards, Half Sister. And a recent find is Calum Maclean, our home studio host from Scotland in 1986 who has released his ambient album “Colour of Stars”

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