Sam Quealy is Hard Core

Photography RENÉE PARKHURST
Styling MOLLY APPLE & RUI SANTOS
Hair KEVIN JACOTOT
Makeup MARIEKE THIBAUT
Set Design PRUDENCE PALLE
Videography FLORIAN REY
1st Photo Assistant HUGO FAZI
2nd Photo Assistant RYAN PELLEGRINI
Set Design Assistant NOÉ ALLA
Production Assistant TOM GUEZ

Sam Quealy grew up a ballerina, but she knew she was never meant to tiptoe through  life. Now as a musician she dances, struts, and stomps across genres and mediums. You can call her a pop star, a model, or a performer. Quealy says she’s a shapeshifter; her identity can’t be labelled. For our cover interview, EIC Molly Apple chats with Quealy to talk about inspiration, techno, and stripper heels. Shot by Renee Parkhurst, Quealy turned a Haussmann apartment in Paris into a runway show from the backstage to the catwalk, to the afterparty.

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MERDE: You’ve described yourself as a shapeshifter in a culture obsessed with labeling and categorizing women. What does it mean to you to stay elusive and fluid—not just in terms of genre, but persona?

Sam: I think as an artist, it's really important to stay curious—to change and be inspired by different sounds, visuals, fashion, everything. I put that into all of my work. When people ask what kind of music I make, I honestly find it hard to answer because I mix so many influences. I grew up doing classical ballet, so I listened to a lot of classical music. But I was also going to hardcore raves at 16—like DEF CON ones. These are opposite ends of the spectrum, but when you combine all your personal experiences, it creates something unique. That’s why I never want to be boxed into a genre or identity—once you’re boxed in, it’s harder to break out. So I’d rather stay fluid.

MERDE: You trained as a classical dancer, and your work really fuses music, fashion, dance, and performance. Have you always had this multi-disciplinary instinct? How do you carve out that space for yourself in an industry that can feel pretty one-dimensional?

Sam: Dance was my first passion. I never planned to be a musician, or even to be this into fashion. But dance led me there—because you have to dance to music, and eventually I started writing songs. It felt similar to choreographing: storytelling through dynamics. Fashion came into it because it’s a way of embodying a character—of expressing what you're trying to say onstage or in a song. Like, I used to clean my house in stripper heels because that’s the version of myself I wanted to step into. Just putting on a specific item of clothing can completely shift your energy—even if you’re doing something mundane.

MERDE: That’s a really unlikely but powerful visual.

Sam: Right? Not very practical, but a fun challenge. [laughs] I wouldn’t say I’m the best singer in the world—but when you put everything together—dance, stage presence, different musical influences, theatrics—it becomes something whole. That’s why people connect with it. I was also a magician’s assistant and worked in cabaret, so there’s this campy showgirl energy, big tricks, illusions... it’s all in there.

MERDE: Are there any unlikely influences—like writers, films, or strange ideas—that shape your work more than people would expect?

Sam: Scooter. Do you know who that is? He’s this Euro-dance guy, kind of tacky, very over-the-top MC energy. Total inspiration. I also love the Club Kids, Lee Bowery—those kinds of performance artists who dressed super extreme just to go out. That’s the vibe. Show up as a character, always.

MERDE: Your videos and short films feel super layered and cinematic, but they’re also made for the feed—social-first and shareable. What’s your process for turning your sound into that visual universe? Who are you making it for?

Sam: If I get a funny or weird idea, I just want to try it straight away. I follow my intuition. I want to create something that reflects what’s in my head and share it with people—especially because the world feels really heavy. My visuals are often light, campy, funny. Not too deep. Just a little spark of weird joy in the feed.

MERDE: Do you imagine a specific audience when you’re making these?

Sam: It’s kind of for myself. But also for the Gremlins—that’s what I call my fans. They really get my sense of humor. Sometimes they make edits and I’m like, yes, that’s it. They’re weird and sweet and understand both the joke and the message.

MERDE: When you build these worlds, do you see it all in your head before you begin, or does it evolve as you go?

Sam: Usually I have a loose concept, but I love being “on the fly.” That’s my favorite phrase right now—being open to what comes up. If we’re shooting and I see a bench, I’ll say, “Let’s shoot upside down on it.” Mistakes and spontaneous choices lead to the best final product sometimes.

MERDE: Your songs live between extremes—glamour and chaos, romance and destruction. How do you know when you’ve pushed a creative choice too far? Or not far enough?

Sam: Honestly, it’s all intuitive. I didn’t realize how nihilistic my lyrics were until the first album was done. I thought I was making a campy pop record, but a lot of the lyrics are really dark. Sometimes the fast BPMs and a heavy kick can give it an end-of-the-world vibe. Even Watch Me Now—the video’s fun and girly, with choreography and cowboy outfits—but the lyrics are actually about the end of the world, how it’s all going to end and we should just be dancing together. There's always that tension: dark undertones glossed up with tits and wigs. 

MERDE: There’s a real physical intensity in your shows too. I saw you live and you were in the crowd with Klepto, kicking, non stop. How do you mentally and physically prepare for a performance like that?

Sam: I wanted the live show to feel like something more—like theater, performance art, rave energy. It’s hype. Scooter-style! [laughs] It's a spectacle, pushing the threshold of what a concert can be. I always say I’m possessed onstage. Even when I’m exhausted, something takes over and I just go. It’s a blackout in the best way. But I train a lot too—I choreograph with my dancers, rehearse obsessively. I have a classical background, so I’m intense about it being polished. I also lift weights and train cardio so I can sing and move nonstop. Right now I’m really into feeling strong, like I could stage dive and land on my head if I needed to. That physical power is part of the character too—like a video game superhero.

MERDE: You've said no two shows are the same, and that sometimes it feels like an out-of-body experience. But is there a moment on stage when you know it’s working?

Sam: I’m supposed to wear glasses, but I don’t wear them onstage. I think it keeps me in this delusional bubble where I’m like, “They love it,” even if they don’t. [laughs] I can only see the front row clearly, and they’re always giving everything. But the rest—I just feel the energy and stay in that possessed headspace.

MERDE: You’ve lived across continents—from suburban Australia to Paris. How has moving through different cultures shaped your sense of identity?

Sam: I think I’ve definitely become a hybrid. I got a lot of fashion influence from Paris, but my scrappy, rough-around-the-edges energy is from growing up in the suburbs in Australia. That mix is what gives it the glam-trashy fusion—doing trashy things in glamorous outfits. Very high-low. When I first moved to Paris, it was hard. I didn’t speak the language, and I didn’t have friends. I left Australia when I was 17. Now I’ve found my place, it was a lot of character building to go out and know no one. I would wear a wig to go to Franprix, I didn’t care. I was broke and was stealing yogurt from the supermarket, weighing an apple on the scale and stealing the expensive yogurt. Now, it feels like I’ve found my place, and more settled. I buy my own groceries instead of being a klepto in Paris.

MERDE: Off-stage, is fashion something grounding for you—or more of an escape?

Sam: I like to walk into the world and ask, “What do I want to be today?” I love using fashion to create different versions of myself. I always wear suits to meetings, to get in boss mode. It helps, like method acting. If I want to be a bossy bitch, I wear a two-piece suit with a tie, big cigar type vibe. But recently, I’ve been into a more stripped-back style, wearing jeans and a plain tee. That’s new for me. And it’s interesting—like, going into the second album, I’m realizing that stripped-down aesthetic can be just as powerful. There’s a punk spirit in simplicity too.

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MERDE: What’s next with your music and your next album? What do you want to ‘yap’ into existence?

Sam: The new album has a disco, New Wave feel. It's not as positive as people expected, but I’m really excited to share it. As for my message, it’s about not taking yourself too seriously, trusting your intuition, and being bold. I just want to keep pushing my boundaries, but without losing sight of who I am.

MERDE: In a world where survival is a form of performance, what does ambition mean to you? Do you ever feel trapped in the game?

Sam: The music industry and the internet can definitely feel like a trap. You have to play the game, but you can’t lose yourself in it. I’m ambitious, but I won’t write a song I don’t believe in just because it could get on the radio. Staying true to your art is key — even if you don’t have a huge following, someone will eventually appreciate your honesty.

MERDE: Is there a risk you’re excited to take with this new album?

Sam: I feel really good about the second album. I’ve worked hard on it, and I can’t wait to get back on the road. I’m doing a few festivals this year, but next year I’m headlining my own tour, and I’m really excited for that.

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