'WHISTLING PIE' / MITCH ROWLAND: REVIEW

September 13, 2025

by olivia powell

Mitch Rowland’s sophomore album Whistling Pie is a timeless testament to dichotomies. It’s a cohesive patchwork of sentiments, mostly those that inevitably come along with being a father and husband in an ever-evolving life, all sewn together to form a vignette of his story. His first album Come June successfully achieved the goal of any debut album, setting the stage for who Mitch Rowland is apart from being Harry Styles’ guitarist (a standout one at that). Now, time has gone on and time itself is the thing to treasure. It could easily be made frenetic, but instead takes on a rather contemplative and self-aware energy. The album begins with “Cabin,” an instrumental piece of tone-setting music, that leaves the words for track two. These moments without lyrics give the words he sings more weight. Each word sounds intentional and rife with meaning. It’s contemplative, even when expressing contrasting feelings.

The influence of artists like Elliot Smith is apparent on whispered, close-mic’d songs like “One In One Out,” and “Honeybabe.” The former track establishes a sonic tension that exists through the album. Rowland’s occasional use of lilting vocals creates a sense of unpredictability mirrored in the lyrics themselves; lines like “moldy apple of my eye” are an unexpected twist on a sweet cliché. Often ambiguous, the interpretation is somewhat open. On “Take 2” and “You Could (Be Good)” the lyrics from the previous song “you can do anything,” become “you can be anything” on the latter, in an ode to family and his wife. It has the softness of a Jack Johnson song, with guitar riffs that brightly sound like a call-and-response.

There often seem to be two ways to interpret one song. “Nothing Is True” may seem titled to reflect some kind of despair, but by the song’s conclusion, the phrase sounds more like a mantra. It’s a suitable example of the album’s theme, which is one of making peace or at least comfort with the way things are. The songs themselves are comforting, fitting for the countryside where they were created. Though it could be best described as a folk album, there are surprises in store. The use of a drum machine on “Do It For Real” adds a DIY texture to the song. Instrumental interlude “Carrot & Wine” features a reversed guitar, brief enough to pique interest and short enough to segue from the previous track. The local grocery mart that inspired the track’s title is a wholesome reference for his family.

The psychedelic rock edge that Harry Styles fans have come to love on songs like Styles’ “She” (Rowland solos) makes an appearance in folk form on “Take Two,” then again in full-force on “Carry On With Your Tea.” Starting off soft as a lullaby, the guitar soon strums in heavy. An electric guitar solo adds some grit, while building to the ending lyric, “it will all come back to me someday.” That sense of blues-guitar confidence continues on through “Honeybabe,” a nostalgic tune with a bit of quirky darkness reflected in the music video, wherein a mostly stone-faced Rowland witnesses a woman killing her cheating husband. It contains the same sure-footed storytelling as any classic country song. A steady beat anchors “Standard Size Knife" as the album’s closing track, which feels a bit like the end credits to a coming-of-age film. As the credits roll, a genuine glimpse of Rowland’s narrative has been shown to those who have listened. It ends sounding hopeful in saying “I try,” while simultaneously questioning “are we dying alone.” On Whistling Pie, Mitch Rowland has shared the things he’s still questioning, giving the rest over to time.

JOHNNY HUYNH: INTERVIEW

September 7, 2025

by alicia urrea

In an industry where authenticity can often get lost with fame, Asian-American singer-songwriter Johnny Huynh shines brightly as an artist who isn’t afraid to wear his heart on his sleeve. As an upcoming creative who would post covers and original songs on TikTok, he has learned how to weave intimate storytelling into his songwriting and bring forth a sound that is polished and contemporary, yet nostalgic. Huynh is carving out a space that feels both deeply personal, but entirely relatable at the same time. I sat down with him to talk about his creative process, the experiences that shape his craft, and how he’s navigating the ever-changing world of his youth and growth in the music industry.

For those who may not know you yet, how would you describe who you are as an artist and as a person?

Johnny: “I feel like the main thing for me as an artist is connecting with my fans emotionally. I would say my music is an expression of my emotions, so I’ll talk about subjects [pertaining to] love, heartbreak, and about people that I’ve lost. There’s usually a dark undertone to a lot of my music, which really draws people in emotionally. As a person, [I would say] I have a fun and glowy personality. I like to interact with a lot of people and get to meet new people, and I love messaging my fans every day and [interacting] on broadcast channels and stuff like that. I’m an open book, and I just love exploring new things about me and also learning about other people as well.”

Oh, I love that! I love when artists do that. It feels really personal. What’s your favorite fan experience that you’ve had?

Johnny: “One of my favorites was probably [at] school. A lot of people sometimes follow me around at school and kind of stalk me, but there’s this one person that followed me around school and ended up making this big stack of notes. There were stickers on it and cute little notes that I [could read] if I was ever feeling down. They wrote lyrics from their favorite songs and why they love that song. They tapped me on the shoulder and gave it to me, and that was definitely one of the [interactions] that stuck with me the most.”

That’s so sweet. That sounds so cute! Is it ever surprising when you’re at school and someone taps you on the shoulder, or is it kind of expected?

Johnny: “Yeah! I’ve been doing this for about a year and a half, maybe two years; so, it does happen a lot, but every time it does happen, I’m extremely grateful. Whenever it happens, I take a moment to zoom out and think about the impact I have on people’s lives. A simple song or a simple lyric can really touch somebody so deeply in a way that it makes me more motivated to continue writing music and creating music. I mean, that’s the reason why artists make music, right? It’s to make people’s lives better and to allow people to express their emotions further and really feel something after listening to a song.”

You mentioned you’re in school…

Johnny: “Yeah, I actually graduated this year.”

Mechanical engineering, right?

Johnny: “Yeah!”

How did you manage going to school and also making music? How did you discipline yourself or navigate figuring out what “mattered more?”

Johnny: “So for this subject matter, it really comes down to when I was four. I’ve been doing music my entire life. When I was four, my mom put me in piano lessons, and then by seven, I was performing with my brothers, singing and playing miracas and all that little cute stuff. Throughout middle school and high school, I was always the classic band geek. I was in choir, and did all that drama stuff as well. So once I transitioned to college, music was still my escape from school. I always allocated one or two hours every single day to just play the guitar, or play the piano, or just sing. It was a pretty easy balance.

Now that college is over, it’s like the most exciting time in my life because now I’m finally doing music full time. I can really put my full energy into it. A lot of people have also told me that a very small part of being an artist is the music. There’s so much more to being an artist: there’s the fan interactions, there’s meet-ups, there’s music videos, and all that jazz, you know? So for me, it was honestly a pretty easy transition because I’ve done music my whole entire life while doing school. So, yeah, the transition was very smooth.”

Do you have a favorite memory from childhood with music?

Johnny: “One of my favorite childhood memories was always doing talent shows. I loved singing for talent shows, and I also loved some years [when] I would do a drum set act or a piano act. Every single year, [I was] just preparing for the talent show in front of all of my friends. It was cool that everyone got to see my talent on display. There was a moment when I sat back and [thought], ‘Oh, wow, I’ve been training all these years to really have an impact on people.’ When people think about Johnny back in middle school or high school, I know they’re thinking, ‘That’s the kid from the talent show. And now he’s doing music full time.’

It’s just such a great connection from those memories from your childhood to what you’re doing now as a grown adult.”

That’s so full circle! I love that. I know you started posting covers on TikTok, so what was it like going from that to signing with Columbia Records?

Johnny: “Everything happened pretty crazily. I started my TikTok about two and a half years ago, and basically what happened was my best friend told me, ‘Wow, you have a really good voice! You should start posting on TikTok.’ The first week I started posting, things got pretty crazy. I just thought, ‘Screw it, let me start posting every single day.’ I started thinking about what the next step after singing songs for fun would be, which is obviously making original music.

I took the time to find my own music equipment and found all the appropriate music software, and learned how to produce by myself. I [taught myself] how to mix vocals, and I became addicted to learning. I would watch YouTube videos everyday on videos about creating a vocal chain, how to create stacks on vocals, how to record piano into your computer, and stuff like that. I learned all of that by myself and went on to record my own song.

I ended up releasing that song, and it did pretty well. It got 4 million streams, and it got the attention of a few labels. From there, I started doing a bunch of label interviews. I decided to go with Columbia because I just felt like I connected with them the most. They believed in me as an artist so much. Even now as a Columbia artist, they give me so much creative freedom and the sound I landed on. They let me find myself through doing a bunch of studio sessions. They never said, ‘You have to be a pop artist,’ or, ‘You have to be this kind of artist.’ They just allowed me to be whoever I was, and they were going to support that either way.”

That’s awesome to hear. Shifting gears a little bit, what parts of your identity do you feel are reflected the most in your music?

Johnny: “It’s kind of ironic, but I feel like my Asian-American background really reflects inside my music. Usually in Asian-American families, it’s important to be the ‘strong man’ in your family and be the rock. The reason why I say it’s ironic is because my music is so vulnerable and emotional. I’m kind of going against what it means to be male in an Asian-American household. I think it’s the most freeing thing ever. It’s actually helped me connect with my family more. They see me as braver and they respect me for talking about those things.

Another aspect in my music that I really connect with is the community feeling that I always have. I always think about, who am I making these songs for? For a lot of my songs, they’re relationship type songs, but while I’m writing, I always think about how it might relate to other things. So I might write a relationship song for me, but other people might [say], ‘This reminds me of the family member that I lost,’ or ‘It reminds me of a drug addiction I used to have,’ or something difficult like that. I always make sure that my music is broad enough so that everyone can relate to the chorus or [something], and find something in it for themselves.”

I have two follow-up questions… First, just out of curiosity, how did your family react to you getting a record deal?

Johnny: “When I entered college, they were like, ‘We gotta chill with the music stuff and focus on a reasonable career.” Mechanical engineering is such a solid career choice, and I was doing really well as a student. I was top of my class, and they weren’t too supportive [of my music] at first. They saw everything happening and all the followers and stuff happening, and they were supportive to an extent, but they were wary of me doing it full time. After a while, the thing that really changed my parents [minds] was flying them to LA and showing them everything that I did. Like, it’s very different to hear about something, but to actually see something is so different. When they met my manager and people from my label, it really opened their eyes. [They realized] it was going to be a gamble, but it’s something that’s so special. When you’re young, you want to be doing these type of things. For me personally, I didn’t want to just sit at a desk all day and do a regular 9 to 5 job.

So, me and my parents definitely had many talks about it and what things would look like in the future. The thing that was the hardest for them was me moving away to LA. It’s always the hardest thing as a parent just to see your kid go, so I’m sure that was why they were a bit more critical of my career choice. But yeah, now they are fully supportive and they’re doing everything they can to help me in any capacity.”

You talked about being vulnerable in your music — what’s your favorite song that you’ve ever made? What’s your favorite lyric or anything that stands out to you in your discography?

Johnny: “One of the best lyrics that comes to mind is my recent release. I just came out with this song called ‘LOCK ME OUT,’ and one of my favorite lyrics is: ‘It’s some sick fetish just to watch me drown.’ I just thought that lyric was so crazy, like the idea of a fetish of watching somebody drown [metaphorically]. Like, I’m constantly sinking in this relationship and it seems like you like seeing me that way. I just thought it was such a powerful lyric. Whenever I’m writing, I always keep it pretty broad and try to add a colorful line. For ‘LOCK ME OUT,’ that was the colorful line. It makes things more exciting.”

Speaking of which, how does your creative process work? Do you sit down and know you’re going to start a song, or does it come to you randomly during the day?

Johnny: “Music is a very collaborative process. Usually what I do to prepare for a studio session is I’ll just listen to music in my car, and I’ll go to my voice memos on my phone and just click record. I’ll hum a chorus idea for like 30 minutes while I’m driving. So many ideas [live] on my phone, and I’ll listen back to it later just so my ears are ‘fresh.’ I’ll walk into the studio session with at least a melody idea or some sort of concept to talk about, and then from there, the producer will be like, ‘How do these chords feel?’ Or sometimes I’ll play some chords as well. I’ll be like, ‘It feels something like this.’ We’ll slowly build the percussion around it and start writing lyrics for it.

I find the most important thing about songwriting is the melodies. Usually when you listen to a great song, you’re left humming the melody after you finish listening to the song, right? So the most important thing to me is having a great chorus melody, and then [I] fill in the words after that. That’s kind of how my creative process goes, and then sometimes I’ll also walk into the studio and I’ll just talk about my life and things that have been going on. Either the songwriter or the producer will be like, ‘That’s interesting, let’s dive deeper into that.’ We’ll [end up] making a whole song about it. Sometimes the creative process is one thing, and sometimes it’s another.”

How do you know when you’re done with a song?

Johnny: “The best thing about music is that people listen to it and can give you their opinion on it. Personally, I don’t want to listen to my own songs so much and be the final critic. Sometimes I’ll think, ‘Oh my God, I sound horrible,’ but somebody else might think, ‘This is the greatest song ever,’ you know? I have a process of sending it to like seven or eight people to have multiple ears on it. If everybody can generally agree that it’s a good song, that means it’s a good song and I can release it!

So, it’s kind of a filter process. My manager usually has the best ears, so I’ll always send him [the songs] and have him be my final say. I’ll also send it to a lot of people at Columbia as well, and sometimes I’ll just play a song for my friends in the car. My friends are the most brutally honest people, so they’ll tell me if a song is horrible or if it’s good and I need to release it ASAP.”

Who would you say are your biggest musical inspirations? Do you have any inspirations outside of music?

Johnny: “One of my biggest musical inspirations is definitely Adele. I listen to so much of her songwriting. I think it’s amazing. Even though she usually makes pop ballads and I don’t really do pop ballads, I do draw a lot of inspiration from the songwriting angle. Another huge inspiration sonically is ZAYN. I love his music a lot. I also listen to a lot of James Arthur, even though he’s also more pop leaning. I also love listening to a lot of new upcoming artists. Like, I love listening to Isabel LaRosa and d4vd. Sonically, they sound a bit newer to me, and they’re always good references to go to. I love grabbing little bits and pieces from wherever I can.

Life wise, I would say Jackie Chan [is an inspiration]. I found something so interesting in the fact that he made it so big in China by making such big films, and then he came over to America and dominated the American movie market as well. His background of not knowing much English and still finding a way to succeed is like one of the most inspirational stories to me. My parents are also immigrants from Vietnam, and they have such a similar story of not knowing any English and making it over here. It just connects with me so much. [It resonates], because there’s that story of, ‘I’m in a new place, how can I find a way to succeed?’ In my life, I use that as inspiration so much. Like, signing with Columbia — I was like, ‘I’m given this new opportunity… How can I use this to my advantage?’ So, in general, I’m always inspired by a lot of Asian-American actors and artists as well.”

So, you talked about your inspirations musically. Do you have any dream collaborations that you’d like to make happen?

Johnny: “My biggest dream collab wise is definitely d4vd. I think his music is really pushing boundaries. The one thing I do love about his music is he takes something old that was so cool — like maybe something from the 90s or 2000s — and he’ll bring that sound forward and put a modern twist on it. Also, the way he does his vocals in his songs sounds so nostalgic and dreamy, and it’s something that I also love about his music so much. That’s definitely a dream collab for me. This is also probably way out there and would probably never happen, but ZAYN would definitely be a a dream collab.”

What are your favorite songs by ZAYN and by d4vd?

Johnny: “ZAYN… Definitely ‘Dusk Till Dawn,’ I listen to that song a lot. ‘fOoL fOr YoU’ is one of my favorite songs as well. There are a lot of slept on ZAYN songs because he doesn’t really promote his music too much, so you kind of have to dig for them. His album Icarus Falls is super good, and I love it a lot.

My favorite d4vd song are the classic ones like ‘Romantic Homicide,’ I’m listening to that one so much. I think a lot of his newer stuff is very cool, and the thing I like about him is that he never just sits in one genre. Sometimes he’ll do much more upbeat songs and then sometimes he’ll do slow ballad songs. That’s something I kind of want to take away for myself: to not be so grounded in one genre. In every studio session, I try to push boundaries on what I can do. In my mind, I’m always like, ‘Oh, I did this last time, what can I do that’s even better than that this time?’”

What can fans expect from you in the future? What would you like fans to take away from any of your future projects?

Johnny: “Yeah! So I just released ‘LOCK ME OUT’ and it’s been going pretty crazy, so we’re working toward a larger project. Everything after my last EP will lead to something bigger, and we’re going all in on all the visuals and stuff. We’re trying to make it a cinematic experience for all the fans to enjoy. Sonically, just be ready for me to push boundaries and hear things that I haven’t done before, which I’m really excited about! I’m also definitely going to open up a bit more about things that have happened to me and different experiences that I’ve learned from throughout my life. So I’m really excited for everybody to see the visuals and listen to the music. There are a lot more live shows in the future as well.”

FIND JOHNNY ONLINE

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10 ARTISTS WE'RE EXCITED ABOUT: HOPSCOTCH MUSIC FESTIVAL 2025

September 2, 2025

by madelyn barkocy

Unclear Magazine is so excited for the 15th anniversary edition of Hopscotch Music Festival, taking place in Raleigh from September 4th — 6th with many more events hosted by labels and venues occurring in the surrounding days.

Hopscotch 2025 has an exciting array of local North Carolina acts, bands traveling from out of state, and a list of mainstage performers that includes legends and up-and-comers alike. These are just a few of the many artists that stood out to us on this year’s lineup:

10. Daughter of Swords

Alex Sauser-Monning, of Mountain Man and The A’s, is taking their solo project Daughter of Swords to Hopscotch. They’re riding the release of their newest album Alex (Psychic Hotline), produced by Nick Sanborn of Sylvan Esso, in which they invite their folk roots to a dance party. This new whimsical era features lyricism that springs around in detailed vignettes and production that leans more electronic and sprightly than Dawnbreaker, their primarily folk debut record. We can’t wait to hear how these worlds get bridged in Daughter of Swords’ live set!

Thursday, September 4: 11pm at The Pour House

9. Tomin

Tomin is a Brooklyn-based self-taught multi-instrumentalist and computational geneticist making a name for himself in the world of new jazz. The arrangements on his second album A Willed and Conscious Balance (International Anthem), released last year, solidify Tomin’s place as an innovative voice in the scene. There’s such a dense emotional center in all of Tomin’s work and we’re very much looking forward to experiencing it live.

Thursday, September 4: 10:30pm at Nash Hall

8. William Tyler

William Tyler spent his early days playing with Nashville-based acts Lambchop and Silver Jews. Since then, he has been pursuing his own solo body of work, crafting an extensive array of instrumental tracks that explore the bounds of “cosmic country.” His 2025 album Time Indefinite (Psychic Hotline) sees Tyler leaning into new textures and techniques, spotlighting his knack for creating rich ambient worlds.

Friday, September 5: 4:20pm at King’s*

Friday, September 5: 1am at King’s

Saturday, September 6: King’s (doors at 11am)*

7. T. Gold

T. Gold is a project started by Gabriel Anderson and Saman Khoujinian, the two founders of Carrboro label Sleepy Cat Records. Their approach to folk is somehow at once starkly minimal in its saturation and lushly vast in the quality of sound, a perfect late summer soundtrack. In their latest single “Getting to Know the End” released in 2024, they have fun filling the negative space with new experimental layers on an uplifted tempo.

Thursday, September 4: 10pm at Transfer Co. Ballroom

Friday, September 5: 12:30pm at Schoolkids Records*

6. Kumo 99

Kumo 99 is a glitchy electro-pop duo from Los Angeles composed of Ami Komai’s vocals, often sung in Japanese, and Nate Donmoyer’s percussion. Their industrial, drum and bass-inspired sound has lent them a rightful place on primarily hardcore bills, including an upcoming one with fellow Hopscotch 2025 artist Girl Brutal. Kumo 99 played Coachella earlier this year and has some exciting tour dates up ahead, so don’t miss your chance to see them in an intimate venue.

Saturday, September 6: 1am at Slims

5. Friendship

Maine-raised, Philadelphia-based Friendship makes indie rock with an alt-country twang and a knack for finding humor and comfort in the absurd mundanity of the day-to-day. Frontman Dan Wriggins’ baritone bellows are strikingly emotive, delivering each line with nuance that few can master. Friendship shines on their 2025 release Caveman Wakes Up (Merge Records) and we’re so excited to hear it live!

Thursday, September 4: 4:40pm at The Pour House*

Thursday, September 4: 12am at The Pour House

4. Dead Tooth

Dead Tooth is a self-proclaimed “rodeo-core” outfit from Queens fronted by Zach James Ellis. With chaotically catchy, saxophone-lathered rock tunes and a wildcard live show that often features a haunting dance solo by long-time collaborator Nola Sporn Smith, expect a revitalizing cacophony of sound and sweat from Dead Tooth’s set.

Saturday, September 6: 12am at Slims

3. Hemlock

Carolina Chauffe is the brain behind “swamp-raised, ‘phone-fi’ alt-folk” project Hemlock. Their discography is an impressive one after having completed seven different renditions of a “song a day” challenge in one month long intervals, the most recent having been from June of this year. Be sure to check out Chauffe’s work in Little Mazarn as well, also playing Hopscotch this year with quite a few slots of their own.

Saturday, September 6: 11:50am at Wolfe and Porter*

Saturday, September 6: 10pm at The Pour House

2. YHWH Nailgun

Experimental noise rock group YHWH Nailgun has had an exciting year so far after releasing 45 Pounds back in March to critical acclaim. It’s an absolute sprint of an album, running at only 21 minutes long with whiplash-inducing percussion and animalistic vocals that will have you wondering if you should open up a dance floor or a mosh pit. Maybe both. They’ve toured extensively in 2025 and will be continuing to do so for their EU / UK leg up until the tail end of the year, so now is the best time to catch them!

Thursday, September 4: 6pm at City Plaza

1. Wombo

Hailing from Louisville, Kentucky, Wombo has been abstracting post-punk since 2016. On their new album Danger in Fives (Fire Talk), vocalist and bassist Sydney Chadwick layers an airy, ethereal quality over the sharp, angular work of bandmates Cameron Lowe on guitar and Joel Taylor on drums, creating an exciting sonic friction. We’re really looking forward to hearing the title track off this new one.

Thursday, September 4: 11:30pm at Wicked Witch

Those are our picks, but there’s so much more to discover! Check out the full lineup schedule here, the day party schedule here, and then log your must-sees in the Hopscotch app for easy day-of-fest reference. See you there!

*signifies a day party set which is open to anyone, no need for a festival wristband.

SAVANNAH RÉ: INTERVIEW

July 31, 2025

by mariah estran

Savannah Ré is evolving, and on her latest project Formed, it’s proven through an 11-track arrangement of empowering honesty.

The Toronto native is no stranger to the R&B space, with several projects within her discography, including her critically acclaimed debut, Opia, she's landed herself three JUNO Awards. Plus, most recently, Drake sampled her 2024 single, “Sex With My Ex.”

But now, with Formed, a new phase has been revealed, one that started with going independent. She spent the last year navigating this new creative freedom, the boundless opportunity that had Savannah revitalizing her sound and candid lyricism.

Through this project, she’s expressing how fulfilling music can be. By experimenting with early 2000s sounds, it shines on tracks such as “Go’ Head,” while those moodier moments still make an appearance on “Glory” and “Blank Space.”

Formed is a personal, introspective look into where Savannah Ré is, and where she is going next. She took a moment to give us a closer look at her project, telling us more about the production journey, going independent, and how this latest collection is different from the rest.

We must talk about the new project, Formed. It’s been receiving a lot of love, so how are you feeling now that it’s been out in the world?

Savannah: “I feel great! I’m overwhelmed by the love, support, and reception that this project is getting, especially with it being my first independent release, so I’m grateful.”

When you give the project a listen, you can feel how much work you put into it. It displays this self-reflective look into love, and your own growth and self-worth. What more can you tell us about the themes behind this latest release?

Savannah: “It's all those things. With Opia (the first project), the whole purpose was introspection, looking inside and talking about those things that are hard to be honest about, and that is still my message as an artist overall. But this time, I wanted to approach it from an angle that’s not as heavy.

Through the songs, you can still see and hear so much about my journey and where I've been. It still deals with all those same themes of self-discovery and some heartbreak, but I wanted to do it in a way that was much more uplifting and fun.

This is the most fun music I've put on a project to date — it might just be indicative of where I am as a person. I want people to be able to listen to each of these songs on the project and find a different mood.”

While listening to the project, what caught my attention was your use of different stylistic elements. I feel like it really coincides with this new era you're describing. What drove this thoughtful soundscape and what inspired you?

Savannah: “Honestly, I wanted to show more of myself, sonically. I'm already showing who I am as a writer. On my prior projects, they have set up the foundations of who I am, but it's so much more this time around. Also, having a longer project gives you more room to show more sides.

All of this is still me as an artist. ‘Blank Space’ is the most alt-R&B that I've gone. ‘Go’ Head’ reminds me of the early 2000s era of dance music and like, Ciara. All these eras are a big part of what raised me. I wanted to broaden people's understanding of my sound.”

People have come to know you because you have an incredible list of accolades. We can mention your JUNO Awards and nominations, plus, your amazing collaborations. When getting into the process of making Formed, how did you want it to be different from previous projects?

Savannah: “I wanted it to sound so different, but I wanted you to be able to hear the growth and hear the difference in where I am now versus my other projects. The main difference this time around is I'm in control. I'm completely independent, I'm in the driver's seat, so whatever happens with this project is up to me, and the executive producer, Yogi — he's wonderful at letting me be me and try different things.

The approach to this project was that I wanted to make something I love, that’s it. I was trying not to think about outside pressures or outside things.”

Speaking of you being independent and this being the first time to really explore that, how did it feel to have this freedom to go in and do what you've always wanted to do?

Savannah: “It's interesting because it's freedom, but it also feels terrifying. First, it's a very scary space to be in because it's up to you now.

So, whether you sink or swim, it is up to you. I spent the first year of being independent just figuring out my voice and what I want. When you are not independent or in the label system, there are whole rooms of people who can show you on a graph, show you photos, and show you where they think you should be or what you think you should be. I took that first year off to unlearn that. This is my first independent project, so I’m still figuring it out.”

On Instagram, after you released “Nine Lives,” you mentioned people had opinions on it. You noted that it was an autobiography, the comeback from going through several obstacles. I'm sure that includes things in the industry, things in your life, and coming back even stronger. This song and this project, how has it helped you reclaim and emphasize that confidence as an artist?

Savannah: “It's interesting because when you're going into it, making the music you love, you can never know how it’s going to be received. I feel like for me, it's been healing because this is me now, this is what I have to say, and this is how I would say it — unfiltered without anything holding me back.

I was expecting to get those comments. At the end of the day, being raw is hard for people to consume because not everybody meets themselves the same way you meet yourself.

Especially with ‘Nine Lives,’ I made that song for women, I made that song for us.

So, when it started getting on the wrong side of the internet, I was like, ‘Let me reel it back in and remind you all that this is for us.’ It's about my journey, so it's no surprise to me that men are like, ‘Oh my goodness, what is this?’”

Lastly, what do you hope listeners learn or see about you after they listen to this project?

Savannah: “Honestly, I just hope that they’re able to hear the growth and see themselves in my journey. I'm just getting started; this is my first full-length project since Opia. I hope that this project and my discography are enough for people to feel connected enough with me to keep growing with me, like, this is just the beginning.”

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MOTHER MOTHER: INTERVIEW

July 18, 2025

by lilith jaime

Formed in 2005, the Canadian rock band Mother Mother has built a rich and evolving legacy in the music scene. Over the years, they’ve crafted a distinct sonic identity through an expansive discography that now spans more than ten albums. This June, the band made a compelling return with their latest release, Nostalgia. True to its title, the album dives deep into themes of memory, self-reflection, and emotional echoes from the past. It revisits the sounds and stylistic elements that once defined their early work, offering longtime fans a sense of familiarity while still pushing their musical boundaries in new and thoughtful directions.

We had the chance to catch up with lead singer and songwriter Ryan Guldemond to delve into the heart of Nostalgia. In our conversation, he opened up about the themes that shaped the album, the memories the band collectively revisited during the creative process, and the emotional resonance behind their newest work. Furthermore, the frontman also offered insight into his personal approach to songwriting, the evolving dynamics within the group, and how his relationship with the internet has influenced both his artistry and perspective as a musician.

How would you describe the special element within the group that has been fundamental to your 20 years of making music?

Ryan: “I think just how good of friends we are and how fluent we are in the language of each other. We know how to be good to each other, what the triggers are, what the buttons are. And so, with that knowledge, you can purposefully create a harmonious space with these people that you're doing this job with. However, it wasn't always that way. I think in intimate relationships, you learn the hard way how to get along. And that's very much the case in a band. So, after all of these years, we're just very good at knowing how to exist together.”

Do you think this reflects in your music?

Ryan: “Sure. I think that when we get together to record music, again, we know how to bring out the best in each other, and we know what battles not to pick, softly speaking.”

I saw that you waited a year to release a new record. Commonly, artists take around two years or so to put a new record out, but you took just one. Why is that?

Ryan: “Well, you know how people release deluxe versions? We were going to record three or four songs for the deluxe version of our last record, Grief Chapter. But then that sort of opened up this gateway of creativity, and more songs came into the picture. All of a sudden, it felt like we were doing something new, that we were creating a new body of work that didn't belong on the deluxe version of our last record. So, we just decided to forget about that and make a new record because it felt right.”

With Nostalgia, your new record, how would you say it fits into the band’s sonic evolution?

Ryan: “I think that true to the title, Nostalgia, this record is celebrating our roots. You can really hear that in some of the songs. Like, six of the songs are old and the other six are new. I don't know if you knew that, but we went back in time and looked in the attic, so to speak, for old songs that we've always loved but never released. And we chose six, and then we wrote six new songs.

And there's a real spirit of youthfulness, of playfulness, that I think is alive on this album. So, it's classic Mother Mother, but then it's us today, twenty years later. It can't help but also be a modern version. It's these two ends of the spectrum coming together to create a sound.”

Nostalgia recalls O My Heart, if you ask me. How was revisiting this old material? Did you change anything?

Ryan: “Sure. We took them and then sent them through the machine of criticism and speculation. Some of them came out really close to the way they were, and some of them came out pretty different.”

The song “Love to Death” is one of your fans’ favorites to revisit, considering there’s a demo of it on YouTube still circulating. Now that you have released the track properly, how was the critical response?

Ryan: “I mean, I knew a lot of people wouldn't like it because people get attached to the demo. So, we were prepared for that. But I think it's awesome. We really love the way it is the new version. And I bet you if there was never a demo, then people would love the new version. That's the way the human mind works. It's the first thing you fall in love with, you become so attached to. Some people, I think, struggled to accept the new ‘Love to Death.’ And then I think for a lot of others, that was the first time they heard the song, how they loved it. Maybe some of them even loved it to death, hopefully, but not literally.”

Now, the song “ON AND ON (Song for Jasmin)” also navigates a lot of memories and emotions. Can you walk us through it?

Ryan: “That song was written during a really emotional and deep time. Jasmin and I were good friends, best friends. We've been, friends for many years, but at the very beginning of our relationship, we were a couple. And so, there's lots of layers to our story. In 2020, her dad died unexpectedly. And I was really close with her dad as well as Jasmin. I was given the job of driving over to Jasmin's house on a Sunday morning and telling her that her dad died unexpectedly. So, that experience was very powerful. Just, you know, Jasmin is a very sweet and happy person. She opens the door with a big smile and a ‘come on in.’

And then delivering this news and watching someone you love that much metabolize that information in the moment, and the both of us start weeping together, and you go on this little journey of grief. It's very deepening to the friendship. It's very beautiful and raw. And so, in and around all of that energy during that time, I just picked up a guitar one day, feeling all of this love, sadness, and beauty and just wrote that song very quickly for Jasmin, and for her dad too in a way.”

That’s really sweet and considerate of you. Aside from that track, is there any song that you feel most connected to from the album?

Ryan: “I love ‘Nostalgia.’ I really relate to getting almost drunk on the past and romanticizing it and that sort of wistful longing for what was and for what never was, but you wished was, but now it's too late. All that energy, I get really into.”

On another note, is there a reason why you divide in part 1 and part 2 certain songs?

Ryan: “We've only ever done that once properly, which is ‘Hayloft II.’ You know, with our song ‘Finger,’ we flirted with the idea that it was a prequel to ‘Verbatim,’ just because people were saying, it sounded like Verbatim II. And so, we made a post saying it's the prequel, but it's not actually. But ‘Hayloft II’ is a very purposeful sequel.”

Let’s move on to a more visual approach. Your album covers are different between within each other. How do you know which artistic direction to take every time you're creating them?

Ryan: “I guess you try to find some inroad through the lyrics. Sometimes the music just has a certain vibe, either it wants to be dark or colorful. Just depending on how the music sounds. Molly, my sister in the band, she does all of the art. Her and I work really closely. She designs all the covers, and it's a whole big mountainous project. We talk a lot about how to tackle it and she really looks into the words and comes up with ideas born from the lyrics and says, ‘Hey Ryan, what do you think?’ I'm like, ‘Yeah, that's cool.’ Finally, you arrive at a certain place, animal, image or something.”

I didn’t know Molly did the whole art thing. What is it like working with your sister in the music industry?

Ryan: “I think it's weird. It's especially weird because if you had asked us when we were kids or even two years before the band started, if we thought we’d ever be in a band together, we would have said no. That's preposterous. It never made sense that Molly and I would be in a band together. So that's weird and remains likes that.

We often just still look at each other and look at this life that we've created for ourselves and laugh in disbelief. Beyond that, I think it can be really challenging working with your family. There's just a lot of old stuff that is always right there on the surface of the dynamic. You know, business is hard, and the music business is too. And so, we've definitely had many challenges along the way, challenges that were made more challenging because we're siblings. But on the flip side, there's just this bond. There's this foundation of love and loyalty that you can't break. So, we know in our hearts, no matter how hard it gets, we'll never leave each other because we're family. Maybe that's what's kept us together so long too. That could be true.”

You definitely have a strong bond with her. That’s lovely to hear. Now, how’s your relationship with the internet as of right now? Regarding fan interactions and feedback in general.

Ryan: “Right now, it's good because I deleted all my apps. So, I'm on a diet because I think the Internet and social media is making everybody unhappy. That's my opinion. It's a necessary tool to interact with your audience and there is beauty. There is love and connection. There is creativity that is being shared and that is a good thing.

But the question is: ‘Is that nugget of good big enough to combat all of the bad that goes along with the Internet and social media because there's a lot of bad?’ I think about this a lot. I think about it for myself and young people. And right now, I just must not look at that shit. I must delete my apps and focus on my heart, my creativity and living actual real life. So that's where I'm at. I know I can't do that forever because I have this job, and I have to connect with the fan base. And I love doing that because I love them. It's the way that we do it in these modern times.”

I agree with you right there. That leads me to ask you if you have ever done any kind of activism through your songs regarding these topics or any topic at all?

Ryan: “Not really. We don't write music in that way. I find whenever I sit down to try and write a song about something. Like, I'm going to write about world peace. Doesn't work. I'm going to write about human rights in whatever category. Doesn't work. Creativity for me doesn't work that way. It's like you can't think. You have to go to some other deeper abstract feeling place and get out of the way and let words and sounds come through. That's my process as a songwriter. And, you know, I've tried to write about something. It just never turns into a good song. At the end of the day, what you want are good songs.”

A really interesting songwriting process. It stays true to yourself. Talking about songs, when you are immersing in the making of them, do you consider how they are going to sound live?

Ryan: “I think that sometimes you write songs that are easy to play live or good to play live, but that's not why you should write a song. You're writing a song because you're trying to connect to the universe or to crack open the energy of love through song and creativity. How you feel about the world or how easy you want the song to be performed on stage or any of these earthly matters doesn't help being in creative flow state. So, no. I try not to care about whether it's going to be easy or hard on stage because the song doesn't care. If the song was a person, it would be so uninterested in the songwriter's opinions or their experience playing it live.”

I mostly ask the question of the impact of performing live and many artists agree with it. However, I find it unusual but captivating that you have a divergent opinion. To finish our interview, a fun question! If you could share the stage with anyone, dead or alive, who would you share it with?

Ryan: “Gosh. That is a tough question. I mean, alive, The Pixies. They're the biggest influence. There's still a chance, so I feel like if I choose them as my answer, then I could maybe help manifest it. Because it's possible as they're still going. That is my favorite band in the world, and I think that Mother Mother wouldn't sound like it does if they didn't exist.”

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