MICHAEL CLIFFORD: THE ULTIMATE SIDEQUEST

AUGUST 2025

Words by Vasili Papathanasopoulos

Cover photo by Ryan Fleming

“I just want it to be something that brings joy to people,” Michael Clifford tells me over zoom of his debut solo album, SIDEQUEST. Known as the guitarist of Australian band 5 Seconds of Summer, the 29-year-old has spent most of his life on global stages and topping the charts with his band mates. But Clifford’s life looks a bit different now. Having settled in Los Angeles, he has become a husband and a father, and has now made his own personal musical statement with the release of SIDEQUEST. 

Clifford is the final member of 5SOS to release a full-length solo body of work and from the very first listen, it’s clear that fifteen years of experiences - both onstage and off - has been distilled into the ten tracks that make up the album. What strikes me immediately on first listen is how good it feels to listen to SIDEQUEST. There’s an unmistakable lightness to it, a kind of effortless joy that permeates happiness. “No, I love that. I love that you said that.” he responds when I share my thoughts with him. “That’s honestly like my whole M.O of this project. I just want it to be fun and I just want it to be something that just brings joy to people.” That joy is not derived from surface level optimism. It is funnelled through textured sonic experimentation and unflinchingly personal lyricism, the kind that presents itself as two lifelong friends trading stories. There are lyrical moments of joy, but also heartbreak, coming of age and navigating the grey areas of living life under a microscope. “It's not all sunshines and rainbows, but my favourite thing is just making happy music for like sad people. Like that's the vibe for me. You can still talk about real shit, but I don't know. I don't think I wanted it to be kind of mopey or dreary, I wanted it to just feel like a party still.”

When beginning work on the record, Clifford found himself asking, “what do I bring to the table? What do I have to say that makes my perspective unique? When someone like listens to this, what's the story that I have to tell that sort of separates it?” After all, SIDEQUEST is purely his. He’s not sharing these stories with his bandmates, lending each others voices to each others experiences. “Making music for a band, it very much all has to be a story that everybody can tell, and a story that all of us bleed for it to feel like something tangible that we can all sing about. Especially in a band like 5 Seconds of Summer, where we're all so individual and artists in our own right.” For a time, he considered releasing music under a pseudonym, but ultimately made the decision to share his story, signed by his own name. Whilst his personal life and career were flourishing, he found himself pondering what he wanted to say. “I had just become a parent for the first time and my marriage is great. So I was like, 'well, I don't just wanna write a whole album about being a dad.' Like, that wasn't necessarily the way that I want to tell that story. So I just, I started experimenting with sort of writing from different perspectives at points in my life. I was like instead of looking back on that moment in my life, why don't I put myself in my shoes at that point in my life and try and write from there. Which was kind of an interesting experiment for me.” 

Image: Nick Holiday

Why now? It’s a question that he admits to me that he cannot answer with a neat epiphany. He never experienced a lightbulb moment that led him here, there was no singular spark. Instead, SIDEQUEST emerged from a quieter, more personal evolution - led by the fulfilment within his personal life. “I kind of restarted this album at one point and redid a lot of the production, and kind of did a whole new set of songs with more writing and stuff.” The catalyst for this adjustment was becoming a parent. The birth of his daughter did not only reshape his personal world, but also reframed his creative identity too - paving the way towards the albums lighter tone. “It's on theme of what we were talking about earlier, that the music that I had made before becoming a parent, it was really heavy,” Clifford reflects. “It didn't give a tonne of life. I was a little bit cynical. After coming out of the other side of becoming a parent, it really helped me realise a lot about myself and how I just wanted these things that I wanted when I listened to music.” He cites the wondrous stage of discovering something new and the jubilation that follows as a pivotal undercurrent of creating the record. Whilst he finds he naturally gravitates towards digital tools (“my natural instinct; I'm a very much kind of a digital person”), Clifford made the deliberate decision to instead take the album in another direction. He found grounding in a more analogue way of creating. “I like digital sounds. I like digital artefacts. I like all that stuff. But for some reason, just where I was at coming into this point - I wanted the opposite... I want there to be mistakes. I want there to be shit that doesn't really make sense and I want it to just have this feeling of humanness.” Therein is the albums duality; on a surface level, some choices may seem like they do not make sense, however within the context of Clifford’s songwriting and the album; each choice is bound together to create a perfect imperfection. That pursuit of imperfection begins to scratch away at the threads of tension that bind SIDEQUEST. It is both meticulous and messy, grounded and experimental.

Tension is the engine that powers SIDEQUEST From kill me always to eclipse, Clifford deliberately plays with the build up, withholding a sense of resolution in particular songs to leave the listener longing for more. “I want it to feel like it's this thing that you're clawing at and you're like, 'I didn't get it. I wanna listen to it again.' I really liked that.” On kill me always, he makes the intentional choice of excluding drums - a simple move that creates a covert unease. It’s not something you immediately notice, the missing pulse, but the absence lingers, coaxing your mind to unpack the songs construction. “I wanted to just take things away that make you feel like you understand, just any predispositions that we have towards music… I love that you felt the tension.” That same ethos drives eclipse, the albums closer that chronicles Clifford’s experience becoming a father. Built on the mantra ‘you have no idea what the to expect next,’ the track mirrors this thought in both the unpredictability of parenthood and the songs rhythmic structure. “When you think you know the section that you're in, I want to be like a struggle to even find where the timing is, you know? That song builds all the way to an ending that happens for I think it's maybe like six or seven seconds. It's just so short and then you're all of a sudden thrown back into it.” Another prime example is enough, a masterclass in unresolved energy. Originally, Clifford had leaned in to bold and maximalist production. “It was like you just fucking walked in to a Warped Tour. It was so massive. That was what the song wanted to do from my like predisposition.” Ultimately, he pulled it back to create a three-minute tension spiral. “I wanted the idea of to be able to feel like you got the full thing, you need to turn it all the way up or something.” The track culminates in Clifford exploring his vocals, unleashing visceral pop-punk screamo that is as cathartic as it is explosive. 

A recurring theme in the solo output of the members of 5SOS is a sense of discovery. Most notably, the chance to experience each artists voice fully realised for the first time. Of course, we’ve heard Clifford sing across songs within the bands discography, but it’s here that he steps into full command of his vocal identity.  “I think my voice is something that, I have so many different parts of my voice that I don't think have necessarily been heard before. It's hard when our band is full of so many amazing singers, and then there's me,” he quips.

Image: Le3ay

SIDEQUEST serves as a canvas for this exploration, with Clifford’s voice effortlessly moving between tender falsettos, gravelly midranges, and the screamo mentioned earlier. It’s a striking and dynamic performance, one that is embedded with experimentation in an effort to uncover his own full vocal potential. I ask him of the process of discovering his voice as a solo artist and what he uncovered in the process. “The hard part for me going into making this was I think there's parts of my voice that I don't even know about that I still need to explore,” he reflects. “Like singing really, really softly, and experimenting on enough kind of like screaming and using grit and then singing like super high in remember when. It's just like fucking around with parts of my voice in different facets that I was kind of discovering as I went.” That journey, he says, made him a better vocalist “Fashion was at first borderline impossible for me to sing. I had to discover the part of my voice that it wanted to live in rather than trying to sing like somebody else.” His vocal experimentation is matched equally by the albums dynamic production, heralded by a performance that is captivating and suits the genre-blurring sonic realm SIDEQUEST exists within. “I hope it's interesting for anyone who has ever wanted to hear any bits about my voice,” he concludes.

When pressing play on SIDEQUEST, it is difficult to box it in to one genre. Just as you begin to settle in to its sonic landscape, the ground shifts beneath you. Synths warp into guttural guitar riffs, heartfelt lyrics are swallowed by distortion. I tell Clifford that with each song, my thoughts on what this album was going to be were annihilated. “I saw an Instagram comment earlier of a guy who was like, 'bro, pick a genre.' [Laughs] I was like, 'no, I will not.’” Indeed, SIDEQUEST is a body of work that refuses to stand still. It draws from a range of influences that are vast, yet incredibly considered. Clifford points to indie and electronic music as primary references - citing them as “very left music” - but his sensibilities and musical DNA are just as informed by emo, pop, punk and pop. The album exists at a crossroads of all these sounds, carefully curated to balance tension and cohesion. 

Ultimately, he wanted to step outside of his comfort zone and create a body of work that both challenges the listener, whilst offering some comfort. “I think finding ways that I could blend the things that are a little more unorthodox and a little more untraditional into things that are kind of a little bit more digestible and understandable. That was the fun part for me.” Produced by JT Daly, Clifford notes their work together was pivotal in crafting the albums sonic identity and helping realise his vision. “I just sent him a playlist of all of my favourite sounds and songs. It went from like Mk.gee to My Chemical Romance. He [Daly] was like, to a lot of people that wouldn't necessarily make sense. But I think when you kind of get to know me, you can kind of see the parts that I love about both things and where there's that intersection.” Each song explores a different corner of that hybrid terrain. nosebleed pairs baritone guitar with grinding, heavy guitar work and layers, all whilst rooted in emo-leaning songwriting. thirsty veers into unexpected territory, with an almost country twang fuelled by finger-plucked guitar melodies that builds towards a sing-a-long chorus. In Clifford’s words, he was “doing stuff that felt like the wrong thing to do, but making that work was fun.” Taking two ideas that at face value shouldn’t work, but within the overall context of SIDEQUEST, do.

Clifford tapped a number of collaborators across the record, teaming up with Porter Robinson, Waterparks’ Awsten Knight and Ryan Hall. Each collaborator brought their distinct musings to their respective tracks, and marked pivotal moments for Clifford within the process of creating the album. Having known Knight for a number of years, the pair had been seeking out the chance to work together. They shared many ideas, however nothing ever quite fit their dreams for what a collaboration between the two would look like. “We were really trying to find the sort of perfect thing to work on together for a while. We tried a bunch of different ideas and different songs that we could work on together, and none of it ever felt totally right. Then the sort of give me a break idea came across. I think for us both, we both were like, 'okay, this is the one,' because I wanted it to be good. I really, really wanted it to be something that was good.” Clifford names Robinson as his “favourite artist of all time. He's my GOAT.” The collaboration opens the album and sets the tone for what is to follow. But the process of working together echoed the same scenario; nothing felt quite right, until it did. “With Porter, I didn't send him anything because I was like, 'none of these are right yet.' When kill me for always came about, it was just perfect for both of us. Hearing him sing in his voice, and how much he's grown as a singer was my favourite part of that process. I was honoured that he could even co-sign me on this, and sort of back me.” He hopes that if i had a choice introduces audiences to “the best guitarist ever,” Ryan Hall. “I hope people discover him, see a little bit of a new artist, and can appreciate this kind of new style of guitar playing that I think he's doing that is just so sick. I was happy Ryan wanted to do it as well.”

Image: Le3ay

When unpacking the lyrical content of SIDEQUEST, a central thread of human connection reveals itself. One that navigates the complexities of growing older, whilst still tethered to ones own youth. The album documents his internal thoughts and experiences, tracing moments shaped by parenthood, past trauma, heartbreak and his evolving relationship with fame. The latter takes centre stage on give me a break. Here, Clifford touches on the para-social dynamics that come with being in the public eye. He does not see himself as a celebrity, and prefers to categorise himself as “a person who is known to the world music.” A definition that reflects both humility and discomfort with fame. 

But make no mistake, he is not searching for pity or wallowing. He is careful to distinguish honesty from bitterness. Plainly, he just wants a break sometimes. “That was kind of the needle that needed to be thread on a song like that, was like; I'm not complaining,” he says. “I think the thing that I wanted to focus on there was being like, 'I'm not bitter.' I'm not bitter about any of this. I'm very privileged and happy to be in this position. I think it's why give me a break is just a little bit like… it's not like, 'fuck you, I hate you.' It's not like, 'you've ruined my life.' It's not anything like that. It's like, 'give me a break, dude.' It's just fun. So with a song like that, it was fun to be able to sort of put a more sort of cynical view of the role of what it is to be an artist.” That tension, between gratitude and exhaustion continues on cool, a song penned with his 5SOS bandmate, Calum Hood. It’s Clifford’s point of view on the past fifteen years, and how it becomes difficult to back yourself when you have so much self-doubt. “It's not like by the end of the song it's like, 'you know, I am cool enough.' That's not the message,” he explains. “It's not something that I feel ever ends. The cycle of being an artist, you're constantly pushing yourself and battling yourself to sort of do better and create more. Especially that question of like, 'is this cool enough?’, is just like the irony of making this album was like, that was the question that I just kept asking more than anything.” Clifford then took a step back - not to retreat, but to realign the purpose of the album. SIDEQUEST became a vehicle to reconnect with the people who have stuck by him and supported him throughout his career. “I want to make this for, and I want to do my fans proud. I don't like saying "fans," but I just want people who have supported me in any way to be proud of this, and for this to be something that I'm stoked on at this point in my life. And just really about connecting with them and making this fun. Sort of like we said right in the beginning, I just want it to always just be like, I don't take any of this too seriously, and I'm just happy to be making it and having fun with it.” Across the body of work, Clifford isn’t just processing life as a teenager flung into fame, or as a new father finding his feet; he is confronting himself. “If you don't like it, it's just a side quest,” he says. It is a simple phrase, but one that quietly reveals the albums true armour: vulnerability, humour and the freedom to make music on his own terms.

It is not lost on Clifford the personal nature of SIDEQUEST. Lyrically, the collection of songs offers such intimate anecdotes that dart between a subtle and overt nature. I pose the question if there is any fear of being so personal, knowing that his words and stories are susceptible to scrutiny. “I love that you said that. Not really, to be honest,” he responds. “The whole point of doing music and being an artist is to be the unfiltered, unashamedly you version of you that you can be.” He goes on to note how the dynamic differs as a solo artist as opposed to his work with the band. “I think that's an interesting dynamic when you're in a band because that looks different for every person in the band, and that collective vision is the thing that makes bands so special and so beautiful. Whereas when it's one individual artist, you have to know exactly what your thing is and you have to believe in it and be able to not be afraid of who you are.” For Clifford, that meant embracing all sides of his psyche - including those he had shied away from in the past. “I was sort of like, 'well, I'm such an emo at heart, you know?' For so long it was like, 'emo is dead, don't do it.' And you know, even pop-punk and shit like that, it was very much like I was definitely running away from those influences and I was sort of scared to be that person. Because I'm a little bit cringe too, so I was like, 'man, how can I not be ashamed of that?’ And I think that's why there's parts of SIDEQUEST and a lot of the stuff that I'm doing that some people are just like, 'I just find it so cringe.' I love when people say that. Because to me it's like, now I can see with perspective that I'm so free to just be who I want to be in this moment. If that's something that somebody sees as something that they can fuck with, just in terms of like if they like it, then that's the whole point for me - is just to be the most me version that I can be. Because it just wouldn't be worth it otherwise. Why would I bother trying to do this if I was not being authentic? It just wouldn't be worth it… I also said like, the more cringe you say I am, the more powerful I become.”

In the days following the albums release, Clifford has celebrated with a flurry of fan-focused events: meet and greets, album signings, a sandwich pop up shop, and two performances at The Fonda in Los Angeles. When we spoke, the album had yet to drop. But he was already feeling the anticipation and excitement of the moment, fuelled by the release and reception of a handful of singles. “It's been really fun. I'm really happy that people have liked it and I'm happy that I've been able to do some really fun stuff going into my album. I'm excited to play my show at The Fonda.” I ask him of any immediate touring plans, he responds; “Not right now. Maybe eventually, but not yet. Not now. Later.” 

Image: Nick Holiday

It would be remiss to dismiss any anxieties around releasing solo music, after all for fifteen years he has shared the weight of public reception with his bandmates. Now, for the first time, it’s just him. “I was pretty scared in the beginning and then now that there's been a few songs going out, I feel like I'm ready for everyone to hear everything. There was so much of it sort of like holding me back of like, my reservations of what people thought in the beginning. That was really important to me - what other people thought. Now that I've started, I'm just so proud of everything that I've done and I'm so proud of the people who have been involved on this. I'm excited for everyone to hear the full thing and to hear the reception of it. I feel proud now.” There is some serendipity to the timing too. Clifford’s record arrives merely six weeks after his bandmate Hood released his debut offering, ORDER chaos ORDER. Whilst they exist as entirely seperate entities, Clifford views them as interconnected. “I'm so proud of Cal as well for making something incredible and for us to be coexisting alongside each other. I've felt like he's been a part of my rollout and I've been kind of a part of his too in some way.“ 

Ultimately, this moment belongs to Clifford. This is more than a solo record, it is a reclamation of voice, of identity, and of creative independence. He is ready for the world to be let in on his side quest.

MILKY EXCLUSIVE COVER STORY ©

Writer: Vasili Papathanasopoulos 

Graphics: Michael Clifford

Photographers: Ryan Fleming, Nick Holiday and Le3ay

SIDEQUEST is out now.