LILY HONIGBERG: INTERVIEW


by kristen case

photo courtesy of lily honigberg

A violin virtuoso, fiddler, and composer raised in Washington DC, LA-based Lily Honigberg seamlessly weaves together a rich tapestry of Irish fiddle, classical, and contemporary improvisation in the music of singer-songwriters, rappers, and artists. She is the featured fiddle player on Shaboozey's 2024 hit “A Bar Song (Tipsy)”, appears on FINNEAS’ second album For Cryin’ Out Loud! and played on the Dungeons & Dragons (2023) feature film soundtrack in the specialty band. Lily works across a variety of genres with artists like FINNEAS, Shaboozey, Dasha, Denzel Curry, Juicy J, 070 Shake, Bebe Rexha, Quadeca, KennyHoopla, Alex Warren, and Felly. Lily is currently based in Los Angeles, and regularly on tour with rising pop country artist Dasha. Raised in a family of professional musicians, Lily dedicated herself to music at a young age. As a teenager, she studied at the Interlochen Arts Academy, and went on to complete a master’s degree in Contemporary Improvisation from the New England Conservatory. Lily has been fortunate to tour with the National Youth Orchestra (2014), and has performed all over, including at Carnegie Hall, Walt Disney Hall, Millennium Stage, and on The Late Late Show with James Corden. During college, she lived in Ireland’s County Mayo and spent hours sitting in pub sessions, learning Irish trad music by osmosis. She’s made a name for herself as an Irish folk fiddler, headlining the Korrö Music Festival and playing with the likes of Eric Rigler, John Doyle, Dennis Cahill, and Solas. The Sun’s Valley, Lily’s latest album, is a testament to her nuanced interpretation of Irish fiddle and elegantly bridges tradition and innovation.

What was the genesis of Lily Honigberg? 

Lily: “I was born into a family of classical musicians — my dad gave me a violin for my fourth birthday. He played cello in the National Symphony Orchestra for 40 years, retiring last spring. As for my mom, she plays piano and the harpsichord. My grandmother was a concert pianist, and both of my parents run a concert series, so music was often playing in my house. I always loved the sound of string instruments. Also, something about the warmth and precision of the violin has kept me craving the instrument and striving to unlock all of the things I can do with it.

I grew up reading a lot of fantasy books — and listening to movie soundtracks — like the Lord of the Rings, Harry Potter, Tuck Everlasting, and Peter Pan. I classically ‘trained’ to be in an orchestra through school and a conservatory. Yet, I went over to Ireland during the summer when I was 19 and found myself fully immersed in Irish traditional music. I discovered then that I wanted to do more than read notes on a page. I wanted to write melodies, create atmospheres, and improvise with music. My intention became to become a fiddler, as well as, classical violinist, and also recreate some of the feelings the fantasy aspect of my childhood had upon me. I ended up staying at the New England Conservatory to earn a master’s degree in Contemporary Improvisation after finishing up my B.M. in Classical Violin Performance.”

I read that you were born and raised in Washington, DC, but had relocated to LA a few years back. How did the transition impact you as an artist and the music that you make?

Lily: “Los Angeles has everything. It has every kind of music and every type of opportunity. The city   always surprises you! I love waking up and not knowing what I’m going to get called for. There are incredibly creative and ambitious people here, making huge strides in the music and artistic world. I feel incredibly inspired watching my friends and colleagues navigate the challenges of the industry in LA, too. However, the city is not always as glamorous as it looks on the outside! Yet, I feel like I can be the artist I’ve always wanted to be in LA, constantly learning and evolving with all of the things being thrown at me as a string player, fiddler, composer, and improvisor.”

Congratulations on being Grammy nominated for “A Bar Song (Tipsy)” by Shaboozey as a featured fiddle player breaking multiple records. Kudos on getting to play Lollapalooza this past summer and having released music with Elijah Fox, Nick Leng and Enluv! What emotions were you feeling having received such life changing news? Furthermore, what did you learn about yourself both personally and musically?

Lily: “Thank you! I am really proud of ‘Tipsy’ and all it has accomplished since it came out almost a year ago. It was an honor collaborating with the artists you listed, who are all also good friends of mine. Yes, I love that we can make music together. But, we can also explore our city, watch over our pet bunnies and look at the wind in the trees together. Doing these things together help make the music all the more special! The emotions that came along with it were joyful, along with a bit of the, ‘well that’s great, but what’s next?’ sort of emotion. It also took a while for it to hit that I had played on a Grammy nominated song. It’s hard to sometimes grasp the extent of how many people have listened to and loved it! I also feel extremely grateful for having had the opportunity to play on that particular song and being able to continue working on what I believe in.”

In addition to working with Shaboozey, you have gotten to collaborate with various artists like FINNEAS, Denzel Curry, and 070 Shake just to name a few! How was the collaboration process, as it varies from each artist differently, and what's your favorite part about the collaborative processes?

Lily: “Again, it's such an honor to work with these artists. It’s special to come in as a string player on sessions like these, usually not to read sheet music that has been prepared, but getting to collaborate and talk through ideas. All artists and producers have different languages for things, and I love decoding what they are trying to tell me with their languages around strings. It was especially wonderful to come in and recreate some of FINNEAS’ string parts, and also have him ask me to just rip a few takes of improvising over his incredible songs. I’ve admired Billie and FINNEAS as artists and people since they released ‘Ocean Eyes’ back in 2016, and it feels like a dream to be included as a very small part of that.”

You recently played fiddle in Dasha’s band on her recent tour which is absolutely amazing! What was the experience like? Is there a favorite memory you have playing live?  

Lily: “I love Dasha. She is such a homie, and we have a great time on the road. I was never looking to tour like this with all I have going on in LA, but when the opportunity came out of nowhere, it felt right to roll with it. It took a few months for it to sink in about just how busy we’d be, but being on the road getting to play fiddle with a badass female artist is exactly what I’m supposed to be doing right now. I still get to come home and play sessions and work on projects in LA too. In addition, I have a remote set-up for recording that I take on the road. 

One of my favorite memories on tour is when a fan at a show in Indiana screamed, ‘Play Drown Me!’ This is one of Dasha’s songs on the same album as ‘Austin,’ and she didn’t quite hear them, took out one of her earpieces and said, ‘Huh?? Play ground beef??’ It’s an awesome crew, band, and team. I feel lucky to be up there with people making music and traveling the world, surviving the curveballs that tour life throws at us, and also laughing at the absurdity of what we are doing with the little things that happen during our long days of travel and performances.”

Along with playing the violin, fiddle, and being a composer, are there ever any challenges searching for that necessary “sound?” How do you overcome that?      

Lily: “Yes, there are lots of challenges in so many ways. I don’t know if I ‘overcame’ that. I do enjoy getting lost in the process of finding exactly what I am looking for in my own artistic projects as well as those of others. I think it’s important to make things you don’t like, and I feel like I’m still definitely working on being more comfortable with that.”                       

What is your favorite way to connect with fans? 

Lily: “I love hearing about people’s personal experiences with music, specifically the violin and fiddle. Also, not about the fans, but it brings me great joy to ask artists I’m in the studio with if they’ve ever tried playing the violin. From there, I try to let them play mine. It’s always funny to me to observe how quickly they realize how hard it is to make a good sound, have no frets, and things like that. Then, I see how they explore trying to get a good sound, what they do with their bow hands, along with their left hand, too.”

Can you tell us something unexpected that your fans might be surprised to hear about your upcoming projects? Are there any items on your bucket list?

Lily: “I am working as part of a team scoring a new video game at the moment! I don’t think I can say much more about it. I am excited for the next phase of my career that will be playing on and creating more fantasy soundtracks. 

I also have two new releases coming out under my own artist project, Lily Honigberg, for Saint Patrick’s Day on both March 7th and March 14th!”

 

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SAMI SITEMAN: INTERVIEW


by kristen case

photo courtesy of sami siteman

Sami Siteman, the prolific singer/songwriter from Agoura Hills, CA (a suburb of Los Angeles), now based in Santa Barbara, CA, likes to say that she writes her music to express and process her own feelings and experiences, but records and shares it so that others can relate to it and heal through it the same way that her favorite artists have done for her. Her music, influenced by so many artists whose music extends beyond the bounds of a single genre, is a powerful mix of genres itself, including pop, country, and singer/songwriter. Her impressive catalog of 26 tracks (including three EPs) has been streamed more than 744k times by listeners from over 150 countries, demonstrating her innate ability and desire to connect with people through her songs. Her lifelong passion for music is evident in her heartfelt lyrics and catchy melodies that range from heartbreaking ballads to empowering anthems. Fans of Sara Bareilles, Carly Pearce, and Olivia Rodrigo will find a home in Sami's relatable storytelling.

Sami has had the incredible opportunities to collaborate with songwriters Caleb Oczkowski (Natalia Taylar, LIVIA, elijah) and Livvy Webb (Olivia Knox, Alison Ogden), as well as have many tracks produced by the amazing Dylan Emmet (Mykyl, Geena Fontanella). In addition to creating her music, Sami enjoys being able to play live as well and has been able to play at venues like The Hotel Cafe in Hollywood (BMI Artist Showcase) and The Canyon Club in Agoura Hills. She's also been featured in various digital magazines and blogs, including Luna Collective, Earmilk, Notion, BoldJourney, and LA Weekly. Her latest EP The Way It Went is out anywhere you get music, along with her new single “Glass Slipper.” She is currently working well on her debut album!

Congratulations on your new single “Glass Slipper!” Can you tell me about the creative process of this song?

Sami: “Thank you!! I am so excited to finally release this song. I think I wrote a bit of the first verse and the chorus just as lyrics on my phone back in early summer 2024, and then I later played around with chords on my keyboard and put a melody to it. Then I filled out the rest of the song, wrote the second verse and bridge, and fixed up some lyrics that didn't quite work! Each song’s creative process is a little different; some take years to complete while for others, I can sit down and write the whole thing in two hours. It really just depends! But this one took a few months of sitting on the concept and playing around with the melody and lyrics, and then I finally was able to put it all together.”

What was the story behind “Glass Slipper?” 

Sami: “The concept of ‘Glass Slipper’ came to me as I was thinking about how my now fiancé is my perfect fit and feels like home to me, but how it really took a lot of dating and relationships to find him. So through one lens, this song is about how it can take a lot of exploration to find your perfect fit, your ‘Glass Slipper,’ or at least it did for me. But there's also a literal meaning behind the song that makes me chuckle a bit every time I think about it — I really do have a lot of trouble finding shoes that fit me well. All of the lyrics in the verses truly have a double meaning — I have gone through SO many pairs of shoes that have given me blisters and made my feet hurt so badly! So when I realized that my lifelong search for my perfect partner and my perfect shoes actually converged quite a bit, I couldn't help myself from writing about both experiences in double entendres.”

What's the first thing you do when you get inspiration for a song? 

Sami: “Though each song’s creative process to completion can differ, the way they start for me is usually the same. I’ll get an idea for just a lyric or a lyric with a melody and I’ll make a note of it in my phone or record a voice memo immediately (because otherwise I will absolutely forget the idea). Once I have enough of a concept or a decent melody, I'll sit down at the keyboard and try to come up with chords to support the song and see where I go from there. I tend to write first verses, pre choruses, and choruses first, and follow them up later on with second verses and bridges once the song has more direction, but it truly just depends.”

I love that you use lyrics both literally and metaphorically. Do you think lyricism is an outlet you use to get your emotions in songwriting? How is it beneficial for yourself?

Sami: “Thank you! I always say that, for me, songwriting is truly an expression of and a way to process my emotions in a way that isn't accessible to me through any other modality; my songs are truly my heart on a platter. But I share and record and release my music because I want to be able to foster connection and provide solace and relatability for other people the same way that my favorite artists’s songs have done for me, through the best and worst times of my life. And in terms of the literal and metaphorical writing, lyrics with double meanings, or what I like to refer to as ‘clever lyrics’ to my fiancé, are truly my favorite kinds of lyrics out there, so being able to write a song with a double meaning was super fun and special to me, especially because both of the meanings are so true and authentic to me.”

You have this beautiful blend of pop and country that makes your unique sound. “Glass Slipper” was produced by Dylan Emmet! How was the collaborative process? 

Sami: “Thank you! I always like to say that my music lives at the intersection of pop, singer/songwriter, and country, and I'm so grateful that you hear that too! It's a delicate balance to bring in elements of each of those genres, but Dylan Emmet, my producer on ‘Glass Slipper’ and my EP The Way It Went and an amazing artist in his own right, understands the vision I have for my music and my genre I think better than anyone I have ever met! He is able to hear the acoustic versions of my songs the way I write them and somehow bring them to life the way I hear them in my head, and add his own brilliant arrangement ideas as well! He is an incredibly talented musician and producer and our collaborative process is so much fun! I quite literally could not have created the existing versions of my EP songs or ‘Glass Slipper’ without his brilliance, hard work, and incredible execution.”

What does the new era of Sami Siteman look like to you?

Sami: “Most of my music that I have released thus far has been about heartbreak and healing. I'm very happy to be finally releasing ‘Glass Slipper,’ a happy love song, just in time for Valentine's Day! But beyond ‘Glass Slipper,’ I'm actually working on my debut album called Welcome to My Brain (likely to be released mid-2026 with some singles from it dropping periodically)! This album is a pretty big departure from the topic of love and heartbreak that most of my previous music has covered; it actually documents my journey with mental health over the past ten years, with one song being written over ten years ago that was originally going to be on my debut EP What I Should Have Done, and another being written mere months ago when I was feeling really lost after the passing of my grandma. Mental health is a hugely important topic to me, as it's something that I, along with so many close family and friends, have struggled with for a long time, so I am really excited to finally share more of that part of me and provide hope to other people who may be going through similar turmoil to know that their feelings are valid, but there truly is a light at the end of the tunnel.”

What do you want listeners to take away from “Glass Slipper?”

Sami: “For listeners who have already found the person they want to spend their life with, I hope this song makes them reminisce about how falling in love with their person made them feel and how at home they still do feel with them. For listeners who haven't yet found the person they want to spend their life with, I hope they take away that their person is out there — I truly believe there is someone out there for everyone — and that it just might take a lot of searching and persistence to find them.”

 

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MOONCHILD SANELLY: INTERVIEW


by kaleigh gieraltowski

photo by grace pickering

Moonchild Sanelly is an unstoppable force — bold, boundary-pushing, and unapologetically herself. With the release of Full Moon, the powerhouse continues to redefine genre norms, blending afro-punk, edgy pop, kwaito, and hip-hop into her original “future ghetto-funk” sound. She opens up about the inspirations behind her latest album, her electrifying performance on Later… with Jools Holland, and her ever-evolving artistry. From dream collaborations to the inner workings of her creative process, Moonchild Sanelly proves that her music is as limitless as her energy. And with a European tour on the horizon, she’s just getting started.

Congratulations on the release of Full Moon! What inspired the themes and sound of this album?

Moonchild Sanelly: “Thank you! Definitely working with Johan Hugo to make the song sound, I mean, the music sound in unison in this album, and what inspired it, I guess it's the sounds that I heard coming from him, and I just let the stories come to life, whatever emotions are evoked.”

The album blends so many genres — afro-punk, edgy-pop, Kwaito, and hip-hop. How do you approach creating music that transcends traditional genre boundaries?

Moonchild Sanelly: “I think it's just my ability to tell stories. My storytelling is already its own thing because of how I think, but the genres that have been mentioned definitely are the ingredients to my future ghetto-funk which is a sound that I basically created and is free to make hits.”

Your recent performance on Later… with Jools Holland was electrifying! How did it feel to share your music on such an iconic platform?

Moonchild Sanelly: “Oh, my goodness. Jools Holland is the bomb — he’s so cool. It was amazing being on a platform that is so legendary. It just shows you that the world is your oyster and everything is possible.”

Are there any dream collaborators or producers you’d love to work with in the future?

Moonchild Sanelly: “Absolutely, I would love to work with Doechii, Doja, Meg, Lizzo, Nicki, Cardi. I’d love to work with all the artists that represent being a bad bitch.”

What was the creative process like for this album compared to your earlier work? Have there been any new rituals you use when you have creativity spark?

Moonchild Sanelly: “What's different is the fact that I'm working… I guess it’s because I was working with one person. The storytelling also came from a place of having been single, so I didn’t necessarily have relationship scenarios to complain about instead. I still have my anthems to liberate and all that jazz. With this one, it really felt like we just focused on it and had no distractions, and the one thing that I definitely learned is fishing. Because every time you just felt like everything was redundant. Bitches go fishing. This was something that we did in Malawi and that we did in Sweden.”

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

Moonchild Sanelly: “I don't necessarily balance, however, I grow in real life, that’s the diary you’re about to hear about in my music. So it's not necessarily a balance, it's you guys experience me as I grow, and it translates in the music.”

Did you always know you wanted to create art? What else do you think you’d be working towards if not?

Moonchild Sanelly: “Absolutely. I mean, I grew up in front of the camera. I competed in Latin ballroom dancing. I was allowed to be artistically free and express myself and be exposed to these platforms. I feel like that was inevitable. If I came from a strict family, I would’ve probably never written music. But in another world, I’d probably be a psychologist, and I think that’s how I get to use it in my music, just with regards to empowerment.”

Ghetto-funk is such a unique genre. For those unfamiliar with it, how would you describe it, and how did you come to define your sound?

Moonchild Sanelly: “My influences and my upbringing was with the Kwaito music, hip-hop, and jazz — and every other sound that I bumped into in the world, but those were my three main ingredients. So I think the future part comes from what I’ve cooked with those ingredients which don’t sound directly like each genre individually in a song, but they all play a part to make each song each time I make it. So the future is basically me — the dish I serve from the ingredients I’ve been given.”

How has being a role model and someone in the public eye changes your perspective on what it means to perform for others?

Moonchild Sanelly: “I think the first reason I'm a role model or seen as one is because I was doing myself. I think that freedom touches people because it's energy and it’s not through just the noise of saying ‘hey everybody, shake your ass.’ Me being on stage, the energy speaks for itself.”

Can you drop any hints for us on what’s to come next? Perhaps a tour?

Moonchild Sanelly: “Definitely, a tour is coming next, it’s starting on the 5th of March, and we are going to be in Europe and the UK and for more details, you can go to moonchildsanelly.com to find out where I am going to be for the rest of the year ‘cause I am definitely going to be touring Full Moon.”

 

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JAE STEPHENS: INTERVIEW


by mariah estran

photo by randijah t simmons

The internet asked for a “Black Pop Star” and Jae Stephens gave the audience just what they wanted.

She responded to the request on X, attaching her music video for “Body Favors.” The warmly hued visual montage of chic fashion and video-vixen energy is everything pop fans drool over.

“When I started doing what I wanted to do — you know, regardless of what that might look like to other people, I think people received it well,” she says about her current position in her artistry.

After signing to Issa Rae’s label Raedio, in mid-September, Stephens released her third EP, SELLOUT “This EP felt like a new foot forward and a new direction for me — sonically and visually,” she expresses about the milestone. There is now support from a team and a surplus of resources at hand. So, she saw no reason not to go all the way. “I felt like this was the time; I had no more excuses.”

Stephens was ready to reintroduce herself to new listeners and the ones who had been listening for years. SELLOUT marks her third EP, following up her 2022 release, High My Name Is, and the 2019 EP, f**k it i’ll do it myself. Her tenure not stopping there; since the early 2010s she has been releasing music, most notably known as the Tumblr screenname beyoncebeytwice. Posting to the popular blogging site, she would share her covers and still tell a joke or two in between. Something she now refers to as an “online crash course.”

Those initial stages of social media connected her to a large community who would ride or die for her work. “It warmed me up to the idea of how I would want to present myself,” she explains. “Also, how I want to market myself online and what I am comfortable with, even what my audience, my fans, or my followers want to hear.”

With that insight in mind, she tapped into what she envisioned, plus what listeners would resonate with. Stephens understood the assignment, stepping away from the mysterious type of sound she carried through her self-produced years and diving into a much bigger realm.

Two years in the making, she began shedding any reservations, homing in on a vibrant, bubbling pop sound that makes up the entirety of SELLOUT. “I wanted to edge my way into this new sound, let people know where I stood and what I was trying to accomplish here,” she explains, adding that the EP title is even a slight poke at the concept of selling out. “I think it can be tricky, particularly as a Black girl trying a new sound that's bigger, brighter, cleaner, poppier. You are corny, lame, or a sellout, especially if you come from a DIY space like I did.”

Instead, she was one step ahead of the criticism, owning that title in the boldest way possible. In six songs, you are brought into an effervescent blend of production that carries the vibrancy of Y2K with a hint of today's dance cadency.

“WET” sets the tone as the opening track reveals a cheeky beat and lyrics that chant, “Slip and slide / come closer, I don’t mind / If we get a little (wet).” The bouncy beat makes for that ideal, choreographed pop-star video, which she leans right into. In the visual, soap bubbles rise as she moves with a crew of backup dancers in a car wash parking lot.

“‘WET’ was so interesting for me because it was terrifying to watch,” Stephens reveals. “When I first got it back, it was like, ‘I’m dancing on top of a car, it’s dramatic and so pop-star.’ It intimidated me because I thought it was too much.”

In all its grandeur, her vision was coming to life, “Girls Don’t Cheat” expanded on that blend of pop-R&B as she declared what women need — just a little attention. She paid homage to the film Honey, dancing in front of a dance studio mirror in the track's corresponding video.

Stephens was becoming comfortable in this new light as a songstress.

But it was still “Body Favors” that solidified that feeling. The song that she says made it all click. “I finally tapped into that place that made sense for me,” she shares. It is that standout track, the one, as a listener, you keep coming back to. With its energetic charm served on a platter of irresistible lyricism, this is the three minute tune that’s worthy of a queue-up. And again, the internet agrees. Fans on X call it a hit, as others want the song to catapult her into the mainstream in 2025.

photo by randijah t simmons

The music video has been shared on over 4.1k profiles since its August release date.

“I'm happy it was the one that connected with the people in the beginning because I just had a feeling,” she says. “I just knew.”

When discussing the success of “Body Favors” and SELLOUT overall, she does not overlook the personal steps taken to feel comfortable in this authentic state. She looks back at that girl who started a Tumblr page, “I think there was always something invisible holding me back in fear of being embarrassed,” Stephens reveals. “She would be proud that she got over that, got unhinged, and went for it.”

There was no time like the present. In 2024, pop music was on fire. Billboard noted it was the best it had been in a decade. Not to mention, it was women leading the charge. “I think pop is in such an exciting space right now, there's so many girls killing it,” she says when asked about her being a topic within that genre discourse post-EP release.

“I just know that I would love to see someone like me, who looks like me, be a part of that. We deserve that chance to tap into that side of ourselves, musically, visually, or aesthetically.”

Freshly into 2025, she has teased that new music is in the works, humorously posting on X, “SELLOUT… honey you’re unemployed.” When asked about the future, she mentions going bigger, from sound to the possibility of shows and an album “full of songs that nobody doubts or questions, or I do not get any pushback from.”

There is no doubt that the support is there; she knows so herself. Her audience is waiting for the next step, and it is one that Stephens hopes will not only be an expansion of personal, musical success but one that inspires a movement.

“I want a lot of other Black girls to do the same if they feel anything other than the box that they are being told to fit into,” the singer begins to conclude. “I want them to follow suit and put out the music they want to put out and have fun with it. I want to see more of us.”

 

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GENEVIEVE STOKES: INTERVIEW


by lauren kovolenko

photo by robin glass

When thinking of Genevieve Stokes, I think “you’ll definitely love this music!” This artist has a way of perfecting a vibe fitting for just about everyone’s tastes. A little bit of pop, a little bit of chill, and everything in between. If you want your morning commute to feel like a movie, check her out! Please enjoy the interview we have had about touring, sound, and more!

Greetings! Tell us about yourself. What's your background like?

Genevieve: “I’m an artist from Maine and I play piano and write most of my music in my parents’ garage.”

Were you always a songwriter? When did you decide to pursue music?

Genevieve: “I’ve been writing songs since I was around eight! I always wanted to be a musician, but I released my first project right after graduating high school.”

What's your songwriting process like? Is there a certain feeling you are trying to portray?

Genevieve: “I usually have a vague idea of the emotion I’m trying to portray, but the idea doesn’t fully form until I’ve found the chords.”

I could see your songs playing in a movie — what scene would you want them to overlay?

Genevieve: “I would love to hear ‘Lost Forever Now’ in the first Twilight movie. Kind of random, but I love that soundtrack and I feel like that song fits the vibe.”

When you write songs, where do you get most of your inspiration from?

Genevieve: “I sometimes write fictional stories based on movies and books I’m inspired by, but most of my songs are about my own experiences.”

Congratulations on the release of With a Lightning Strike! What was your favorite song to create on the album?

Genevieve: “I loved recording ‘Dreamer’ and ‘River.’ My friends Fiona Stocks-Lyons and Peter Caffarella created their own arrangements and it was just a very energetic and fun process.”

How has touring prep been so far? What's your most anticipated city to play in?

Genevieve: “The prep for the tour has been strangely smooth! I’m playing with the band I recorded the album with, so we all know our parts by heart already. I always look forward to playing in Portland, Maine (my hometown), but I’m also very excited to visit Toronto and Vancouver.”

Give a piece of advice to someone starting music — what has helped you gain success?

Genevieve: “Consistency and just being very passionate about the songs I make! I never put out a song that’s ingenuine or made to please other people.”

Do you have any dream collaborations you'd like to be a part of?

Genevieve: “I would love to work with A.G. Cook! He’s one of my favorite producers and I’d love to make something more experimental with him.”

What's next for you? What are you most excited about to achieve in your career?

Genevieve: “I’m really excited to tour in the UK and just travel in general. I’ve been hibernating for the past year to make this record, so I’m ready to play these songs and get my myself out there.”

 

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