Caroline & Claude

Caroline & Claude are the kind of sibling act that feel like they grew up with a band already forming around them. Hannah (Caroline) and Dylan (Claude) were born in Sydney and raised in Adelaide in a musical family where relatives sang jazz in cafés back in India and “family jam sessions” were just part of daily life.

For years they wrote separately, orbiting the same living room from different corners. It was the 2020 lockdown that pushed them to finally plug into the same project and start treating their songs like a proper world of their own. The result became Caroline & Claude: a pop-leaning, indie-bent duo with a habit of sneaking sharp, funny lines into deceptively sweet hooks.

Their first big swing was 2021’s debut single Stir the Pot, a skewed pop track that announced their voice on triple j Unearthed and set them up as “savvy pop siblings” rather than just another bedroom act. From there came a run of singles that built out the universe: IDK YOU, it’s not that bad, Dreams, iOS. The songs keep the choruses close and the production playful, but the writing leans wry and self-aware, more side-eye than diary entry.

In 2022 they pulled those threads into Nan’s USB, an eight-track debut EP that feels like opening a folder of late-night files: half confessions, half jokes that cut closer than they first sound. The project dropped via The Orchard and drew comparisons to acts like The Marías, PinkPantheress and Glass Animals without losing their own sense of humour. You can hear that influence clearly on iOS, a slippery, glitch-flecked pop track that plays with digital anxiety and self-image, and on Dreams, which leans into softer, more reflective territory while still carrying their signature melodic streak.

Live, there is a loose, conspiratorial feel to Caroline & Claude. Sibling harmonies lock in quickly, but there is always some chaos at the edges: in-jokes, throwaway comments, moments where a line lands and you can feel the crowd clock it. That tension between polish and mischief is where they sit best. They are students of pop craft, but they never sound like they are trying to behave.

As the streams stack up and festival slots widen, Caroline & Claude still feel like a project that could turn in a different direction at any moment, in the best way. The songs are catchy enough to go big, strange enough to stay interesting, and honest enough to feel like they were written three doors down rather than in some distant writing camp.