BESTFRIEND: INTERVIEW


by mariah estran

photo by becca hamel

A lot can change in a matter of two years. For alt-pop duo Bestfriend, that concept became remarkably familiar. They began working on the follow-up to their 2021 sophomore EP, places i’ve lived. While making new music, they were also experiencing changes in their lives, because it just does not stop. 

On May 9th, they released their response to these feelings, appropriately titling the project: BESTFRIEND HAS AN IDENTITY CRISIS. “I feel like when people say that so much of your life happens between the ages of 21 and 27, I believe them now,” lead vocalist Stacy Suyeon says about this stage of adulthood. However, it was not simply about growing older but understanding the personal discoveries made when looking through an introspective lens. 

Stacy, alongside guitarist-producer and singer Kaelan Geoffrey, found themselves diving further into those layers that make life tricky. From heartbreak to grief and evolving in self and identity, the two touch on those honest topics through each of the six tracks.

“We wrote all these songs around a time when we both had gone through a heavy teardown of ourselves and our lives,” Stacy explains about the EP. 

Songs such as “HEADSTART” describe the feeling of infatuation through an electric soundscape, while tracks like “YOU LOOK JUST LIKE ME” reveal the discovery of traits we discover and find similar to others. 

The EP holds the same charm that Bestfriend has continuously developed — that indie-pop excitement that has you singing along.

Their vulnerability is still at the center, but it is now stronger as they embrace the chaos and beauty of it all. 

After the release of BESTFRIEND HAS AN IDENTITY CRISIS, the two spoke with us about the project. They tell us more about writing for the EP, the new production process, and what they have learned about themselves over the last couple of years. 

Both of you are known for music that creates a connection through vulnerability. These feelings of anxiety, grief, and heartache are not a singular experience. “HEADSTART” is a perfect example of bringing these feelings forward. What was it like writing this track?

Stacy: “It is about vulnerability, but at the same time, when we were writing it, it was a lot of having to pull back when writing it. The thing about vulnerability in our songs is that I tend to shout it in a lot of words — Bestfriend songs are very wordy.

We are trying to keep it nice and simple. You can be honest, without having to cover yourself by talking endlessly.”

Kaelan: “We are people who need to say everything about a thought. It is like, ‘Oh, I need to feel understood,’ but that is not always necessary. At the very base of it, there's truth in keeping things simple, and there's truth in finding your message and delivering it.” 

Years prior, Bestfriend was a project you would produce from afar, in different geological places. With this new EP, you two worked in person a lot more. How was that experience, and if any, how did it help develop the creative process?

Kaelan: “It changed everything. It is a helpful skill to do this remotely; it is good that it is available to us. It is certainly not the easiest or the most fun way to do it. It is so hard to have a genuine conversation, where you are going back and forth, talking with body language. 

Once we started doing this together in person, we did not see stopping as an option because it is much better.

It is just neat to see what the music can sound like and feel like in real life. This sort of translation of ‘online bestfriend’ to ‘real-life bestfriend’ has been the journey of the past year or so.”

How do you feel when you have seen each other grow after being alongside each other for so long?

Stacy: “Your 20s, like, everything happens because there is less structure in your life, right? When you are younger, in high school or at university, there's rhyme, instruction, and reason to your life. The minute that goes away, you are a free-floating person trying to shape yourself into something tangible. 

It’s a hard thing, and it's a work in progress. It is going to be something we are working on our whole lives. In these six years, we have not been immune to that rule.

We have seen each other through a lot of different life events. We have seen each other grow in musical ways, but also, personally.”

Kaelan: “It has been interesting because we both watched each other fall apart and rebuild. We've both been through that process and supported each other through that as well. 

We saw a lot of pieces, and the pieces that didn't work. The pieces that do work, and the pieces we want to see more of. It is nice getting to watch that overtime, especially as friends. But it is also cool that we see it represented in this capsule, the music we make during this time is neat.”

Tell us more about the title of the EP.

Kaelan: “We have been writing these songs over the past two years, and a lot has changed in two years. We have been shifting and transforming into something that we do not know. These songs are all over the place. 

There is this one song on there — it is the opposite of ‘HEADSTART’ — where we are trying to be simple and concise. Then there is another song that's five minutes long, where we just do not shut up the whole time. It encapsulates how we do not know who we are right now, as a duo, as individuals. We are having an identity crisis — there is the EP name.”

Stacy: “The last couple of years have been wildly transformative for both of us. We have been so many people throughout our lives. We wrote all these songs around a time when we both had gone through a heavy teardown of ourselves and our lives. Just a bit lost, and much of the music started to feel that way. It ended up being a good descriptor for the whole period. 

It is calling out the thing that we have been afraid to talk about and afraid to live.”

The EP highlights your continued fun, alt-pop sound. Working alongside Aidan Hogg, how did it help you develop the soundscape of this EP?

Stacy: “It is interesting to see how much each person has their language; also, how much it crosses over.”

Kaelan: “It is such a fun time when we get together and write. Anytime we can work with someone with whom we get along and want to make music with, it is great.”

How do you think this project will continue to inspire connection or even help those feel less odd in this era of self-discovery?

Stacy: “I am speaking for myself, but I feel like people are lonely. I do think that there has been this feeling of individualism, more so than ever. I am trying to get to this feeling that we are all kind of reflections of each other, whether we like it or not. Like this invisible expectation of being some perfect person, or the reflection of some of your best parts.”

Kaelan: “We have a song about feeling completely lost. We have a song about staring down the parts of you that you hate the most, and you see it in other people. We have a song about admitting a crush. We have a song about moving on past suicidal tendencies. 

Every song on the EP is about something that no one knows how to talk about, and societally, we do not talk about. The topics we chose to write about are personal.”

 

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ALAN WALKER: INTERVIEW


by lilith jaime

photo by olav stubberud

For Alan Walker, what started as a bedroom project turned into an experience of a lifetime. Long before he was old enough to set foot in a nightclub, Walker was already making waves in the electronic and dance music scene. Now, with more than a decade of music production behind him, his journey is a testimony of continuous learning, experimentation, and a commitment to spreading unity and positivity. In fact, his dedicated community now exceeds 10 million followers on Instagram —impressive evidence to his global impact. Who would have thought electronic music could bring people together so powerfully? Alan Walker is living proof that it can.

With the release of his latest record, Walkerworld 2.0, the artist embarked on a world tour that will culminate in New York, where he is set to go on one last ride today, May 31st. In the midst of this global journey, we caught up with Walker to discuss this new chapter in his music career, upcoming and excited releases, and the importance of using his platform to inspire fans to keep creating.

What does Walkerworld 2.0 represent in your music career?

Alan:Walkerworld 2.0 has been a creative playground and a project where I’ve truly worked through the entire spectrum of content in the Alan Walker universe. Musically, we’ve done a bit of everything— from the more traditional me with songs like ‘Hero’ and ‘Who I Am,’ to remakes like the legendary ‘Better Off Alone’ with ‘Better Off Alone Pt. II,’ and to ‘Thick of It All’ on the other end, which was written with Julia Michaels, Joe Jonas, and Jon Bellion. Conceptually, we’ve toured North America, Europe, and Asia, and created games in both UEFN/Fortnite, Rocket League, and PUBG Mobile. So yeah, a creative playground, a super fun project where I got to work with a lot of amazing people!”

When collaborating with other artists, what’s something you’ve come to realize about the teamwork involved in the creative process?

Alan: “For me, teamwork is everything. Ever since I started creating in my bedroom, I’ve loved working with people, getting inspired, brainstorming, being challenged, and creating something together. I truly believe the product gets better in creative collaborations, and I see how important that is with my fans too.”

You are about to take one last ride, referring to your performance at SummerStage in Central Park. So far, do you have any memorable live performance that stands out from this tour? If so, which one and why?

Alan: “Oh yes, so many! The biggest one was probably a drone show we did in Bengaluru, India. A pre-programmed audiovisual show that was one of the wildest things I’ve ever done.”

Why did you choose NYC to mark the grand finale of your Walkerworld Tour?

Alan: “I really love NYC, and being able to do this in Central Park just felt right!”

Now, when talking about touring, to what extent does it affect your approach to music when making new records?

Alan: “Both in good and bad ways! Touring obviously takes a lot of time, but the combination of us being good at squeezing in productive sessions between concerts, and me having a team I work really well with, makes me content with the situation. And touring inspires me a lot, so always fun to start working after visiting a new place!”

After travelling around the world, what’s a lesson that you take home with you?

Alan: “Family first!”

As one of the most streamed artists in the world, how do you handle fame and the pressure of meeting fans’ and the media’s expectations, if at all?

Alan: “Naturally, it affects you. I’ve actually been doing this professionally for ten years now, and everything goes in phases. I have a really, really great community around me, and the whole brand with the mask means I get to live a more normal day-to-day life than the streaming numbers suggest. But even though there are times when I feel a bit powerless, I’m left with the feeling that I’m incredibly lucky.”

With such a large audience both online and on tour, what’s a message or topic you like to share with your fans through your platforms — aside from music?

Alan: “Unity. Together we are stronger.”

The message behind the music video for “Story of a Bird” is clear: to keep creating art. What made you encourage your fans to do so? Did you realize about a lack of creative works in the modern world?

Alan: “It’s not necessarily that I think there’s too little creativity out there, but I feel a responsibility to use my platform and success to lift up other creators. For example, right now in NYC, we’ve recruited a Walker (someone from our community) to be one of the support acts. That’s how I gained the confidence to pursue this, and I want to pass that on.”

New talents are always so fun and interesting to listen and discover. What would you like to see happen in the electronic music scene in the coming years?

Alan: “EXCITING question. Would love to see a surprising (new) act bring something unexpected to the table.”

photo by olav stubberud

You were once a new act in the electronic music scene. However, it’s been ten years since your hit “Faded” — which catapulted you to stardom — was released. How do you feel about that song after all this time? Some artists grow tired of performing their biggest hits — has that been the case for you?

Alan: “You know what, I really love ‘Faded.’ Both because it has such a huge significance in where I am today, and because I have so many great memories tied to that song. A lot as recently as this year, with people sharing what the song has meant to them, and amazing moments when performing the song live.”

How has your perspective on music changed after all these years?

Alan:[Laughs] Can I say; slightly more cynical? No, but you do experience and learn a lot. It’s a big industry with many players who aren’t always working toward what I think matters most: creating great experiences. On a more positive note, something that fascinates me is how fast the music industry actually changes, listening patterns, technology, and communication methods. Love how vibrant it is.”

What began as a bedroom project has now become a global success. If you could go back in time and give your younger self one piece of advice, what would you say to DJ Walkzz?

Alan: “Be kind. And have fun!”

We heard you are announcing a new app. Can you tell us more about that and what led to you wanting to create this ecosystem for fans?

Alan: “Yes, and I’m really proud of it. As mentioned, since I started making beats in my bedroom, I’ve had a strong connection to an online community, and that’s grown into a large group called Walkers. In 2022, I went indie after seven years with Sony Music, and since then I’ve really felt how the industry works and how I connect with fans. This app is primarily a tool for me and the Walkers to meet, regardless of algorithms and technological barriers. It will be a safe zone for everyone who feels a connection to either my music or what we stand for in the community. It’ll include exclusive music, the full catalog of video and audio, the ability to connect with other Walkers, and of course a ton of activities and content. So why am I making it? Because I want both myself and the Walkers to be able to communicate and share.”

Can’t wait for you to launch it! Video games are also a powerful way to build communities, and we know for a fact you like playing them. So, to what extent does the gaming community influence your works?

Alan: “Quite a lot! It’s something very close to my heart, both creatively and in terms of how I like to communicate content. I'm a fan of easter eggs, gamification, and the ability to listen to music while gaming. ;)”

To finish this interview, a FUN QUESTION. If you could design your own video game, what would it be like?

Alan: “It would be something clean. Maybe inspired by 2010. Or super futuristic. Something unexpected and innovative.”

 

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NOAH LEVINE: INTERVIEW


by kristen case

photo by tyler krippaehne

Noah Levine is a versatile musician. Known for his creative lyricism and distinctive melodies, Noah is stepping in writing for himself and the honesty he shares in his music with his new single “Bacteria.” In our new interview he discusses the creative process and inspiration behind the song.

Congratulations on your newest single “Bacteria.” Can you tell us a little about where the inspiration for this song came from?

Noah: “Thank you so much. This song is so special to me. I feel like it’s one of the first songs where I’ve allowed myself to be completely honest with myself while writing it. I wrote it when I first hit the road playing guitar for Noah Kahan. I was suddenly getting attention and approval for the music I was making and contributing to, and I quickly started feeling a deep sense of imposter syndrome. A voice telling me, ‘just wait til people figure out you’re not as good or talented as they think you are.’ I wrote ‘Bacteria’ as a way to cope and express that feeling without letting it consume me.”

What was the story behind “Bacteria?”

Noah: “I remember visiting my friends in Boston, and my friend and fellow guitar player, Leon Sharplin, and I were messing around with some sounds and ended up writing this riff. It’s the initial and main riff you hear when you first listen to the song. I took it with me on the road and wrote half of the song until I hit a creative roadblock. A few nights pass and I’m sitting in my hotel room with Noah Kahan. We ended up talking about the song and how we both share very similar feelings about imposter syndrome and feeling somewhat undeserving when good things happen to us, and he helped me finish this song. It’s a wonderful feeling to be grateful for somebody's friendship and support of my artistry, and the song just wouldn’t be what it is without him. He’s a role model and an avid encourager of honesty through music, and that was a huge help in writing what I needed to.”

What was the creative process for “Bacteria,” and did you have any challenges during the making of the song?

Noah: “When it came to actually recording the song in its entirety, neither Gabe Simon (co-producer) nor myself had a perfect vision for what it was going to sound like when it was finished. All we had to work with were the bare bones of an acoustic and vocal driven song. We tried to take a very impulsive approach, adding little elements as we went whenever we felt it was necessary. Ultimately the song ended up consisting of only five elements — the vocal, baritone guitar, drums (played by Marcos Valles), bass, and a washed out mellotron. Anything more felt like a distraction from the song. There’s no better feeling than walking into a room without a true vision, and walking out with exactly what you want.”

Did your initial visualization of the track match up with the final outcome?

Noah: “Completely, but in a way that wasn’t tangible for me before having the final product. I couldn’t imagine the final track out of thin air, but I knew I’d know it if I heard it. This kind of thing doesn’t happen often, but whenever it does, the best thing for me to do is take it slow and add one element at a time. Ideally it’s an easy ‘yes’ or ‘no’ when it comes to each individual instrument at a time. Is this the right guitar tone? No. Try something else. On and on with each instrument until I come up with a recording that feels complete. I feel like that is the hardest part of making a song — knowing when to stop fucking with something and know that it’s done.”

What is your favorite lyric in Bacteria?

Noah:‘I never noticed all the space between the boards until I started keeping secrets like a body in the floor.’

When it comes to sound selection and production for “Bacteria,” what was the process for sound selection like?

Noah: “I think the only overarching vision Gabe and I had when recording this, was to create a recording that can be truly replicated in any type of room — a song I could play by myself with a guitar and hold the same effect as a full band arrangement in a concert venue, living room, arena, bedroom, etc. I think our minimal use of the studio using only a few instruments really lends itself to getting the message and weight of the song to people without too many distracting pieces.”

photo by tyler krippaehne

What message do you hope listeners take away from your music?

Noah: “I feel like the biggest theme of what I write is that it’s okay to feel multifaceted about certain things. I used to think that I had to be decisive on how I feel about events or relationships in my life, and my music and writing has taught me otherwise. It’s okay to feel upset about a relationship ending, and grateful that it happened simultaneously. It’s okay to feel hurt and angry towards someone and still love seeing them grow as a person too. I try to be as honest with the different ways that I feel about things in my music as I can. That’s why you won’t often see just a ‘sad’ song or ‘happy’ song come from me. There are bound to be layers, and I hope it’s something people can feel comforted by.”

Is there anything else you would like to share about the single or anything we might expect from you this year?

Noah: “There’s a lot of music coming and I’m just so antsy to be able to share it all. I hope you stick around and keep listening!”

 

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OWEN COLEMAN: INTERVIEW


by kristen case

photo courtesy of owen coleman

The LA based singer-songwriter Owen Coleman blends the raw energy of classic rock hits with the melodic punch of modern pop-rock music. His voice, bright, powerful, and unmistakably his, cuts through guitar driven hooks and cinematic production to deliver songs that feel both timeless and immediate. Owen Coleman is now stepping into a new era with his newest single “Heaven's Jealous” leaning into the rawness that comes with falling in love unexpectedly. Owen discusses the creative process of “Heaven's Jealous,” balancing the evolution of your artistry, and shares what's next on the horizon. 

Congratulations on “Heaven's Jealous!” What was the creative process like and what emotions were drawn to you while working on the song? 

Owen: “Thank you so much! This song idea came to me after being stuck in a writing rut for months. I’ve been making music for years and have dealt with the occasional writer’s block, but this lasted way too long. I stumbled upon this book by Rick Ruben, and he talks about how artists are antennae for creative thought. In other words, the human is a receiver for the universe’s ideas if they simply surrender to the flow and let the idea come to them. Once I unsubscribed to the belief that I’m in control, and I simply wrote whatever was in my head without overcomplicating it, I broke free of this writing rut and got back to what makes me, me. In terms of emotions while writing it, I’d say euphoria. It felt amazing to break through that spell and make something that felt meaningful to me.”

What's the story behind “Heaven's Jealous?” 

Owen: “This song is about falling in love when you least expect it. Most of my previous material has followed themes such as loneliness and nostalgia. ‘Heaven’s Jealous’ is actually one of the first ‘love’ songs I’ve released, which has been a nice change of pace in my opinion. It’s very silly, but in the past I’ve felt a bit cheesy when it comes to making love songs. I’m glad I no longer have that feeling. Love is the most powerful emotion and we all experience love in different ways. It makes sense to write about that feeling, and I plan to follow that theme further.”

When it comes to sound selection, and production of “Heaven's Jealous” it's very easy to tell that you were involved in every decision because of how carefully crafted the song is. What was the process for sound selection like, and did you ever have a specific vision for what you wanted the song to sound like? 

Owen: “On my debut album, Nowhere To Be Found, I really drowned every song in a bunch of different layers. I was drawn to a ton of different bands when I wrote that album and got a little in over my head on a few tracks. This time around, I’m straying away from creating songs that have too much going on. So, in ‘Heaven’s Jealous’ I confined myself to three instruments (guitar, bass, drums) and obviously, my voice. This allowed me to lean into the rawness and energy of the song, which is something bands like Oasis and The Beatles really perfected. They could create songs with just a few instruments, but you felt the energy they were emitting. That was the goal here.”

How have you grown through the process of creating “Heaven's Jealous?”

Owen: “I feel like I’ve grown a lot! This was the first song I’ve released in about a year, and it feels like the start of a new era for me. I am very fond of my debut album, but this new stuff I’m working on feels like the most authentic I’ve been lyrically and sonically. Writing this song felt like a breakthrough for me, I hope that doesn’t sound conceited or anything. I just feel like after being in such a rut for a while, this process allowed me to feel like myself again.”

As your personal style and music career have grown over time, how do you balance the evolution of your artistry while staying true to yourself? 

Owen: “That’s a fantastic question. I used to always be in desperation to find a ‘thing.’ Like, maybe my thing was being a mix of Harry Styles and Fall Out Boy. Or maybe I should be like The Beatles but if they were emo. It makes me laugh reminiscing on how I used to complicate things like that. The answer is simple, being authentic to yourself at all times is how you become the best artist you can be. It isn’t something you have to think about very hard. Your music is a reflection of your soul. So if you stay true to yourself, the art you create will be exactly what you’ve been trying to nail down all along.”

Drop a favorite line/set of lines you wrote in “Heaven's Jealous.” Why do you resonate with it? 

Owen:‘You’re lost in a motion cause love’s like an ocean. Deeper and deeper and if we drown, it’d still be worth it somehow’ is a line that stands out for me. When I first moved to LA, I had zero plans of being in a serious relationship. I didn’t think I had the bandwidth to support a person emotionally when my spirit was following my dream of music. But I got lucky, I found somebody who I fell deeply in love with, and it all happened so fast. Being in love for the first time feels like you’re drowning, but in the best way possible.”

What's the unusual place you have found inspiration for a song? 

Owen: “Whenever I come home from a trip, I always write a song that feels fresh. I believe traveling and experiencing new places has an effect on us as artists, or any creative person at that. Even going for a walk and paying attention to the little things on my path fills me with inspiration. As I’ve gotten older I’ve recognized that the more places I go and the more things I do, the better art I create.”

If you could only bring three records to a desert island what would they be?

Owen: “I love this question. My answer for this would literally change depending on what day you ask me. I would have to say The Black Parade by My Chemical Romance, Time by ELO, and Led Zeppelin IV. These are three of my favorite records of all time. Each album has its own personality and flavor. I love MCR and I never get tired of their emotionally impactful material. Time is my favorite album of ELO’s because of the time travel themes and production. Lastly, I had to choose Zeppelin 4 because top to bottom it’s filled with incredible songs that I could listen to for all time. If I had the luxury of bringing a fourth album to this island, it would be The Wall by Pink Floyd because Roger Waters is a genius and David Gilmour is my favorite guitar player hands down.”

What are you most proud of upon the release? 

Owen: “I’m proud that I wrote something that feels more authentic than ever. I’m also proud of the fact that I got over that silly fear of being cheesy by releasing a love song. Love is so powerful and if anything this song has taught me to share more of my experiences pertaining to that theme.”

Lastly, are there any upcoming projects or events that fans should know about?

Owen: “I haven’t performed live in so long. I’m working on finding the right members for my band before I start playing shows again, but you can expect an LA date later this year for sure. I’m also working on more music and I’ll have another single out soon. It’s called ‘Hello Old Friend’ and it’ll be out this summer.”

 

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KHATUMU: INTERVIEW


by kaylee pickens

photo courtesy of khatumu

Looking for new music to fall in love with? Well, look no further. Khatumu (cuh-to-moo) is reimagining music one track at a time. After graduating from Yale in 2024, the rising artist made her transition to LA with several releases in tow. With tracks like, “fire drill,” Khatumu is proof that incredible lyricism is more prevalent than ever — and that it’s okay to be in your feels. The New Jersey-native gets candid about her relationship with social media and preparation for tour. In an interview with Unclear, we sat down with the singer-songwriter to talk about the birth of her artistry, new EP, and much more.

What did the birth of Khatumu look like for you as an artist?

Khatumu: “When I first started my artist project, it was, like, it was birthed, if you will, in my bedroom, and me and four walls and a guitar. I had produced all the stuff myself and, like, my logic project and all that, and now it really has become more about the community of people around me. Which also has myself sort of at the center of that, but, I think that my artist project now is something that feels although there are more people included in it, it feels like more like home and that I have that, like, my friends playing on my songs now, my friends helping me edit my songs. Like, I've created a world for myself, you know, photos and sort of like this also visual imagery alongside the audio art.”

What does this current era of artistry look like to you?

Khatumu: “I’ve been loving the banjo. I call my music electrified folk music. I think that's a really fun way to describe it.

I was in a folk band in college, and I think a lot of my music draws inspiration from that, especially since that was one of my first introductions to music collaboration. And so a lot of the stuff, a lot of the lyrics, also deal with me sort of trying to figure out young adult life as we all do, especially post grad. I'm just having fun.”

What was the creative process like for “fire drill?”

Khatumu: “It was very fun. That was one of the first songs that I wrote after coming to LA. I remember ‘fire drill’ was one of the first ones I wrote on the EP. Walking into the room and it was: the producer, his manager, manager had his dog, and you can hear the dog running around in the back of the song. It's funny. It was one of my first times doing a proper session in LA.”

You’re opening for Mae Martin in June, how are you preparing for it?

Khatumu: “You know what's funny is I don't really have any formal training on singing. My preparation is, like, I just sort of pull up. I’m just gonna live my life as vocal training. And try not to be egregious and scream.”

How would you describe yourself to someone who’s never met you?

Khatumu: “I would say I love telling stories. Even as a kid, I would always be the person at the sleepover, workshopping some sh***y ghost story that people either hated or they loved... I would say I'm a storyteller.

I would also say, I don't take myself too seriously. I wish that I had heard someone else say what I'm saying when I was younger. Just because it probably would have helped me not feel crazy.

I'm a friend. And also from New Jersey. I can't escape that.”

How do you navigate the pressures of social media and prioritize your mental health?

Khatumu: “The way that I approach social media — I make this analogy to one of my friends. I have a lot of friends in grad school right now. I approach social media almost like homework for grad school. Like, I feel like I'm doing a grad program right now, and the grad program is me making the music, and I'm working my side job to support my rent. And the TikToks are just sort of the daily reading that I have to do, you know? I post my thing and I leave, and I don't linger, and I go outside, you know? A lot of the momentum I've had is from people showing up for me via social media. And that ebbs and flows, I think in really, really drastic ways, which I think can be another impetus for mental health.”

What are your thoughts towards collaborating with fans on merch designs through Softside?

Khatumu: “Oh, what are my thoughts on that? My thoughts are I think it's the coolest thing literally ever. I think that's such an awesome way to collaborate with an artist. I remember, I posted about this on Instagram once, and there was a girl there who was underage [and couldn’t attend the show]. I met a few of my fans in a park that were all under 21 and I received this orange sweater. It had stitched cowboy boots on it, and my name, and it was literally the coolest thing ever.”

Anything else you’d like to share?

Khatumu: “I personally think that the EP is really worthwhile, especially for people who feel like they're going through transition periods of their life. The title of the EP is Free Therapy. I think it would have really helped me a few years ago. And so, maybe there's someone that would help. Maybe more than someone.”

 

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