Adding wall art to your home lightens up your space while adding life and radiance to the area. However, initially, you may find it challenging to choose the right decor piece to decorate your wall.
While searching different markets and galleries for that perfect wall art that compliments your entire house, a Louis Vuitton art piece can be your ultimate choice. Understandably, you might be curious where you can buy an LV -themed wall art. This blog will tell you the answer and some other helpful information on why you should choose a Louis Vuitton artwork for your walls.
Louis Vuitton wall art
One can quickly get bored with the useless blank walls and rooms in their homes. You can opt for adding furniture to the latter, but this will consume too much space, still leaving a huge empty wall behind. Therefore, a single colossal art piece can add a sense of style and elegance to your entire room while filling up the bare wall.
Louis Vuitton-inspired wall art pieces are simple, minimal, and classy, available in various forms, designs, prints, and colors. They have an outstanding potential to match the house interior of any color or type while adding a stylish dimension to other adornments in the room.
Where do you find Louis Vuitton wall art?
If you are looking for a unique Louis Vuitton-inspired art piece for your wall decor, you can find it exclusively on Splash of Arts. These are a few platforms where you will find all varieties, types, designs, and colors of Louis Vuitton wall decor, which will suit your personality and style.
However, if you are on a budget, Splash of Arts is the place to find authentic and high-quality artwork at cost-effective prices.
How is Louis Vuitton wall art unique from other art pieces?
This artistic brand is one of its kind in the whole world. Whatever you buy from Louis Vuitton is bound to stand out from others. Similarly, having an LV-inspired art piece on your house wall will instantly make it unique and a focal point of attention for all your guests and visitors. There are uncountable design and color options to choose from, including other decor items such as mirrors, clocks, sculptures, etc.
Have you ever thought of hundreds of decor enthusiasts? How many would actually own a Louis Vuitton wall art? The latter should be enough to convince you why you should buy it and how quickly you will add yourself to the unique list as soon as you own an LV art piece.
Why Splash Of Arts?
Splash of Arts can be your ultimate choice for buying Louis Vuitton-inspired wall artworks, as it is a significant art hub where you can find countless and the most creative and classy art pieces at a highly affordable price. The gallery offers numerous options for interior decoration enthusiasts with all kinds of budgets, whether it is a customized order or an already-existing painting by a newbie artist.
Wrapping Up
The designs and patterns of the Louis Vuitton style of artwork have become so vast, filling the gap rapidly that you require to decorate your house walls. Not only will the wall look luxurious and expensive, but the entire room decor will also become classy and elegant with a single LV art piece.
Baltimore artist Julien Chang has shared a new song, ‘Time & Place’, taken from his upcoming sophomore album The Sale. It follows the lead single ‘Marmalade’, which came out last month. Check it out below, along with a live performance video shot at Purgatory in Brooklyn.
“In ‘Time and Place,’ things slow down,” Chang explained in a statement. “The most basic categories of experience in the title match the affecting simplicity of the acoustic guitar chords. As “time and place” are the heart of experience, the easy honesty of the acoustic guitar is the heart of this song’s beauty. A sad and beautiful song about a loved one quietly exiting your place. ‘Time and Place’ features an original string arrangement by Davey Copeland.”
It’s no secret that fashion and automobile trends often go hand in hand. In fact, many times, automakers will debut new car designs at major fashion shows. There are a number of reasons for this, but chief among them is the desire to create a “total experience” for consumers. By pairing automobiles with cutting-edge fashion, automakers can create an image for their brand that is aspirational and exciting.
It’s no secret that the world of fashion is always changing. Every year, new styles and trends emerge, and the industry is constantly evolving to keep up with the times. Investing in an extended car warranty is becoming more popular because of the technology and other factors that are going into car design.
Just like with clothing, the auto industry is always coming up with new designs and features to appeal to customers. In fact, many carmakers have even hired renowned fashion designers to help create concept cars that are truly one-of-a-kind. So next time you’re admiring a beautiful car on the street, remember that it might just have been influenced by the world of fashion.
1. Status Symbol
Automobiles are often seen as a status symbol, and as such, their designs are often inspired by high-end fashion. For example, many luxury cars feature sleek lines and an elegant aesthetic that is reminiscent of designer clothing.
2. Textiles
Have you ever wondered why luxury automobiles often incorporate premium materials such as leather and wood into their design? It turns out that there is a very close connection between the world of fashion and the world of cars.
Many of the same trends that appear on the runway can also be found in the auto industry. For example, designers will often use similar colors and textures when creating both a car interior and a piece of clothing. This helps to create a cohesive look that speaks of wealth and success.
In addition, car makers will often borrow specific design elements from high-end fashion brands. This gives their products an air of exclusivity and prestige. So next time you see a luxury car with a leather steering wheel or woodgrain dashboard, remember that it’s not just about the materials themselves – it’s also about the message that they convey.
3. Color
Another way that fashion influences automobile trends is through color. Every year, Pantone releases its Fashion Color Report, which includes a palette of colors that designers should consider using in their collections. Many times, these colors will make their way into the automotive world. For example, Pantone’s Color of the Year for 2020 is Classic Blue, which is a popular color choice for both fashion and automobiles.
4. Technology
Fashion also has an impact on automobile trends through the use of technology. Oftentimes, new automotive technologies are first debuted at major tech trade shows such as CES or the Detroit Auto Show. This is because automakers know that early adopters of new technology are often also interested in fashion and design. By debuting new automotive technologies at these shows, automakers can generate excitement and interest among consumers.
5. Pop culture
Fashion plays a role in automobile trends through the influence of pop culture. Automobiles are often featured prominently in movies, TV shows, and music videos. As a result, they can become closely associated with certain celebrities or pop culture icons. For example, the Cadillac Escalade has been featured in numerous rap songs and is often seen as a symbol of success and wealth.
6. Advertising
Another way that fashion influences automobiles is through advertising. Automakers often use fashion models and celebrities to sell their cars. They know that by aligning their products with people who are considered to be cool or fashionable, they can make their cars more desirable to consumers.
7. Personalization
Finally, fashion also plays a role in automobile trends through the trend of personalization. Consumers today want to express their individuality and style, and they often do this through the way they customize their cars. For example, many people choose to add aftermarket parts or accessories to their cars in order to make them unique. Others may have their cars painted or wrapped in a custom color or design.
As you can see, fashion has a big influence on automobile trends. From the colors and materials that are used to the way that cars are advertised, fashion plays a role in shaping the automotive world. So next time you’re looking at a new car, take a closer look at its design – you may be surprised to find that it has more in common with fashion than you thought.
Hot Chip’s last album, 2019’s A Bath Full of Ecstasy, was dance music to sink into. Although it barely deviated from the Hot Chip formula, it proved a rewarding listen by reveling in a soothing, immersive palette cooked up with help from external producers Philippe Zdar and Rodaidh McDonald that mirrored its larger-than-life concerns as much as it sneakily concealed them. Now 18 years into their career, Hot Chip have developed a reputation for being more reliable than quirky, which explains why it’s easy to dismiss just how immense and adventurous that record sounded. But its premise was more straightforward than its hyperbolic title suggested: it didn’t offer transcendence so much as a joyful respite from the darkness of the world. It should be worrying, then, that on their newest album, Freakout/Release, lead vocalist Alexis Taylor – on an album written and recorded in a creative space literally called Relax & Enjoy that his bandmate Al Doyle put together during the pandemic – sings: “Music used to be an escape/ Now I can’t escape it.”
Whatever collective feelings of frustration and discontent fuelled these songs, it’s clear that the group found a way to, well, release them. It’s a different lyric from the title track that’s more indicative of the band’s approach this time around: “I need an escape and some primitive healing.” Driven by a greater spirit of improvisation, Freakout/Release sees the group allowing themselves to get a little bit wilder and messier, as evidenced by the rumbling vocoder vocals and techno punk groove on the Soulwax-produced song. It’s refreshing to hear Hot Chip leaning back into their ridiculous side, but comforting that they do so without abandoning their unique pop sensibilities. Interpolating The Universal Togetherness Band’s ‘More Than Enough’, opener ‘Down’ feels both raw and infectious, a sudden but effective introduction to an album that has more fun being playful and direct than emulating its predecessor’s focus on consistency and precision.
Like that album, though, Freakout/Release is at its best when it marries catchy melodies and colourful production with an undercurrent of melancholy. ‘Eleanor’, the clear standout here, is a sunny, timeless jam whose chorus features lines like, “Even if you believe that there’s nothing more/ I feel heaven knocking at our door.” But it’s the strange combination of purple lyrics (“You’re like a river that will never stop”) and absurd references (“You’re like Andre the Giant/ On his way to school”) in the bridge that renders it quintessentially, delightfully Hot Chip. The similarly down-tempo ‘Time’, meanwhile, mixes the existential with the dorky: “Searching for a place where we can end this endless day… With my buddies close behind me we will ride this fearsome wave.” ‘Hard to Be Funky’, which is more somber than either of those tracks, is so cheeky and sincere it’s a wonder it didn’t turn into a complete embarrassment. (“Ain’t it hard to be flexi/ When you feel kind of clunky/ And your heart’s made of plexi,” the singer laments, before getting all cosmic and throwing in a Sun Ra Arkestra reference.)
The majority of songs on Freakout/Release are actually ballads, which might seem like a confusing decision, but one that, for the most part, Hot Chip get away with. The genuine emotion fed into them is undeniable, and their delivery rarely seems forced; it’s hard not to be touched by the tender harmonies and enveloping synths on a song like ‘Not Alone’. But the results are sometimes mixed: despite a similarly heartfelt vocal lead, ‘Broken’ comes off as pleasant but uncharacteristically generic, and ‘Miss the Bliss’ has little to offer. Unfortunately, the album starts to run out of ideas in the second half, which tends to drown out some of the group’s eccentricities. They do, however, try something new on the outwardly political ‘The Evil That Men Do’, which simply but elegantly expresses the need for cultural atonement, even if Cadence Weapon’s guest appearance could have added more depth than it does. After all this time, they’re still longing for the same thing: “We need a break from this kind of heartreak,” Taylor sings on ‘Not Alone’, his voice fragile but holding on to hope; shining through the noise and all-consuming thoughts, the music is more than capable of providing it.
Written and recorded during the sessions for 2018’s Beyondless, ‘Shake the Feeling’ was discarded for being “happy go lucky,” according to a press release. “We thought this one to be a little too ‘nice’ and well behaved at the time,” Elias Bender Rønnenfelt explained in a statement. “I didn’t want to learn the song, so I ended up improvising on the final take we did before abandoning it. In hindsight, I find the song to be completely sprawling with an impulsiveness difficult to capture on purpose. It has some of the guitar work I’m personally most proud of.”
Iceage released their most recent album, Seek Shelter, in 2021.
Shake the Feeling: Outtakes & Rarities 2015-2021 Cover Artwork:
Shake the Feeling: Outtakes & Rarities 2015-2021 Tracklist:
1. All The Junk On The Outskirts
2. Shake The Feeling
3. Sociopath Boogie
4. My Mule
5. I’ll Keep It With Mine
6. Balm of Gilead
7. Broken Hours
8. I’m Ready To Make A Baby
9. Namouche
10. Order Meets Demand
11. Lockdown Blues
12. Shelter Song (Acoustic)
Legendary soul singer Lee Fields has announced a new album titled Sentimental Fool. The follow-up to 2019’s It Rains Love comes out October 28 via Daptone, his first LP for the label. Check out the Andrew Anderson-directed video for its title track below, along with the album cover and tracklist.
Sentimental Fool was produced by Daptone Records founder Bosco Mann (aka Gabriel Roth). “I wanted to cut a different kind of record and really give Lee room to sing,” Mann explained in a statement. “We took our time and got painfully deep into every one of these tunes, stripping them down to pure feeling – no effort spared, no empty gestures remaining. Lee might be the greatest singer alive and I don’t think he’s ever sung better than on these sessions.”
“With Gabe’s efforts I feel like this album depicts me as the full character that I am. I’m all about emotions,” Fields added. “This album allowed me to show what I’m capable of doing. Not to say that my vocal ability goes beyond others, but I’m able to figure out the math to get the feeling you’re looking for. I’m not trying to outdo any singer, but I can interpret the feeling. I can make someone cry if I want to. It’s always the challenge of trying to make something deeper. On this record I go deeper than I’ve ever gone.”
Sentimental Fool Cover Artwork:
Sentimental Fool Tracklist:
1. Forever
2. I Should Have Let You Be
3. Sentimental Fool
4. Two Jobs
5. Just Give Me Your Time
6. Save Your Tears for Someone New
7. The Door
8. What Did I Do
9. Without A Heart
10. Ordinary Lives
11. Your Face Before My Eyes
12. Extraordinary Man
Field Guide, the project of Canadian songwriter Dylan MacDonald, has announced his self-titled second LP with a video for the new song ‘Leave You Lonely’. Field Guide arrives October 28 via Birthday Cake Records. Check out ‘Leave You Lonely’ below.
In a press release, MacDonald explained that the new track is “about devotion. It’s about fighting complacency. Having doubts is human, but swallowing those feelings can often lead us into a haze of disconnection. It’s rare to hold only one feeling at a time and I’ve been learning to embrace the myriad of emotions that come with being alive, and in love. This song represents a beautiful and imperfect love, the recording is the same — no editing, a one take (and sometimes out of tune) vocal.”
“Melody is what makes words fall out of my mouth, it’s disarming,” he added. “When I find a melody that represents my internal world, I drop my guard. I allow the words to appear out of thin air without judgement. A lot of these songs came to life that way. I wasn’t trying to make anything, but the songs became a home for words that I wasn’t yet ready to write on the page.”
MacDonald recorded Field Guide with Kris Ulrich in a woodstove-heated cabin near Riding Mountain National Park during one of the coldest Canadian winters on record. “Recording there was inspiring, there was something about that harsh environment, it felt significant,” MacDonald recalled. “Kris and I would record all day, and late into the evening and then play M. Ward’s Migration Stories on repeat while we cooked dinner, drank whiskey, and smoked.”
Field Guide’s last album was 2019’s Make Peace with That.
Field Guide Cover Artwork:
Field Guide Tracklist:
1. Leave You Lonely
2. Remember When
3. You Could Be Free
4. In Love Now
5. For Sure
6. Cracked Open
7. Worst Of Ways
8. Wishing Well
9. Goddess
10. You Carry Me
11. Looking Back
12. Tupperware (Reimagined)
Angel Olsen stopped by The Tonight Show Starring Jimmy Fallon last night (August 17) to perform ‘All the Good Times’ along with her touring band. Watch it below.
‘All the Good Times’ is taken from Olsen’s most recent album, Big Time, which arrived in June. The singer-songwriter, who is currently touring with Sharon Van Etten and Julien Baker as part of their co-headlining Wild Hearts Tour, previously performed the record’s title track on Jimmy Kimmel Live.
Father John Misty was the musical guest on last night’s episode of Jimmy Kimmel Live, where he performed his song ‘Buddy’s Rendezvous’. Watch it below.
‘Buddy’s Rendezvous’ appears on Father John Misty’s latest album, Chloë and the Next 20th Century, which came out in April. More recently, the singer-songwriter unveiled a video for the track, along with a cover of it by Lana Del Rey.
Hailing from Texas and now based in Brooklyn, Why Bonnie is the indie rock quintet led by Blair Howerton and joined by keyboardist Kendall Powell, guitarist Sam Houdek, bassist Chance Williams, and drummer Josh Malett. Around the early 2020 release of their Voice Box EP, the band spent two weeks at Tommy Reed’s Lazy Bones Studio in the small Texas town of Silsbee to record their debut full-length, 90 in November, which is out this Friday on Keeled Scales. Abandoning their bedroom pop roots and roughening the edges of their sound, the album blends ’90s indie rock and alt-country into a kind of modern, shoegaze-leaning Americana much like their contemporaries in Asheville’s Wednesday; it also showcases the unique dynamic the band has quickly grown into, anchoring in Howerton’s stark, poetic lyricism to deliver its punch.
Much of 90 in November is about looking back: on places unmarked by time but always slipping in and out of your memory’s grasp – the taste of the ocean and the face of the sunrise, aimless drives under the scorching sun – and relationships, too, that shape you long after they’ve run their course. Rather than stewing in nostalgia, the collection reflects the journey of self-realization that becomes possible, as Howerton puts it in ‘Sharp Turn’, in “the quietest of times.” Such is the meditative calm of closer ‘Superhero’, where the singer finally shifts perspective: “I can feel my heart setting a fire so big/ It’d burn the city in the blink of an eye/ When we’ve cleared away all of the rubble/ Above us there’s a clear blue sky.”
We caught up with Why Bonnie’s Blair Howerton for this edition of our Artist Spotlight interview series to talk about revisiting places she grew up in, the evolution of Why Bonnie, recording their debut album, and more.
‘Galveston’ was inspired by a city in Texas that you associate with your childhood and the experience of revisiting that place. When did you go back there, and what was it like?
So, Galveston was the beach city that I would go to growing up almost every weekend. It was only about an hour away from Houston, which is where I’m from, and it was always my family’s favourite getaway. We’d go there with family friends, spend the weekend. I have a lot of great childhood memories from Galveston. I really hadn’t been back there since I was at least in high school, until 2019. I went back for a weekend for my mom’s birthday, and I had this really weird feeling because I hadn’t been back to this place in so long. And I had changed so much in those years, but Galveston itself hadn’t at all. I was seeing all these same landmarks and restaurants and beaches that were all kind of snippets from my childhood, and they hadn’t changed one bit. So it was kind of disorienting at first, but then once I got into the rhythm of it, it felt really good to be back. That song is not only about that specific experience of going back to a place you hadn’t been in a long time, but also about reflecting on how you change over time, and how your relationship to people and places change with that. And how it’s not necessarily good or bad – it just is what it is, and it’s part of life.
There’s this line that you circle around, “When I try to remember it I can’t/ It’s slipping like quicksand,” which I feel like really encapsulates the kind of hazy nostalgia that permeates the album. Do you find that capturing these memories in a song is almost as evocative as going back to a certain place?
For me, writing music is my most natural, but also just the most magical way of communicating my experiences and my emotions. Things get lost in translation when you’re just relaying it through words, at least for me. And so, when it’s set to music, and there’s a purpose to this time that you’re giving to this one song, I think it communicates those experiences a little bit better. And I think it’s great that I can be writing about something so specific that has happened to me, but when a listener listens to it, that’ll elicit a completely different range of emotions or images. Everyone has their own relationship to a song and what it brings up for them, and I think that’s really beautiful.
What kind of music takes you back to your childhood?
A lot of the influences on the album are artists and bands that I listened to growing up. Things that my mom really liked, things like Sheryl Crow and the Lemonheads, which is still one of my favourite bands. Being from Houston, there’s a good amount of country in there. When it came to writing this album, I definitely wanted to keep it within that realm of music I had grown up with, sounds that felt nostalgic to me, because that is the theme of the album. I definitely had those bands in mind when writing this.
You started writing songs while you were in school in North Carolina, but you formed Why Bonnie after moving back to Texas. How did being there solidify your decision to pursue songwriting in a serious way?
I left school with a plan. I was going to move to Austin, I was going to start a band. I was going to pursue this dream that I had really let go to the wayside for a long time. For whatever reason – lack of competence or lack of experience, feeling like it was too late for me. I really felt like now is the only time I’m going to be able to actually make this dream a reality. And so, I did it. I went to Austin with the intention of forming a band. I had these songs already written, about an album’s worth of songs written. I was originally going under the name Ponyboy, formed the band, and we received a cease and desist from another artist called Ponyboy. So we changed it to Ponyboy and the Horse Girls, and then we ended up just changing the band name to Why Bonnie, I guess about a year into playing music under Ponyboy and the Horse Girls. And by the time we change it to Why Bonnie, the sound and general of the music I was writing at the time changed a lot. It used to be a lot more surfy, a little more twee. I loved artists like Dear Nora and the Softies, a lot of K Records bands from Olympia, that sound. I just wanted to do something different, and that’s kind of where Why Bonnie and our sound was born.
Does it feel strange looking back now, the way you came together and arrived at that sound?
Yeah, I think for a while, especially with this album – it sounds different than our other music. Our other music is a lot more shoegaze or just full-on rock, so I was a little nervous that I can’t write this music because it has a country twang to it or it’s not what are other stuff sounds like. And eventually, I abandoned that hesitation because I just wanted to write what was coming to me. And that was to sound a little more raw, a little more Americana. We recently had the review of “shoegazeicana,” which I really like.
I saw it in your Bandcamp bio, too.
Yeah, I like it. I don’t want to stay in one genre, honestly. I think music has so many different avenues you can go down and that’s always really exciting to me as an artist, that I don’t have to box myself into one genre.
I know you considered a few different locations to record the album. Why did Texas ultimately feel like the right place, despite most of the songs having been written in Brooklyn? Was it that emotional connection?
There’s definitely the emotional connection of a lot of the songs being influenced by Texas. And having this opportunity to go record at this really beautiful studio in a very small town in East Texas, where it was no distractions, quintessential Texas landscape, there were cow fields and trees – that really spoke to us. Not only that, but we loved the idea of working with Tommy Reed, who is our producer and runs Lazybones Audio where were recorded. He has worked with a lot of musicians that we love, like Lomelda and alexalone and Jodi. We had a really good time, and I think it was meant to be.
Do you have any fond memories from the recording process that you can share?
Yeah, we we did a lot of cooking together every night, which was really sweet. Since we’re in such a small town, and it was January 2021 so we’re in heavy lockdown mode, we did a lot of cooking. We’re all a bunch of foodies, so we bond over that. We also for fun would – do you know what a BB gun is?
I think so.
It’s a gun that shoots little plastic pellets. There was a BB gun out there, and we would shoot beer cans a lot in between takes. [laughs] It was fine, everyone was safe about it. What else… Just a lot of really quiet nights under the stars. We didn’t have any TV, we were just listening to music and spending time with each other. It was really nice.
To lean on that last part, I feel like the idea of finding comfort in stillness and solitude is reflected in the album, too. Was that something that you learned to embrace more during the pandemic, or was it something you already felt attuned to?
As most of the songs were written in the height of the pandemic in lockdown, I wasn’t able to go anywhere, I had no outward influences. I was really just left to my songs and myself, and it had been the first time in so long that I had a chance to sit and be still and be quiet with my thoughts. And I realized I hadn’t really emotionally gone through all of the experiences I had had in the years leading up to that moment. I was always on the go, looking for the next thing, looking forward to moving to New York. I was just moving at a very fast pace. And when you’re doing that, and you don’t take the time to be still, you don’t have time to process. So I think a lot of these songs were me processing the past in this very rare moment of stillness. I think it’s really cool that we were able to find that stillness in Silsbee when we were recording as well, because I think that it comes out in the music, that idea of coming to terms with your past in the present moment – not running away from it, just sitting with it and accepting it for what it is.
On the title track, you sing, “Lonely times are louder in the Lone Star State.” What does that mean to you? How can loneliness be loud in your mind?
I think that line specifically is referring to not only the physical reality of it being, I grew up right next to a highway in Houston. It wasn’t a very quiet place, and that’s sounds that I think of when I think of my childhood home and growing up. But also, being young and just having a lot of chatter in my own head, not having the tools or the experience to quiet down my inner thoughts, my inner world. It’s just something I remember very specifically about being a teenager or a younger person. It’s kind of referring to younger years and dealing with that inner monologue.
That loudness maybe doesn’t go away as you grow up, but you’re trying to make it less lonely.
Yeah. Trying to ease the chatter down to a friendly conversation. [laughs]
I think it’s interesting that the record ends with ‘Lot’s Wife’ and ‘Superhero’, which from I understand were the first and last songs to be written for the album. They also compliment each other thematically, one reflecting on the dangers of constantly looking back, and the other being anchored in the present moment. Was there a specific intention behind closing out the album with those tracks, instead of, like, opening with one and ending with the other?
I love that you caught that. I think ‘Lot’s Wife’ is definitely one of the most nostalgically charged songs because it is very outrightly about looking back. There’s a line in it referring to Lot’s wife, who is a character in the Bible, who looks back at their hometown that they’re fleeing and she turns to a pillar of salt. And I always thought that that imagery was so poetic and beautiful, so I wanted to incorporate it into the song and kind of built the song around that imagery. Also, sonically, I like the idea of having the second to last song being this big eruption of emotion, and then having the last one be like a quiet landing to ease yourself out of the album.
‘Superhero’ is probably the one song that is more about the present moment, and even looking forward to the future. It’s a love song, and I wrote it literally the day before we jumped into the studio. I didn’t even know if it was going to be on the album. We had finished recording for the day, we’re just hanging out in the studio. And I was like, “I have a song, I really just want to mess around, see what happens.” So I got in there, just playing it live, and Sam jumped in on the guitar, which he’s playing with a violin bow, which is really cool. It all just kind of came together very naturally. And very much in the moment, which I think goes along with the theme of the song, which is being thankful for present love that you’re experiencing and also being hopeful for what comes next. I wanted to leave the album on a hopeful note.
Was it in any way thrilling or new for you to step into that mode of songwriting, where you’re not necessarily so much reflecting back on the past but trying to look around you in the present? Is that something you’re finding yourself more and more inspired by, now that you have some distance from these songs?
Great question. I think that this album was not an ending to my personal, like, diving into my past or being nostalgic, but I definitely feel lighter after having written it. And I think it coming out and people being able to listen to it is going to be a really cool experience. I am really excited for the next thing. I don’t know exactly what all of my songwriting will be about in the future, but your past, your present, and your future are all very much kind of one in the end; it’s all what makes you, you. So, probably won’t stop writing about all those things.
What do you love most about being in Why Bonnie?
I couldn’t have asked for a better group of people to be playing music with, honestly. We just vibe really well, and we make each other laugh. Which I think is really important to all of us, because being in a band is not easy. There are a lot of moving parts all the time and you want everyone to feel respected and want everyone to feel taken care of and like they’re having fun. It’s just been it’s been one hell of a ride, and I’m excited to do it with these people because each of them are special and wonderful artists in their own right and bring their own sound and flair to the music. I think that’s really special.
This interview has been edited and condensed for clarity and length.
