Having not long settled into the Pōneke scene as a four-piece, alt-rock outfit Dropper released a striking debut album titled ‘Be a Little Kinder’ in November 2025. The album’s propulsive opening track and focus single Anchor sets the tone, feeling, as vocalist Jude Savage describes it, “…like a whole lot of bottled-up feelings being released”. NZ On Air Music included Anchor on the December NewTracks compilation and he kindly answered NZM’s questions.

What’s the Dropper membership? Where are you from and what instruments do you each play?

Hey, Jude Savage here. I play guitar and sing, and I’m from Wellington – along with Carlos Bellamy, who plays second guitar. Toby Gracewood-Easther plays bass and Walter Martin plays drums. They’re both from Auckland. We’re all around 20-years old and the band is based in Pōneke.

Any other projects that NZM readers might know any of you from?

Jude and Carlos were both in a band called Bleeding Star together. Toby and Walter are also currently both in an act called American Muscle. Toby was once in a screamo band called Carthage.

What’s the background story of how Dropper came together?

I had been playing with Bleeding Star, which had built a strong local following. That band was really formative, but it came to an end when our guitarist, Otis Hill passed away due to a rare cancer. When I was ready, I decided to start a new project using the name of a Bleeding Star record.
Walter (drums) and Toby (bass) were playing together in another Wellington group, so we had seen them play a bit. My old friend Carlos, who also played in Bleeding Star, stepped in on guitar. The band has moved quickly, and the musical chemistry between us feels really intuitive and natural. We haven’t really looked back.

How did you come up with the band name?

Bleeding Star had recorded an album called ‘Dropper’. I wanted to pay homage to the old band while also having a fresh start. The word is actually from Minecraft – I thought it was quite funny to reference that game from my childhood. If you don’t know about Minecraft dropper maps, it just sounds like a random word. I feel like bands with the most meaningless names are the best ones.

How has your musical output evolved from the band beginnings to now?

I think the music I’m making now is better than it ever has been. I’m really proud of ‘Be a Little Kinder’, and the next record I’m working on now has some of my favourite music I’ve made yet. I feel like people always feel that way about whatever is new to them.
When I started out, I was focused on being loud, fast and intense. I was really inspired by early Husker Du records. There was not a lot of melody and I just wanted to be loud and fast. Then I got interested in drone music and bands like JPS Experience and Sugar. What evolved from there was a desire to write songs that would last beyond the moment and incorporate some melody.
I feel like I have become more song-conscious and slightly less noisy over time. We are now using the abrasive, noisy parts for effect rather than throughout the entire song. I think there’s more sophistication in the new demos we’re writing, so we’re definitely exploring a development that will build off the ‘Be A Little Kinder’ sound.

What’s been the band’s big highlight to date?

That’s a difficult question! There’s been plenty – I think foremost it’s been the recording and completion of our debut album, solidifying the band lineup and the fact that we made a body of work that we are proud of this soon in the life of the band.
Opening for Wunderhorse has also been a major highlight. The shows were awesome and we played on the biggest stages we’ve ever played (including The Powerstation in Auckland). With this full Dropper line up only existing for a few months, we knuckled down and prepared our set with just three weeks before the shows! It all paid off, we played really well and got an awesome crowd and industry response.
On top of that, our experience opening for shame was great. Easily some of the nicest people we’ve met through music. Sometimes, when we support an international act there is an unspoken barrier between the opening act and headliner. shame made us feel as equals and were genuinely kind to us. The experience meant a lot to us as a band. They clearly understood how it is being the openers, and knew the importance of treating their support acts with grace. They played a killer show and the night left a lasting impression on all of us.

What made Anchor stand out for you as a single choice?

The song encapsulates the whole album’s themes and dynamics. It doesn’t have a traditional song structure, which made it a bit risky, but it felt like a statement of who we are and what we can do. It’’s got the quiet/loud bits, the jangly verse and the feedback-laden breakdown, it has a time signature change… it’s all there in one track. I really think it’s a good song!

What is the story behind Anchor?

It was the first song we wrote for the record, and it was my first collaboration with River Hann-Ellen at the time. To begin with, we kind of did a bit too much with it… and then had to strip it right back again. I’m really proud of the lyrics in the chorus – they’re probably some of my best. The song was about finding a place to stand during confusing times. I find it hard to talk about in detail, as it is quite personal, but it is all pretty much out there for the listener to hear in the song itself.

What’s your favourite moment of the single?

Outside of the breakdown, my favourite part is the chorus. When it kicks up it’s always so satisfying. The vocals hit the high note at the same time as the heavy guitars kicking in. I love that part every time.

Who did you record/produce the single with and where?

I wrote it with River and Walter. The song was recorded by River and our good friend Arran Cargill-Brown at Massey University. Initially, the song didn’t have the breakdown, and it had this 4-on-the-floor section, which in hindsight, was pretty dumb. Walter came in, rearranged it and made the song better. He could hear things in the song with fresh ears and his suggestions helped make it what it is now. We did a lot of late-night recording. It was a very nocturnal time. We were often working into the early hours and sleeping through the day.

What would you like listeners to take away from the song?

I want them to be able to find something relatable in the lyrics and to imagine it live. It is definitely far more raucous at live shows. I want them to be able to make their own story from it. For people to like the song and respond to it in a way that makes sense to them is the dream. If Dropper’s songs can connect to the audience and create a shared experience, I couldn’t ask for more than that.

Who else is in the Dropper support team? 

Outside of the band, some of the biggest supporters are Andrew Savage (who dabbles in management); Chris van de Geer, Helena Bakker and Lou Tobin at Particle Records; David Benge (who has long been an advocate), Printwife, Nate Murray, and Isla Athfield (all of who have contributed art and visuals). Thank you so much to them and the rest of the people on the Bigpop/Particle Records’ team. There are too many people to thank, but those people come to mind first.

Dropper released ‘Be a Little Kinder’ in November. What are some things you’ve learned from that debut album process?

It has been received very well, and we are really happy with the feedback and support from the community. The album is performing well in terms of sales and streams, and I’m really excited about it!
One of the key things we’ve learned is how to effectively launch an album. Leading up to the release, we tried various social media strategies, which was quite interesting. There are countless decisions involved in putting an album together. When it came to deciding on the album art, we spent a considerable amount of time figuring out what would resonate best. We explored numerous ideas and experimented with different designs and drawings. Ultimately, we chose the black and white photo (which was a late consideration) as it was quite striking and memorable.
We also created several versions of the tracklist. Some songs were not going to make the final cut because we couldn’t place them effectively. One of those songs was Be a Little Kinder. It wasn’t until we viewed it as a coda or a postscript to the album that we found a place for it. In my opinion, Breathe Through the Wire is the true finale of the album. 

How often do you get to perform live? 

We play in Wellington on average once a month. We love playing San Fran and Meow, and when we can, we like to venture out to more Aotearoa cities.
I think the show highlight for us is the single Anchor. It has that massive breakdown, and it’s always really exciting to play. During that song, it seems that every time everything on stage falls apart. We’ve had to get sandbags to weigh down Walter’s drums, as he always sends the cymbal stands crashing to the ground during that one. Great to watch, but perhaps not sustainable! Love it.

What was the best gig of your album release tour?

Definitely our Wellington headliner. Everyone was really involved and singing along. People had a great time and we played really well. We brought up Eveline Breaker to perform the song Pinwheel with us. That was the first time we had ever played it in front of people and we hope to get her up again ASAP.

Can you please name three other local tunes that would fit well on a playlist alongside your song. 

Feshh: Acetone
Salt Water Criminals: Temporary
Model Home: Home Again V

Any previous Dropper singles been included on NewTracks?

No

Have you previously applied for NZOA funding? 

We have tried applying in the past. With the funding criteria, it was difficult because there were a number of categories that we were close to, but not quite there. You really want to be able to show your work in the best light. Ironically, a good single recorded well can help you get the attention you need to then meet some of these criteria. We understand why things are the way they are, but in my perfect world, single funding would first and foremost be based on the promise and potential of the song sent in.

Are there any musical blogs, Youtube channels or podcasts you’re super into?

Failsafe Records is a goldmine of good NZ music. I’m heavily inspired by those bands from Christchurch in the ’90s. Failsafe Records has done a great job of documenting that scene. I also listen to a really nerdy music podcast called Something To Du. They only talk about Husker Du/Sugar who are some of my favourite artists. That’s really nerdy, and I don’t recommend it to people unless they are obsessed with them as much as I am.

How can we find you on social media?

Instagram
YouTube
Bandcamp

Who did you make the video with? And how did you manage to get access to use that very famous Wellington landmark home?

We created the video using footage filmed by Tom Grut during the Wunderhorse show, which we combined with other recordings from a live session we did with a talented group in Wellington called ANKY. This was filmed at the Athfield family home. Lou Valentine from BigPop edited the footage. Fortunately, my girlfriend is an Athfield, and she spoke with her dad about using the space for the ANKY session. It went really smoothly and we had a lot of fun. It was definitely too loud for the house. Sorry neighbours! Thank you to Anky Live, Bigpop, and Athfield Architects for making it all possible.

Any last words?

Thanks for reaching out! Be sure to listen to ‘Be a Little Kinder’ and if we’re ever in your city, I hope you’ll catch us live. You can purchase our CDs through our Bandcamp link.