With her bold sophomore album HAPPY, WRETCHED & TERRIFIED, shazza isn't just telling stories—she's living them in real-time. Tracing the jagged path of her 20s, the Singaporean singer-songwriter has created a raw, emotional coming-of-age record packed with heartbreak anthems, soul-baring ballads, and fearless explorations of self-worth, anger, and change.
Since her breakout debut chapter one, shazza has gone from local standout to regional star, landing on Times Square billboards, performing alongside The Click Five, and receiving a personal shoutout from Coldplay’s Chris Martin. But it's in this new record that she reveals her truest, most vulnerable self. Across nine tracks—including the assertive ‘MEDIEVAL’, the dreamy ‘Olivia Dean’ with Benjamin Kheng, and the heartfelt ‘MIDNIGHT’ with collaborators teem and Umar Sirhan—shazza weaves a sonic diary of growth, grief, and everything in between.
In this interview with Bandwagon, she opens up about what it took to create HAPPY, WRETCHED & TERRIFIED—and why, for the first time, she’s letting go without looking back.
Your new album HAPPY, WRETCHED & TERRIFIED traces the emotional rollercoaster of growing up. Which track felt like the most honest snapshot of that chaos, and why did it stand out for you?
I think the title track, ‘I Let Somebody Go’, is probably the most honest I have ever been as a songwriter – the outro of that song in particular. That’s the whole reason why I named the album after some of the lyrics in this song to begin with. It stands out for me because of how timeless it has proved to be over the past few years of me navigating my 20s.
I wrote this song when I was 20. I’m 24 now, and this part of the song remains one of the most hard-hitting, truthful things I’ve ever made for myself. I’ve grown up since I first wrote it, but that general feeling of uncertainty, learning to let go, acceptance mixed with fear – all of that still remains. From what I’ve been learning about life, I have a suspicion those things will always remain in some form or another, regardless of what I might figure out in due time.
How did closing the album on that track influence the emotional arc of the project?
I knew ‘I Let Somebody Go’ was going to be the final track from the moment I first wrote it, like four years ago. I wrote it with the intention of it being the closing track for a body of work, even if I didn’t know what that body of work would be. This song was the note I wanted to land on, and I think that was a very grounding factor throughout the process of trying to understand what I wanted to say and where I wanted to go with this album.
After a lot of reflection, I think the answer was always in front of me, in the title of the song. It’s an album about letting go, about learning to accept change, uncertainty, and loss – and what you allow yourself to gain in the process. Once I figured that out, the album kind of sorted itself out. It’s essentially a snapshot of that jumble of feelings that live within you for most of your young adulthood. It honours the mess in between, because I’ve come to believe that that is what makes us who we are as well.
You called this project a “musical diary” of your personal evolution. Which lyrical moment felt most cathartic to write?
All of it, my gosh. This whole album was a release for me – it’s a literal part of me encapsulated in one record. I’m a songwriter first and foremost, and building the lyrical landscape of this album was probably one of the most straightforward parts of the process, because it was really just me singing about the many things I feel and think at this point in my life.
You have the optimistic, beautiful thoughts captured in ‘i’mprettysuretheworldisending’, the frustrated resolve outlined in ‘MEDIEVAL’, the reckless romantic in ‘Olivia Dean’, and my hopelessly stubborn nature proven by ‘MIDNIGHT’. I was walking a little blind for a long time as I started working on this album properly. Finishing it healed a part of me and taught me a great many things in the process – and that’s why this body of work will always mean the world to me.
Conversely, was there a moment in the process where you almost held back—but chose not to?
I think with a song like ‘MEDIEVAL’, that was one of those instances where I knew I had to tread carefully, no matter how honest I wanted to be. I wrote this one with one of my closest friends, my guitarist Ashlyn. As women in the industry who’ve faced what we’ve faced, there were many things we wanted to convey in this song.
There were many ways I could’ve played it extra safe, but Ashlyn and I also knew there would be no point in putting the song out if we did. In the end, I think it taught us the art of treading the line and finding a balance between honesty and tact. I’m really proud of how that song performed and the impact it seemed to make. To me, that shows it was a song worth writing, and a topic worth writing about.
Your debut chapter one introduced you to the world. How did you push yourself sonically or thematically with this sophomore release?
Between chapter one and HAPPY, WRETCHED & TERRIFIED, I think I grew considerably as a person and as an artist. When I put out the first album, I didn’t really know what I was doing – and don’t get me wrong, I still don’t! But I can say I know a little more now, and I’m more confident in myself and my sound. That confidence allowed me to lean into myself more and explore what I would deem a darker, more raw approach with this album.
Many songs on chapter one were on the brighter, warmer side. This second album sees me approach my 20s with more honesty and vulnerability. I’ve always worn my heart on my sleeve – but this time, I did it through music with more certainty, more unabashedly. The year leading up to this album was one of the most taxing years of my life. It was extremely cathartic to turn that into meaningful, thoughtful art.
‘Olivia Dean’ brought Benjamin Kheng into the fold—how did that collaboration come about, and what creative energy did he bring to the track?
Benjamin Kheng is one of the sweetest people you could ever meet. I asked him if he’d be keen to do this song with me as a shot in the dark. It felt unlikely because… he is Benjamin Kheng. And yet, he replied the same night and even moved his release schedule around to accommodate my plans. To say that he is generous and big-hearted would be an understatement. I’m so grateful I got to do this song with him.
Ben is warm, hilarious, and so talented – and I think he brought a lot of chaos out of me in the best way, especially when we were working on promo for the song. He brought a warm, silly sincerity to the track that it really needed. When we were writing the bridge together, I took inspiration from his choral-style videos – the vocal stack approach was a lovely touch. All in all, this was a dream collab, and I’m so grateful I got to make a great song with a great guy.
Throughout the album you also collaborated with Jeyes, teem, and Umar Sirhan. Could you talk a bit about what each of these talented artists brought to the table?
These three artists are also very important people in my life, and it was a pure joy to have them on the album with me. Jeyes and I started working on ‘Falling On My Own’ in 2022, I believe, and we’ve gotten much closer over the years. He’s one of my closest friends and it’s lovely to finally have the song out – it’s one of my favourite ones to perform with him, particularly because he knows who I wrote my part about and that thought always has us in stitches when we perform it.
Tim (teem) is also one of my best friends and was extremely generous with ‘MIDNIGHT’. He started producing it first, before Umar and I joined him in writing it, and he very kindly let me have the song on my album with no hesitation. I love the song deeply, and these two guys are wonderful people I love making music with. They’re extremely talented and passionate – it was an honour to sing with them.
Your music video for ‘Perfume’, featuring Ann Nicole Ng, was so fun! What inspired the concept, and what did working with Ann bring to the MV?
I don’t think people would believe it if I told them this was Ann Nicole’s first time acting – but that’s the truth! She nailed it. I had to have her in the video from the very beginning. When I started conceptualising the rollout and promo for ‘Perfume’, I knew I wanted her to be a part of it somehow, because she’s fragrance royalty!
This is literally ThatPerfumeGirl, and I’m so grateful she agreed to do this with me. We had the best time on set, bringing the song and energy to life. I’m particularly glad we got to turn a song about infidelity into a celebration of girlhood and the support we find in the women around us. She’s a rockstar, and I was so lucky to do this with her.
You’ve said you’ll always be “profoundly proud” of this record. What do you hope it says to other young adults trying to figure life out?
I hope it reassures them that no one really has it figured out. I hope it helps them embrace the mess of becoming and realise there is so much to be gained in the process. I wanted this to be an album that can hold their hand as they find their way through the dark, in a manner of speaking.
Recently, you also released ‘Way Back Home (A Song For SG60)’—what spurred you to write this tribute, and how did it feel turning that sentiment into song?
I wrote this song with my friend Tim Liew – I told him I wanted to write a National Day song and he kindly jumped on the project with me. I think we’re both so happy with the outcome. It’s one of my longstanding dreams to write the official National Day song, and while that opportunity hasn’t come yet, I hold out hope that it will when the time is right.
This year, for SG60, I just wanted to do what I love for the place I love. I convey feeling and sentiment best through song, and that’s all I wanted to do. I’m so grateful it struck a chord with many Singaporeans. One comment on YouTube from a Singaporean living abroad moved me to tears – they said the song reminded them of home. That sense of belonging from afar is all I wanted to achieve with this song.
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Finally, you’re set to be a part of the Sing60 Music Festival, which brings together six decades of Singapore music. What does it mean to be part of that lineage, especially as one of the younger voices carrying the torch forward?
I’m still a little floored by the thought that I’m included in the main stage lineup. It means so much to be part of this festival – it’s a really validating opportunity and one that I plan to make good on. There are so many incredible artists who paved the way for us, and so many wonderfully talented rising stars in the scene today. I’m just happy to be here and to be a part of this fantastic mix.
Tickets for Sing60 Music Festival are available via SISTIC at S$40 for a 1-Day Pass (20% off Early Bird promotion until 31 August) and S$60 for a 2-Day Pass. From 1 September, tickets can also be redeemed using Culture Pass credits as part of a nationwide initiative to boost engagement with local arts.
