Colin Hay of Men At Work performing during the 20th Anniversary celebration of ‘Garden State’ at The Greek, March 2025.
Carlos Gonzalez/Rolling Stone
At one point, Colin Hay seemed to have the world at his feet with Men At Work. Then, as quickly as the fame arrived, it dissipated. Yet, the Scottish-born singer-songwriter proved his resilience, mounting an impressive career resurgence that remains a testament to his enduring talent.
Hay has cultivated a remarkable second act, flourishing as a solo artist, a key contributor to Ringo Starr & His All-Starr Band, and a captivating storyteller whose candid anecdotes resonate with audiences worldwide.
Blessed with natural wit and a gift for storytelling, Hay offers a perspective that few in the industry can match. The rapid ascent of Men At Work remains legendary; in 1983, they achieved the rare feat of simultaneously holding the No. 1 single (“Down Under”) and the No. 1 album (Business as Usual) in both the U.S. and the U.K.—an unprecedented milestone for an Australian act.
In a recent conversation with Grammy-winning producer Pete Ganbarg on the Rock & Roll High School podcast, Hay reflected on those heady days, the avoidable pitfalls he encountered, his journey toward sobriety, and the eventual artistic comeback that redefined his life.
“You always convince yourself that you’re managing the pressure, but in reality, you aren’t,” Hay admitted regarding the chaotic onset of his fame. “We made several fundamental mistakes, but more importantly, the band wasn’t built to endure in terms of its internal chemistry. It wasn’t just about the music; it became like an episode of Survivor, where everyone was constantly questioning who would be voted off the island next.”
The discord deeply disillusioned him. “I questioned the point of achieving such success if we couldn’t share the joy of it together,” he noted. “There were six of us who built that success, and it should have been honored by all of us. I still fail to see the logic behind the conflicts that ultimately tore us apart.”
Following the friction that led to the band’s dissolution, Men At Work released two final projects—Cargo (1983) and Two Hearts (1985)—before officially parting ways.
Hay credits a pivotal move to Los Angeles in January 1991 as the turning point in his life. By choosing sobriety, he laid the foundation for his professional and personal rebirth.
Despite his successes, Hay remains pained by the contentious, years-long copyright battle regarding the flute motif in “Down Under.” Describing the legal ordeal as “unforgivable,” he added, “It was a horrific, prolonged experience. I had no recourse other than to defend my work.”
The situation was further darkened by the 2012 passing of his bandmate, Greg Ham. “The tragedy for me was that Greg, who was struggling at the time, felt an immense sense of guilt despite being innocent in the eyes of the court,” Hay shared. “It also took a significant toll on my father, who was immensely proud of my accomplishments. It’s something I will never fully forgive.”
During the podcast, Hay also explores themes of resilience and reinvention, while reflecting on how his music found a second life through Zach Braff’s Scrubs and Garden State, his appreciation for unlikely fans like Serj Tankian of System of a Down, and the evolving nature of his craft.
Listen to the full interview here or visit rockschoolpodcast.com.
