I’ve been fascinated by Emily Sanzaro‘s music — and particularly by her fearless, risk-taking approach to music and the open vulnerability of her artistic process — for a while now. With a style that defies categorisation and a deep commitment to emotional connection through performance, she is one of the many musical gems hidden in Tasmania.So when I heard that she is taking her harp on the road (boat) for her first interstate tour, presenting concerts and workshops in South Australia and Victoria, I knew I had to speak to her, and ask about this significant step in her creative journey.
You describe yourself as coming to the harp late. How has that shaped your creative path?
I did come to it late, and I’ve sort of felt my way through. I like variety — I enjoy playing and listening to a lot of different things, so I’ve never had any interest in focusing on just one area. That openness has really shaped what I do.
What are you focusing on musically at the moment?
In the last few years, I’ve been really focusing on writing original material, especially through my MONA residencies. I’m doing my third six-week stint there this year. I’ve developed a lot of original pieces, and I’m trying to push myself beyond the meditative space that harp and voice often naturally fall into. I still love arranging other people’s songs — contemporary stuff, a bit of everything. But I’m also working on improving my technical skills. I’ve realised I’ve spent so much time preparing for gigs that I haven’t always left enough space for quality practice and technical growth.
You’ve mentioned that the harp is a complicated machine. Was that something that surprised you?
Absolutely. I had no idea how complex it was when I started, especially the full-size pedal harp — it’s a highly engineered instrument with so many moving parts. I didn’t understand that at first, but I also didn’t realise how much you could do with it. Discovering the variety of sounds it can make has been one of the best parts of learning.
This upcoming tour is your first time performing outside of Tasmania. How are you feeling about that?
It feels like a big deal! I’ve had a fulfilling career here in Tassie, but I’ve never physically taken my music elsewhere. People can access it online, but this is the first time I’ll be connecting in-person with audiences outside the state. It’s exciting and terrifying. No one really knows me outside Tassie, so it’ll definitely be a growth experience.
Where are you going on this tour, and what will it involve?
I’m heading to South Australia and Victoria — playing concerts in a few locations and presenting workshops to the harp community. It’s been made possible by Carter Harps, who invited me to partner with them. They’ve supported other harpists in the past, but I think my style is a bit different to what they usually present. I was honestly stunned to be asked. I also received a grant from Arts Tasmania to help make it happen.
How are you preparing for the logistics of touring with a harp?
Well, you can’t fly with it easily, so I have to take my car and travel on the boat. I’ve got so much gear!
Touring as a harpist presents all sorts of challenges, which is partly why I haven’t done this before. I usually just show up to gigs — I’ve never had to plan my own events, so this is all very new.
But Carter Harps have been amazing with their support, helping with venues, marketing, and organisation.
What will the concert program look like?
The program is really a representation of me and my journey — songs I love, that have brought me to where I am. There’s a wide mix: originals I wrote at MONA, jazz and blues pieces, Celtic traditional music, and some contemporary covers — probably from the ’90s, because I love that era. Definitely a bit of Radiohead.
It’s not tied to a specific album — it’s more like “this is a snapshot of who I am.”
Do you find that your performances have a narrative arc?
Yes, definitely. Storytelling is a big part of my performance. I talk a lot — about the songs, about where they came from — after I play them. I like to let the audience make their own emotional or imaginative response first, and then I’ll share mine. There’s a narrative in every show, and it’s deeply personal. I’m very candid on stage — what people see is just me being myself.
What kind of experience are you hoping to offer your audiences?
Connection. That’s what I’m always chasing. When the audience is really with me — when we’re feeding each other energy — that’s the ideal performance situation. Sometimes it happens unexpectedly. I’ve learned not to judge it based on body language, or facial expressions in the moment — some of the best feedback I’ve had has come after gigs where I thought everyone hated it!
And what about the workshops — what will you focus on there?
A lot of it will be about performance and vulnerability — what it means to take a risk by sharing your work. We’re going to talk about audience connection, and how to manage the mental challenges of performing. It’s something I’ve had to learn, especially as a soloist.
Let’s talk about how you developed your artistic voice. Was it a conscious process?
Not at all! It was completely organic. I’m actually an occupational therapist by training. I never studied music formally and didn’t play harp until adulthood.
My career just evolved from a mix of passion, hard work, and opportunity. Living in a small place like Hobart created openings I wouldn’t have had elsewhere.
My big break came through MONA‘s Dark Mofo festival, and that set me on a new path.
You’ve spoken before about not fitting the traditional harpist mould. Has that been challenging?
At first, yes. I worried a lot about what I didn’t do — like, I’m not an orchestral harpist, I haven’t had much formal training, I don’t know the classical repertoire. But attending the Australian Art Orchestra’s Creative Music Intensive in 2019 changed my mindset completely. I realised it’s okay not to fit a mould. I just started focusing on what I am and what I can do – experimenting, following my creative instincts.
Do you think coming to music later in life gave you a different perspective?
Absolutely. Having other life experience before diving into a music career definitely shaped how I approach things. From communication to professionalism to just understanding people better — it all helped. And it means I’m doing this because I love it, not because I’m chasing an ideal. That’s really grounding.
Last question—how do you stay relaxed when performing?
Honestly? I just really love it now. It’s kind of funny because I hated performing as a kid — I used to play the violin and I’d hide when my parents wanted me to play! But discovering the harp changed everything. I find it so enjoyable now, even energising. It’s become a space where I feel most like myself.
Emily Sanzaro performs at St Johns Anglican Church in Camberwell tonight — she has more dates in Victoria and South Australia coming up. Find out more here.
