Merru on Bloom, Tinsel Suits, and Trusting Instincts

Merru—the solo project of York-born, London-based producer Hugh Fothergill—steps boldly into technicolour psychedelia on Bloom, a debut EP that balances introspective lyrics with shimmering, playful visuals. Known previously for lo-fi singles that hinted at an experimental streak, Fothergill’s first full body of work as Merru is an emotionally frank inner monologue, fleshed out with contributions from Rudi Falla (Volleyball) and Will du Toit, and shaped in the now-vanished Cable Street studio. To bring the EP’s world to life, he teamed up with director Hallie Adukë Primus, creating the surreal gold tinsel man—a sparkling counterpoint to the darker lyrical themes. With BBC Introducing support and a growing reputation for sonic exploration, Merru is carving out a lane that’s both intimate and unafraid to experiment.

We caught up with Hugh to talk about Bloom’s psychedelic lean, the power of collaboration, and why he’s embracing a more live, visible future for Merru.

Bloom steps further into psychedelic territory compared to your earlier lo-fi singles. What pulled you toward that shift in sound?

It’s funny—Bloom was actually written before those other three singles, so the release order was back to front. I had some personal stuff I wanted to write about that felt urgent, so I put out the lo-fi tracks first and circled back to Bloom. Psychedelic textures have always been in my world through my other band Volleyball, so it felt natural for Merru to have that DNA. A few of these songs were even first imagined for Volleyball, but they didn’t quite fit—so Merru was born.

Your lyrics are raw—shortcomings, mistakes, empathy. Was there a specific experience that unlocked that tone?

I always write personally—it’s how I process things. Two of the four songs are about something very specific, but I’ll keep the details to myself. For me, it’s easier to wrap emotions into tracks than say them outright. Writing this way helps me understand others’ perspectives as much as my own.

You rented a now-vanished Cable Street studio and brought in Rudi Falla and Will du Toit to jam. How did that change the project’s energy?

It was huge. As a full-time producer for other artists, I usually squeeze my own stuff in around work. Having uninterrupted time, just experimenting, was a game changer. Rudi and Will brought fresh ears and ideas that completely shifted the tracks’ direction and inspired me to finish them.

The gold tinsel man visual is unforgettable. How did Hallie Adukë Primus help make that happen?

Hallie’s brilliant. She asked questions about my music I’d never considered, which opened up a lot creatively. We storyboarded together, and she brought amazing ideas. I made the suit myself over a month, then we shot everything in Margate dodging huge waves—it was supposed to be test footage, but it just worked. The tinsel man became this abstract representation of Merru: playful visuals contrasting the darker lyrics.

You’ve said Merru was just a way to get songs out of your head and experiment. Has the positive response changed your view of what it can be?

Absolutely. The BBC Introducing session was the first time I sang live properly in front of anyone, and I loved it. Originally, I thought Merru might stay faceless, but life’s too short—so I’m leaning into playing live and writing specifically for the project now. Another EP is in the works for this year, probably in a slightly different direction. I just want to have fun, mess with sounds and song styles, and see where it goes.