Coming from the relatively small yet close, familial music community in New Zealand, 21 year old Anna Robinson (who goes by her surname as a nom-de-pop) has – over the past year or so - quietly amassed a substantial following in her home country as well as in Australia, with most recent single, ‘Nothing To Regret’, bringing her significant and ever-burgeoning exposure elsewhere in the international market. And for good reason: it’s an immediate attention-grabber and it’ll stay in your head.

Robinson co-wrote the track with Allie Crystal and Larzz Principato (Halsey and Dua Lipa are previous satisfied customers) and it was produced by Joel Little and Sam de Jong, who boast previous credits with Lorde, Ellie Goulding and Thirty Seconds to Mars. Listening to it on repeat, as you will undoubtedly find yourself doing, one can’t help thinking back to Tove Lo and Sigrid, when they first emerged with their respective introductory big hitters. And, I mean, look at them now.

Ahead of her debut London show later on this month, here’s The 405’s Introducing interview with the singer-songwriter.

‘Nothing To Regret’ has had phenomenal success Down Under and it seems like this is only the beginning. When you finished recording it did you immediately think to yourself: this will be a massive hit?

It’s a pretty surreal feeling for me, to think so many people have reacted well to ‘Nothing To Regret.’ I think so often in sessions you can be unaware of how a song really sounds until after the session. Almost like a studio bubble is cast over it. I get so immersed in the songs I write that I lose the ability to know it’s worth until after the session but I think that I almost like it like that, I maintain my focus on finishing the song to the best of its ability and reflecting on it afterwards, which was the case when Larzz, Allie and I wrote it.

The thing which the tracks you’ve released to date seem to have in common is their knack for an immediate hook. What, to you, is the most important ingredient to a great pop song?

I think it’s important to keep the song as true and honest as possible. I understand pop has developed a structure but I think when you focus too much on that particular structure, it can lose its value and get too lost in the maths of it all. Some of my favourite songs are ones where I can hear the true emotion in their voice, when you can tell they’ve recorded that vocal at a time of real heartache and pain. I guess there are so many elements that make up a great pop song, but first and foremost the most important parts are the cleverness behind the way the songwriters have pieced together a great melody with really relatable lyrics, as one without the other feels incomplete. So when it is done well, it totally pleases the senses [laughs]. Production should then add to that and enhance what is already a great song.

You’re an honorary member of the Broods family – what was your route to signing with their management company, Page 1, and Sony Music Australia?

Yes, they’re absolutely amazing! We are all a big Page 1 family. It’s pretty amazing to have such an incredible supportive family vibe within the management. It's a beautiful environment. Music is so much of who I am and I was always singing as a kid. Writing was my way of getting all types of emotions out of my system and I remember when I first started to play the piano and it was like this amazing new world of writing, as I would use the piano to accompany me in writing these songs. I was always pretty shy about my music growing up and, although I came from such a musical family, I was always so embarrassed to share my voice and my writing. It wasn’t until high school that I really came out of my shell and developed more confidence thanks to my incredible music teacher, Kyle Proffit, who really encouraged me to make the most of every opportunity. I wrote a song towards the end of high school called ‘Crave You’ and it wasn’t until the start of the new year in 2015 that my now manager, Ashley Page, approached me as he had seen me playing and singing on Youtube. I sent him ‘Crave You’ and, right from the start, he put so much time and belief into me. I wrote and wrote and wrote for those following 2 years and was finally ready to share that music with the world. Sony Music heard ‘Nothing To Regret’ and that’s how it came to be!

As you come from New Zealand most international write-ups about you and your music have, so far, drawn comparisons with Lorde. How do you feel about that?

I think it’s completely natural to compare, especially when it’s two artists from the same country doing music. We’re both doing our own thing but I find the comparison such a compliment. To me, Lorde’s music represents someone who can so incredibly piece words together along with the most interesting and captivating melodies. I find her work phenomenal and I’m definitely a fan.

What were your formative musical influences and how have they evolved over the years?

I’ve been influenced by so many different musicians growing up. A big influence for me is Jeff Buckley. His song and voice hold me in the palm of his hand like nothing else. He really is a once in a lifetime kind of artist, for me. I think through artists like that, and the feeling I get from listening to that music… all I want to create is pure, honest, heartfelt music that I’m proud of knowing I put my whole self into it.

Your recent acoustic version of ‘Nothing To Regret’ transformed it into a moving ballad. Is that how it started its life – on the piano?

Thank you! I think the goal with the acoustic was to take the song back to its roots, which – yes - started with just a piano and a voice. I loved doing that, especially since the production of ‘Nothing To Regret’ is really upbeat and uplifting, so it was important for me to showcase that side of the song.

How would you describe your song-writing process?

It changes every time, which I love. It keeps it fresh and spontaneous but I think often it just starts with me and a piano or a random melody. If I feel a really overwhelming emotion, the lyrics seem to just pour out and find their way with the melody. It’s such a satisfying feeling when that happens, like everything falls into place.

You’ve already worked with the likes of Martin Ledinsky, Larzz Principato and Allie Crystal. Are there any other writers and producers you’d particularly like to collaborate with in the future?

There’s so many people I’d love to collaborate with. It was really special writing with Larzz and Allie. I absolutely love Emily Warren, her melodies and lyrics… oh my gosh! She is definitely a dream collab for me. Tobias Jesso, Bon Iver and Emile Haynie are also people I’d love to collaborate with!

At the end of July you’re playing your first London show – what can we expect from this gig and how many tracks are you planning on showcasing?

Yes! I’m so so so excited for the show! I’ve been working on getting ‘stage fit’ so I can jump around the stage and not run out of breath [laughs]! I think it’ll be a 30 - 40 minute set with lots of new songs! I can’t wait to play the next single live too!

Which leads us nicely to… what’s next – an EP? An album?

At the moment, the focus is definitely on releasing the songs but, eventually, there will be an album. I have too many songs and they need a home within an album [laughs].

‘Nothing To Regret’ is out now. Robinson plays Thousand Island in London on 26 July. For tickets and more information head here.