Fjords, Silence and Song: Inside Ben Provest’s ‘Trying To Be Brave’

Ben Provest — 'Trying To Be Brave'

Heatseeker 🔥 Atmospheric folk, open-vein honesty and landscapes that sing back.

Photo by Andrew Fraser

A stirring blend of atmospheric folk textures, luminous storytelling and open-vein emotional honesty, Ben Provest’s new single ‘Trying To Be Brave’ was born far from home — specifically, during a month-long residency inside a tiny Icelandic fishing village framed by volcanic peaks, dramatic fjords and a kind of silence that sharpens the soul. It was there, in the famed Studio Silo with its postcard window and racks of lovingly restored vintage gear, that Ben found himself wrestling with writer’s block, isolation and the unpredictability of a landscape that changed by the minute. One morning, determined not to leave his room without something real, he landed on a memory — and suddenly the song poured out in a single, unbroken flow.

BEN PROVEST TRYING TO BE BRAVE

Written, recorded, mixed and mastered entirely by Ben, ‘Trying To Be Brave’ threads heartbreak, introspection and hard-won courage through soft cinematic folk, drawing on influences like Garrett Kato, Harrison Storm and Woodlock while carving out a voice entirely his own. The stillness of Iceland didn’t quiet the turbulence that inspired the song — it magnified it, reflecting his internal world back through shifting skies, violent weather and the wild, majestic calm of the fjords. Even the video embraces that rawness: one take, one voice, one landscape, filmed as Ben literally navigated rocks, shrubs and icy snowdrifts while singing the track live.

For an artist whose creative life has stretched from producing Melbourne musicians to composing in Los Angeles and now living among international artists in an isolated fishing town, ‘Trying To Be Brave’ marks a turning point — a moment of total autonomy and emotional release, where every skill, chapter and instinct coexisted in one deeply personal piece of work.

We spoke to him recently about vulnerability, creative isolation, heartbreak, influences, sanctuary — and the quiet courage of letting go.

BEN PROVEST — HEATSEEKER Q&A

You’ve described 'Trying To Be Brave' as an “open-vein ode to heartbreak.” What was the precise moment — emotional or otherwise — where this song first announced itself to you?

I woke up one morning after having a bit of writer's block in Studio Silo midway through the residency. I decided to stay in my room until I had something that was finished, and get a recording of it on my phone before starting to produce it. While strumming a few chords I found a memory that I could go back to, and the rest flowed out. 

You spent a month in a tiny Icelandic fishing village making this track. What did that isolation reveal about you — as a person and as an artist — that you didn’t expect?

I don't think anything can prepare you for the isolation . That in itself, provides spontaneity and the opportunity to figure it out as you go in 'real time’. Starting with where you are, what you're surrounded by, and 'going with the flow' of the unpredictable, ruling forces of nature and vast constantly changing landscape. I realised, as a person, the importance of the ability to improvise under any circumstances, drawing on all of your skills, not just those that relate to a familiar role or routine. As an artist, the isolation gave me the opportunity to clear my mind and simply create space.  It made me realise the importance of seeking out opportunities to disconnect, step out of ‘day to day’ life, pressures of time constraints, constant stimulation, self imposed schedules and expectations. It’s difficult to distinguish between a person and an artist. Being human is to be ‘creative’.

Studio Silo and The Fish Factory are practically characters in this story. What was the most magical or surprising thing that happened in that room while you were recording?

Studio Silo and The Fish Factory are two of my favourite characters in this story. It was magical looking out the large window in Studio Silo over the Fjord, across to the mountains, the skies beyond, whatever the time day or night. It was a constantly changing postcard of extreme beauty combined with extreme conditions. Time stood still. In the studio itself there were a lot of pieces of restored vintage equipment that Vinnie, the studio manager and part owner in the Fish Factory had repaired himself. Old microphones, pre amps, tape machines, it was a very inspiring place to work in. 

There’s a beautiful contrast between the stillness of Iceland and the turbulence of what inspired the song. How did that environment change the way you approached heartbreak and memory?

In time, you realise, it’s actually when you stand still, the rare and strange beauty of Iceland is ever changing, moment by moment, through the days, weeks, seasons. I think the turbulence of what inspired the song is reflected in the ever changing wilderness of the majestic natural world.

You recorded, mixed, and mastered everything yourself. Where does that DIY impulse come from — and what did full creative autonomy unlock for you creatively?

Most often than not, the 'DIY impulse' grows out of necessity due to practicalities and limited resources at the time. Something most artists and musicians would relate to! In this case, my DIY impulse grew from the desire to create in a state of pure flow. Once I was in full flight there was no room for external interference or interruption to the process. Achieving this, allowed the song to capture my feelings, emotions while preserving the integrity of the song.

You’ve mentioned Garrett Kato, Harrison Storm and Woodlock as touchstones during the writing phase. If someone was discovering you for the first time, which artists or albums would you name-drop as the best “entry points” to contextualise your sound?

I think any of Garrett Kato’s songs would be a good place to start. I’ve had some people compare the vocal sound on this song to Elliott Smith, but any of those artists you mentioned is a good place to start! 

The video is simple: one take, one voice, one landscape. Why was stripping everything back the most honest way to present this song visually?

I wanted the video to convey the same sense of liberation, freedom to follow my heart, shedding fears while being brave enough to step into the unknown, forging my own path (literally!) as I was spontaneously navigating my footing down the mountain, picking up pace while playing guitar, singing, stepping over rocks, avoiding pitfalls, spikey shrubs and icy snowdrifts in the process (thankfully managing to stay upright the whole time!)

Photo by Andrew Fraser

You’ve worked across so many worlds — producing Melbourne artists, composing for film in LA, your residency in Iceland. How do you feel these different chapters now coexist in your songwriting?

‘Coexist' is a great word to describe how the many diverse chapters have at times played out. Each world and chapter has provided valuable experience, insights and has contributed to the eclectic nature of my song writing. I’m grateful to have experienced all of them.

You reference someone named Amelia at the heart of the song, but also speak about fear, trust and authenticity in a broader sense. What did writing this track teach you about letting go?

The process of writing about these feelings and emotions in itself is a way of releasing fears, the overthinking and self imposed constraints. Then following through with the act of releasing the song is the ultimate in letting go and allowing everything tied up in the song to fly free.

You’ve formed a new collaborative project, Brotherly, while also launching this deeply personal solo chapter. What part of your creative identity does 'Trying To Be Brave' express that you don’t get to show anywhere else?

I’m constantly working on solo material in tandem with the process of collaborating with other artists. I've discovered over the years that both are enriching and important ingredients to my creative process. It’s definitely a deeper dive to take the plunge to release personal solo material and put your 'solo self' out there. Without realising it at the time, a large part of my creative identity poured into “Trying to Be Brave”, a culmination of feelings, emotions and a body of work drawing on all my skills while living with extreme conditions and limited resources.

You said music has always been your sanctuary. After everything you’ve lived through in the last few years, what does sanctuary look like to you now?

After all this moving around and travelling, sanctuary is as much a feeling as it is a physical place. If I know that everything is sorted, and I have some time, all I need is a guitar, a notepad and a place to clear my head. 

You’re a producer, songwriter and composer — which usually means you’re also a bit of a music obsessive. Do you have a vinyl collection, and if so, what records are you reaching for and spinning the most right now? And what’s the all-timer you’ll never stop returning to?

I made the decision to travel light after ending the lease at my studio in Melbourne at the end of 2023, so a vinyl collection hasn’t been on the cards over the last couple of years. In saying that, I do have a few favourites that I still spin when I go home. Holding Patterns by Hannah Cameron is one that I keep coming back to. The production, song writing, and performances are all very inspiring.