Interview with Zoning Out

Songwriting, Neurodivergence, and Finding Clarity Through Noise

Story by Matthew Murray

30/12/2025

We spoke to Lucas Goulbourn, the artist behind Zoning Out discussing his music, creative process, and ambitions, reflecting on how instinct, collaboration, and neurodivergence shape his work.

Primarily a guitarist, he also plays harmonica and bass, the latter in a punk-jazz hybrid band called Maisel. He values timing and groove above technical showmanship, a trait that earned him respect among fellow musicians. His songwriting credits reflect this evolution: early releases were entirely self-produced due to limited resources, while later work involved collaborators from uni, including drummer and producer James, whom he praises as exceptionally talented. His lyrics often stem from his experiences as someone with ADHD and autism, translating how he perceives and processes emotions. Songs like “Lucy Goosey” began as a light-hearted phrase encouraging a bandmate to relax, while “By My Side” explores emotional miscommunication and uncertainty. He writes almost exclusively on guitar, letting melodies and feelings guide the process organically. One standout track, “Elissa,” written late at night on guitar, the song emerged through what he describes as near “divine inspiration,” which he says accounts for the majority of his songwriting. While most songs arrive fully formed in the moment, “Elissa” uniquely incorporated a melody he’d been holding onto for months. The track became a turning point when he first shared it with musicians from BIMM (British and Irish Modern Music Institute), where he studies. Though initially nervous, he impressed them, and their enthusiasm helped the song evolve into a full-band arrangement, including harmonica—an instrument that naturally fit his image and sound. Within weeks, the track was recorded and prepared for release. Production-wise, his early recordings were done at home out of necessity, particularly the drums, which he now feels lacked quality. Access to BIMM’s studios marked a major improvement, beginning with “When We Were Right,” and later tracks benefitted from professional drum recordings. This led him to re-record “Lucy Goosey,” creating a stronger, clearer version that better represents his vision. He believes releasing music—even imperfectly—is essential, calling it an artist’s “portfolio.” Live, he prefers performing with a band rather than solo acoustic sets, aiming to be known as an electric guitarist with feel rather than flash. Line-up changes have been frequent, but he currently feels strong chemistry with his drummer and bassist. Based in Putney, he gigs mainly around London, which he values for its diversity and vibrant music scene. Musically, his influences span decades and genres: Stevie Wonder, Nirvana, Prince, Bob Dylan, Mac DeMarco, The Police, The Beatles, and modern indie artists. While he doesn’t claim a single favourite artist, albums like Nevermind and Songs in the Key of Life left a deep impression. He also enjoys pop “guilty pleasures” and film soundtracks. Looking ahead, he plans to release more music, build an audience, and attract label or management support. While anxious about time and sustainability, he remains grounded, believing that “everything is theory until execution becomes a success.” There are currently several tracks on Spotify for us to enjoy now, check them out!