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Discover Singer-Songwriter Paula DeFrancis

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Paula DeFrancis / Photo courtesy of Paula

Singer-songwriter Paula DeFrancis began her extensive musical journey by learning to play the flute at 8 years old, followed by guitar and then the piano. Later, in high school, she began writing her own music. She was formally trained in classical singing but her goal was to become a music educator, not a professional singer.  Paula would go on to perform and study a variety of instruments and genres of music all over the world including throughout the US, Canada, and Ghana – West Africa.

During her freshman year in college, she began to perform her own songs at Washington DC area events and coffee shops. While in college, Paula toured the northeastern United States with the VCU Commonwealth Singers, culminating in performing with the Philharmonic Symphony Orchestra in Montreal, Canada. 

Born and raised in Arlington, Virginia, Paula wanted an adventure, to serve others, and test her limits after she received her Bachelor of Music in Music Education from Virginia Commonwealth University’s nationally renowned School of the Arts. This decision would lead her to Atlanta, Georgia where she would serve in the AmeriCorps. During her time of service, Paula received training as a certified West African therapeutic drumming instructor.

After the AmeriCorps, she went on to teach music in the northern Virginia area school system, but after spending more time in Atlanta and fulfilling her dream of traveling with an extended tour through Europe, she landed back in Washington, DC. Paula would go on to connect with other musicians, pursue her projects, and build a large music clientele in the area. She currently offers lessons in voice, flute, guitar, and djembe (West African drum).

In 2018, Paula released her debut single, “Channel Home”, a deeply personal song which she wants listeners to interpret for themselves.  She is currently working on the early songwriting stages of a full EP as well as other projects for 2019.

Recently, I interviewed Paula in-depth via email about her debut single, West African therapeutic drumming, training in classical singing, performing all over the world, music teaching, and much more.

Can you guess what Paula’s superpower is? Check out her video after the interview for her answer!

Congratulations on your debut single release, “Channel Home”. What is the concept/theme of the song? What inspired you to write it?

Thank you – it has been an exciting time!

This was a deeply personal song for me to write and express. I want my listeners to be able to interpret “Channel Home” in their own way, but I will say the song is about a rare feeling, one of deep familiarity, from deep within your gut.

While these moments are fleeting in our lives – we’re lucky if we catch a glimpse – so many of us are desperately longing to feel truly at home, to be seen, to be fully understood. After about six years of not ever truly finishing any of my original songs, I wrote this within a week after having an experience that left me a bit shaken – I was reminded of the kind of life I want to live and the kind of person I want to be, and already am.

What do you want listeners to take away from “Channel Home”?

Don’t ignore people, places, or experiences that align with the values that are most important to you. This is rare and beautiful and you deserve to live an intentional life that feels right for you. Be grateful for those moments as they are, sometimes they are fleeting, and that’s okay. Life is messy.

Explain your production process.

Almost as soon as I finished writing the song, I sent it to my friend Jeremy Barr, who works as a sound engineer out in Los Angeles, and owns his own production company, Oddly Enough Productions LLC. He told me he loved it and he’d be happy to do all the mixing and mastering with his equipment. He was so supportive and even helped me when it came to marketing and releasing the single in August of 2018.

I recorded the vocals and piano separately at a friend’s home studio right outside of Washington, DC. I was able to record the piano accompaniment in one take, after some practice, and about ninety percent of the vocals are from the same take as well. I would say it’s a pretty raw/stripped recording, and I am so grateful for my friend Ahmad (also known as super talented hip-hop artist Silo Mentality) who was super patient with me, and when it came to getting me ready to hit those high notes at the end, he was an awesome cheerleader.

You have a formal background in classical singing. How has this influenced the vocal style of your music?  What are the advantages/disadvantages of taking classical voice lessons?

This is a great question! My classical training prepared me to be highly aware of the healthy and unhealthy ways to sing. Many singers go on to lose their singing voices later in life, get “nodes”, or face other consequences for not singing in a healthy way, and that is a major advantage of taking classical voice lessons. True classical singing is a sustainable way to perform that will not lead to those same consequences.

Formal lessons will teach you poise, healthy and supportive breathing, and train your musical ear to help you hear when you’re off and overall make you a far better musician.

I would say that if my classical background affects my current style of music, it is only subconsciously. As far as my vocal tone, though, I would say the clarity and intonation of my voice are far better after having such intensive training.

Why did you decide not to pursue a musical career as a classical singer?

When I went to music school, I always planned on becoming a Music Educator and not a performer. Singing art songs and opera as a soloist or on stage was always a joy for me, but I was not as passionate about that kind of music as I am about other genres like jazz/singer-songwriter. I admire and support all of my friends who have gone on to perform in opera houses around the country and the world. It is an intensely competitive profession and takes a lot of courage and passion to embrace.

You have performed and studied a variety of instruments and genres of music all over the world including throughout the US, Canada, and Ghana – West Africa.  Tell us more about that experience. What instruments did you play and what genres of music? What were some favorite moments/memories?

While I was a member of the VCU Commonwealth Singers under the incredible direction of the late Rebecca Tyree, we toured up the northeast of the United States in a coach bus, performing at churches and schools along the way. Our final destination was Montreal, Canada, where we performed with the Philharmonic Symphony Orchestra, which was an honor. Touring on a bus with around forty college kids – there was never a dull moment.

While I was in Ghana, I studied West African drumming, dancing, and singing, and that was a life changing experience for me.

The people in Ghana are so warm and friendly, and music is valued by everyone as an important and respected part of the culture. This inspired me to continue to study West African drumming during my AmeriCorps service in Atlanta, Georgia, and we performed around that region of the United States during our training.

After graduating with a music degree from college, you went on to Atlanta, Georgia to serve in the AmeriCorps where you received certification in West African therapeutic drumming.  Explain what AmeriCorps is, why you decided to join, and how it ties in with your musical path.

The AmeriCorps is a national service organization, like the PeaceCorps, but AmeriCorps service members only serve within US borders. They cover a range of services like education, community building, agriculture, and natural disasters.

I decided to join because I wanted an adventure, I wanted to serve others that needed me, and I wanted to test my limits.

I served as a life-skills tutor to troubled youth at a psychiatric residential treatment facility, which offers alternative therapies to their members, like West African Therapeutic Drumming.

I have always been captivated by all kinds of world music, and with my background in West African drumming from Ghana, I was really interested in cultivating those skills. The program offered free training to their AmeriCorps service members, and that’s why I chose the program. I also was able to teach after-school music programs to the kids there, in a range of genres, and I even led my AmeriCorps team in a rendition of “Somebody I Used to Know” using only boomwhackers.

Tell us about your extended tour through Europe you embarked on before settling in Washington, D.C. 

After saving up some money from my year of full-time music teaching in Fairfax County Public Schools, I was ready to fulfill some of my dreams of travel. A friend and I spent two months living in Spain, to work on our Spanish skills, experience the music, the food, the culture, and then about two weeks each in Sweden and Italy. I have extended family in Italy and had been fantasizing about visiting since I was a little girl. We also were able to briefly visit Morocco and Portugal. I am very privileged to have been able to have that experience, the world is a beautiful place and I love to meet people that come from different cultures and backgrounds and really immerse myself in a different way of living. It’s good for the soul to get some perspective.

You have an extraordinary musical background from training to your current career as a music teacher offering voice, piano, flute, guitar, and djembe (West African drums) lessons. Why have you decided to pursue a solo artist career?

I like my freedom, which is a gift and a curse. Managing my own clientele and supporting my solo music projects can be stressful, but I have a vision, and it is so empowering to be able to make that a reality.

In regards to the piano, flute, guitar, and djembe, what was it about each one that drew your interest in playing them?

The first instrument I played was the flute when I was about eight years old. Simply put, I was a girly-girl back then, and I thought it looked and sounded pretty! The guitar was next, my Dad always played guitar, and it was great to be able to accompany myself. Piano became a necessity as I decided to pursue music school, and later on became a joy as my skills were honed and I was able to write my own music. Djembe was just incredibly fun – and

I have a knack for percussion, which is a weird combo with classical singing, but hey, that’s me.

What is your songwriting process? Where do you get your ideas from for your songs?

All over the place! I sing to myself all the time, sometimes at the top of my lungs when I’m home alone, and that’s usually where I get my ideas. I’m a feeler, and I usually get my inspiration from people, pain, love, and going after my non-musical dreams in life has been a huge catalyst for my music.

How do you manage/balance being both a professional musician and music teacher?

My music teaching is a constant, and my professional music projects are on the side, as I am able. I have so much fun writing music, collaborating with other artists, that it’s a welcome activity that keeps me from worrying about the day-to-day struggles of life. I’m multi-passionate, and my brain has always worked this way, I actually tend to do best when I have multiple projects going on and am making things happen.

What musical projects did you “give fire to” when you landed back in DC?  What was the similar vision you had with the musicians you connected with?

My first project was preparing a jazz/bossa nova set with a good friend of mine, Said Tinat. He is an incredible musician, and he has been my mentor ever since. We rehearsed together and performed at an Open House. Said loves music with complex chord structures and lyrics with meaning and integrity. That, I connected with.

Another simultaneous project was with my friends Jeremy Barr and Silo Mentality, recording an Intro song called “New Day” for Fousey Tube on YouTube.

They had never heard me sing before, and they wanted me to basically give it everything I got, which was an amazing feeling, and I had never shown that side of my voice to anyone before!

They booked me to be featured on Silo Mentality’s EP “Isolated from Chatter Above” a few months later. Silo Mentality’s sound has soul, and that gave me a chance to really explore that side of my music, which I have always leaned towards, but not as a performer until then.

How do you think women can be better supported in indie music?

When you see or hear a female artist whose music you like, buy their music! Buy their merch, or book tickets to see them again. If you don’t have the money, share their posts, post a comment, watch their videos, and spread the word! Share your thoughts with them, share your encouragement. All artists have their own process and way of being, and it is important not to put further pressure on artists to be performing, writing, or creating a certain way. 

It may seem like an artist is flourishing and relishing in their success, but sometimes a short message about how their music has impacted you can go a long way.

What advice would you give to women thinking about or actively pursuing a music career?

If you’re writing, don’t wait for things to feel just “perfect” before sharing it with the world. It will probably never feel perfect, and if you keep waiting, it will never happen. Meanwhile, you’re keeping your incredible gifts from the world. Do it for yourself, not for others, you’ll make mistakes, and you’ll get better. People can be cruel, but those people’s opinions don’t matter.

You’re creating music for yourself and for the tribe of people who will feel a deep connection with your music. That’s your audience.

What are your tour or show plans for 2019?

None at the moment, follow me on IG: pauladefrancis for more music and music-related news and updates!

What other projects are you working on for 2019?

I am currently in the basement/early writing stages of creating a full EP, so stay tuned for more in the coming months!

Thank you, Paula, for the opportunity to interview you!
VIDEO: BONUS QUESTION – What is your superpower and how do you use it in your music?

 

Follow Paula on social media:

Instagram: pauladefrancis

Spotify Artist Page: Paula DeFrancis

YouTube: Paula DeFrancis

“Channel Home” is available for purchase here: iTunes and Amazon

Discover Singer-Songwriter Notelle

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Notelle / Photo Courtesy of

Singer-songwriter Notelle has stepped out into her own spotlight as a solo artist after working behind the scenes as an independent featured vocalist and topliner.  Since 2014, she has collaborated with DJs and producers worldwide, signed tracks to 10+ labels, and had 16 features. The Nashville-based singer has accumulated over 1.85 million streams on Spotify and 1.75 million on YouTube and 3+ million streams across all platforms. 

Notelle felt it was time to have the freedom to explore her untapped creativity in production and her hard work has paid off in spades. She won 2018’s Hollywood Songwriting Contest and was a finalist at New Media Film Festival, American Songwriting Awards, and the ASCAP Writers Night Competition Series. 

She defines her solo artistry as “heavy, messy pop” and is finding her voice with the help of producer Timothy Ryssemus of Altru Creative. Notelle drives her appreciation for the beauty of dark and painful things into her music with vocals and lyrics that penetrate deeply.  In December 2018, Notelle released her debut single, “Power”, which is a compelling and gripping revelation on what it feels like “to fall in love with fire.”  

Currently, Notelle will be playing a few shows coming up in January and February in Nashville as well as some local shows. It will be a busy 2019 for Notelle with four singles, a lot of feature vocalist and co-written topline tracks, and DJ collaborations all planned to come out this year.  

I interviewed Notelle via email recently about her debut single, collaborations, work as a featured vocalist and topliner, songwriting awards, production process, and much more.

Can you guess Notelle’s superpower? Check out her video after the interview for her answer to our bonus question!

Congratulations on the release of your debut single, “Power.”  The song is a “hard-hitting, thought-provoking expose on what it feels like “to fall in love with fire.” Can you expound on that?

Thank you so much! Of course, yeah. I’ve always been minorly obsessed with fire, how sultry it can be, the strength, the danger, the attraction, the pain it can induce – all of it. Some of us fall in love with people who hold that kind of power. It becomes consuming and passionate, and almost always in a bad way. It’s a scary place to be, you know? You’re vulnerable and then you look up and find that somehow someone else borderline controls you. Yet, you’re willing to tolerate the fire-like consumption because it’s all you want. That other horribly manipulative, powerful person is all that you want. The fire thing – it’s not a particularly unique metaphor, but it’s an accurate description of how I felt, how most people feel when they’re deep and dark in love like that.

What do you want the listener of “Power” to come away with?

Uh, two things I guess! One, I want them to get a sense of my sound and my vibe/ brand, or whatever they want to call it –  just get a sense of who I am. It’s my first true solo release with a campaign, and I wanted to make some type of mark. I want them to know my work will be a little bit darker, either in the sound design or in the subject matter.

I tend to explore heavier messages and heavier production because we all have darkness in us, and it needs a place to go or otherwise we’ll all go crazy.

The second thing is that I want my listeners to feel something with “Power”, to listen to the song and feel the disconnect between the provocative, sexual undertones matched with emotionally devastating aspects. Specifically, to everyone who listens to it and immediately relates – just know that at least one other person in the world understands the complexity of it – so you’re not alone in that.

Explain your production process.

Each of the songs I’ve worked on with my main producer, Timothy Ryssemus of Altru Creative, has had a different process. “Power” wasn’t the most straightforward. I believe I brought in the chords and the verses, and we went off of that. Laid down the progression, and then followed our ears from that point forward. We wrote and rewrote the chorus two or three times because the original direction wasn’t working. I guess it didn’t have the impact we were looking for. We ended up settling on a combination of the first couple of versions. All I know is that he nailed it, and when I perform it live with his tracks, it feels really really good.

Why did you work behind the scenes as an independent featured vocalist and topliner? What did you gain from the experience?

I’m not one for attention or performing. It’s something I’m having to get used to, honestly. I’ve always loved co-writing and the collaboration. It really teaches you to look at each song objectively.

Writing for and with others has forced me to flex the writing muscle – to not be Notelle the “artist” but be Notelle the “writer”,

 if that makes sense. Like Sia, a huge idol of mine. She has her personal work and she co-writes for others constantly. You can hear her sound woven in and out of her co-written songs, but she has a whole other part of her that’s truly her artist side. So learning to do what’s best for the other artists’ goals, or how to match the production, or how to deliver what the audience wants without undercutting what makes my writing me – that’s a hard balance and I learn more every time I collab. It’s always a challenge, but I really enjoy it.

Building on the previous question, why have you decided to become a solo artist?

Uhh, honestly, I just really wanted the freedom to do whatever I wanted to do with a song. I love the toplining work, but sometimes I felt like there was an untapped well of creativity in me. I wanted to explore more in the production. As a featured vocalist or topliner, you really don’t participate in that aspect of the track, and that provides its own unique opportunities, but still, I wanted more.

I’ve continued doing the collaborative stuff, because I don’t always want to be crying over my piano, alone, writing in the dark, cause that gets old as well, so it’s nice to have that balance.

 Surprisingly, the solo stuff, which has had significantly less traction compared my other featured releases, has opened up a bunch of cool doors. I would have done it a lot sooner had I known it would have had that type of impact.

You say you are developing your version of “heavy, messy pop”. Define what that is to you.

To be frank, I’m a mess. Don’t look in my car or my closet, or open up the “Sort Me” file on my desktop. I’m disorganized and emotional, I keep it to myself really, but it’s all up in my brain still. I’m the human equivalent of shoving everything under my bed till I have time to clean it up – which is hilarious because most people think I’m on top of my game. I’m not. “Heavy, messy pop” is really just how I feel when I’m writing. Feelings are difficult to sort through, and a lot of them are too heavy to deal with on my own, so I really just dump all mine out in my songs and hope that helps me figure it out. Consider each song one of those long rambling monologues in a play where the speaker works out his opinions in one breath by himself in front of the audience who helped him sort it all out without participating in the slightest – really just helping by listening. You know? Kind of like what I just did.

You have collaborated with DJs and producers around the world. Who did you collaborate with? How did those experiences influence or affect you as a singer/songwriter?

I’ve come across several collaborators that have given me some really amazing experiences. Jody Wisternoff of Way Out West with Anjunadeep gave me the opportunity to see one of my songs played live at a music festival on my birthday. That was wild!  Elliot Berger (Telomic) was the first international DJ I met in person when I flew over to London. He’s become a great collaborator and, dare I say, friend, at this point.

I think my collaborators have less influenced me and my own sound, but have helped me become a stronger collaborator and business women. Each DJ is essentially an entrepreneur and I’ve learned a lot about work ethic, creative marketing strategies and overall hustle from each one. 

How did it feel to have won the 2018 Hollywood Songwriting Contest and been a finalist at the New Media Film Festival, the American Songwriting Awards, and the ASCAP Writers Night Competition?

I don’t know how I won those things, honestly, but I’m not gunna push for a recount. I think the coolest thing about winning competitions or receiving awards is the validation – a little shallow, maybe – and I know those titles or accreditations technically do not make my work more creative or more powerful than anyone else’s – but every single musician faces rejection daily. We hear the word “no” a hell of a lot more than we hear the word “yes”. Eventually, your self-motivation tank runs depressingly low, so having someone from the outside go, “Hey you! By the way, you’re not completely awful at your job, in fact, here’s an award to tell you we believe in you!” – sometimes that encouragement really helps. Anyone who says they don’t struggle with rejection is probably lying to your face. We all feel like we suck at some point, musician or not, so who doesn’t want someone cheering you on from time to time.

What made you decide you wanted to become a singer/songwriter?

Oh lord, I wish it was a decision! Maybe then, I would have decided to be an accountant like half the insanely smart and wonderful people in my family. I’d have a retirement plan, health benefits, some semblance of savings account. I don’t really feel like I ever made a choice to become a singer/songwriter, I feel like what happened was that I chose not to avoid it any longer. I think every artist I know just has it in their DNA.

They live with this creative monster inside of them, and it feels like you’re going to die if you don’t let it out. I didn’t choose to let the monster in, I just chose to let it out.

In what way has producer Timothy Ryssemus of Altru Creative helped you find your voice?

Tim is one of those producers where he encourages his artists to take control. Some producers I’ve worked with have so many opinions and it’s stifling. He has an innate ability to push you when pushing is necessary, to step back when you need to step up and he knows when to let you know you’re being a control freak and are not trusting him to do his job. That last one is probably more specific to me cause I’m occasionally an obsessive perfectionist. Ultimately, I chose him because I knew he was cool with doing something weird. There’s no idea that’s too unorthodox for him. You want to write a folk song with a bass house drop in it? Yeah, he’s down. You want the third chorus to sound nothing like the first two? For sure, he’ll give that a try. He’s a unique and talented weirdo, and people like that are super inspiring. Those are my favorite kind of collaborators.

Why do you appreciate “the beauty of all things dark and painful” and incorporate this feeling into your music?

Oh man, I have no idea why I’m so attracted to the macabre, but I’ve always loved movie scores – Thomas Newman, Hans Zimmer – so I know I’m deeply moved by things emotional and cinematic. Things so dark and beautiful that they pull at your soul. I guess that’s the point of a movie score, though, to support the emotion in the scene. It can just be so ridiculously powerful. I think my interest in the creepy painful stuff really stems from the fact that I’m a light-hearted person in day to day life. I prefer laughter, but that doesn’t mean that everything is bright and shiny inside of me. My family is like that, too, and I think my life long love affair with dark things is the equal and opposite pairing to that. It probably gives me a healthy outlet for digging into the unhappy pieces of me. I like to explore the dark because I am, on the surface, genuinely light. I am, on the surface, genuinely light, because I have the ability to explore the dark. You know what I mean? I’m not sure if that makes sense, but it’s my only guess at an explanation.

How do you think women can be better supported in the indie music industry?

I think the music industry can be a bit binary sometimes. There’s for sure an undercurrent of thinking that some roles are better played by men, while others are better suited for women, and I think that’s ludicrous across the board. There is no reason for women OR men to feel obligated to fill a certain role or be deterred from another just because of their gender. I don’t think there’s any secret to supporting another human. I mean, generally, just don’t be a judgemental prick. Show up to shows and events with friendly faces, reach out in person or on socials with encouraging words, be a decent human being. The women who are stepping out in pursuits of more male-dominated positions probably feel a little intimidated. I mean, don’t we all feel a little intimidated, sometimes?

Everything about life can be difficult, most definitely in the music industry. Knowing there’s a group of other brave, like-minded chicks behind you, cheering you on, makes it a little less daunting.

What advice do you have for women who are actively or thinking about pursuing a career in music?

I feel relatively unqualified to give advice, but if I had to – it would be this. Stay humble. I mean, everything you’ve done, you didn’t do it all on your own. There is always someone to genuinely thank and be appreciative of – so do it. My other piece of advice? If you’re the smartest, most talented person at the table, find yourself a different table because you’re never gunna grow surrounded by people who don’t challenge you.

Last piece? You got this.

Hit me up on Instagram if you need a pep talk – I rely on people for encouragement all the time so if you need a little, I’m down to pay that support forward.

What are your tour/show plans for 2019?

I already have two or three Nashville shows booked in January and February. For the most part next year, unless opportunities come up to change it, I’ll most likely be focusing on local shows. Since performing live solo is a new thing for me, I want to really work on that before I tour. However, I’m not saying “no” to anything.

What other projects besides your second single are you working on for 2019?

I should have at least four more singles coming out next year, so I’m excited to keep pushing those. Other than that, I’ve been collaborating with a bunch of new amazing local artists. I have a lot of feature vocalist or co-written topline tracks coming out. I get to work with one of my best friends and frequent co-writer, Brittany Cannarozzi, or Luma, and we have some great collaborations with DJs coming out next year. She’s insanely talented so check her out – @hernameisluma. Everything I’m involved in, I try and share it on my socials, so be sure to follow me (@notellemusic across platforms).

Thank you, Notelle, for the opportunity to interview you.

No, thank you! This was amazing. I appreciate it!

Video – Bonus Question  

Notelle, what is your superpower and how do you use it in your music?

 

Follow Notelle on social media:

Twitter: @notellemusic

Instagram:@notellemusic

Facebook: notellemusic

Website: www.notellemusic.com

You can purchase and/or stream “Power” HERE.

 

Official video – “Power”

 

Discover Singer/Songwriter Kara Connolly

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Kara Connolly / Photo courtesy of Kara

Singer-Songwriter Kara Connolly writes songs to make a difference in young women’s lives. She was inspired to do so after being tired of hearing songs on the radio that degraded and undervalued women. Her goal is to empower and connect with the next generation of young women, inspire them to recognize their own self-worth, and reject the treatment of her generation and past generations.

Kara began her musical journey singing Shania Twain’s “Man…I Feel Like A Woman” on a summer cruise ship talent show at the age of six. This experience led Kara to write fully-fledged relationship songs at a time when her stuffed animal ‘Doodle Bear’ was the only man in her life.

She had seen songwriting as a hobby and went off to study Theatre at USC, serious about becoming an actress.  She had been gifted a guitar in her senior year and even though she was still focused on acting, she would stay up late to write songs. After college graduation, she discovered through writing and recording with a friend that music was fulfilling and she felt drawn to it after being offered opportunities to audition and play gigs.

Kara would sell out the iconic Hotel Cafe in Hollywood (this past July) before she ever released a single song. A talented and prolific songwriter, she would go on to have a succession of single releases beginning with her debut song, “Life in Rearview” in July 2018. Since then, she has followed up her single “Nice Guy” (August 2018) with two more singles, “Abuser” (October 2018) and most recently, a cover of The All-American Reject’s “Swing Swing” (October 2018).

Her forthcoming full-length debut album, Life In Rearview, is slated to drop in early 2019.  In addition, Kara is working on many different projects for next year.

I interviewed Kara via email about her “Nice Guy” single and lyric video (around the time of their release), her upcoming album, her musical journey, the memorable experiences from her West Coast tour, and much more.

Do you know what Kara’s superpower is? Watch her video at the end of the interview for the answer!

Congratulations on your latest single, “Nice Guy”. What is the theme or concept behind the song? What inspired it?

Thank you! I wrote “Nice Guy” as an acknowledgment of self-worth. As a reminder to myself and to my friends to never settle for less than the love and respect we deserve. I wrote it at a time when a lot of my friends were waiting around for guys who never called or who left things open-ended, wondering what they did wrong and thinking things would be different the next time he reached out (like clockwork). Repeat the cycle. Then there were the songs on the radio. Girls singing things like, “It’s fine if you don’t call me tomorrow, just tell me you will tonight,” and me thinking, “If you tell me you’re going to call me tomorrow, you better freaking call me tomorrow!” The song was born out of these experiences, and others, compounded.

My goal was to create something fun and honest that you could sing to, with hopes that after a second listen you may realize you’re singing something empowering

. Or maybe you never realize it. Maybe it’s just a song to sing along to in the car with your best friends. And that’s great too. But my hope is that the message subconsciously seeps in one way or another. That it can encourage men to embrace their true selves in a society that rewards hyper-masculinity and, for everyone, when faced with the choice, to pick a partner who shows them unconditional love and respect.

What made you decide on a lyric video for “Nice Guy”? Did you come up with the design for it? What was the process?

Truthfully, I decided on a lyric video because I had just created a music video for “Life in Rear View” and was feeling a bit burnt out, but still wanted to give everyone something visual. I really threw myself into the filmmaking process for “Life in Rear View,” learned many lessons along the way, and was feeling inspired to do something different. That said, “Nice Guy” has always been an incredibly colorful song in my mind and, truthfully, I’m proud of the lyrics in that song – how they simultaneously convey something fun and also, hopefully, important. My boyfriend, Jack Litchfield, is a true “Nice Guy” in every sense of the word and spent probably about 100 hours designing that lyric video. I told him that I wanted something colorful, that I wanted the red convertible to make a reappearance as a through-line and made a few nit-picky fixes here and there, but truly I give him 99.9% of the credit on this one. He is so skilled and such a hard worker. I still see little things that break, move, or change to the beat that I didn’t notice when I last watched the video. 

Your debut single from earlier this summer was “Life in Rear View” and is the same name of your forthcoming full-length album. What is the concept of your album? What do you want listeners to experience? 

I chose the title, “Life in Rear View,” because the song is about having a hard time letting go and feeling stuck in the rearview mirror as life passes you by, but eventually jumping in the driver’s seat and moving forward. All of the songs on this record were written by me and are about my life over the past few years, so the title felt fitting.

The album is essentially a journey from breakdown to breakthrough, made possible by taking strides in discovering my self-worth along the way and letting go of what no longer served me.

I would love to encourage others to jump in the driver’s seat of their own lives, let go of what no longer serves them, embrace vulnerability, self-worth, friendship, and to never settle for less than the love and respect that they deserve. It’s a process. I’m still learning how to let go and leave the past behind me, in the rearview mirror, to occasionally glance back on (or write a song about).

On your “Life in Rear View” video you give a special thanks “to everyone who sent in items and/or letters to be burned in this video representing either something or someone that no longer serves them”.  Can you tell us more about this?

Yes, the “exes” items and letters I burn at the end of the video were all sent in from actual fans, friends, and family members relating to letting go of something or someone that no longer serves them. We wanted there to be a communal aspect of the video. The burning sequence was never intended to be a vengeful act. In certain spiritual traditions, burning rituals are believed to aid in the release and healing of the past; they represent letting go of all attachment and leaving space for what’s new – freedom. I thought, perhaps, we could all find a bit of that freedom together. I love to get others involved in what I’m doing, whenever possible. It makes the whole experience more special for me, and hopefully for them as well.

The “Life in Rear View” video was shot using Aerial Drone Cinematography. Can you explain more about that process and how that idea came about? What was the experience like while filming?

I think that, essentially, we wanted to showcase the expansive nature of being out in the middle of nowhere—both in the isolating sense and also in a freeing sort of manner. We were hoping that filming the location from that aerial lens would help portray that it was just me and that box of stuff in this wide open desert and that this was an internal, personal journey.  

It was incredibly cool to watch the drone footage on set. Truthfully, it was a lot of driving back and forth down a desert road in a clunky, retro Buick—letting cars pass and learning how to turn and get such an old car to speed up or slow down. The white dress footage was caught just in the nick of time, right before sundown. Watching back the drone footage when filming made everything feel surreal to me.

Explain your production process.

Bill Lefler produced my album at his studio called “Death Star Studios” in Los Angeles (near Larchmont Village and Koreatown). Basically, I had written roughly 80 songs prior to the recording of this album. I sent Bill 38 of those and he narrowed it down to 15 or so of his favorites. There were 5 or 6 that were definite, but the rest were mostly just selected depending upon what I was leaning towards each day in the studio. We recorded the album over the course of 2 months (apart from one or two tracks that we were testing and working on prior to starting a project together).

I had sent Bill a list of tracks that I wanted my record to be “in the style of.” I can’t say that we totally stuck to that. That said, my record is very percussive and most of the tracks I sent over had an upbeat, highly percussive element. It was really just approaching each track as an individual and looking at what it uniquely needed. Bill would usually start adding things pretty immediately and then, as the process continued, I would either take elements out or add an instrumental hook idea or layers that I felt would make the song more dynamic.

About halfway through, I started to realize that there was a bit of a theme and story-line in the tracks we were picking (loosely, but still there) and so it informed some of my later selections for songs to include.

Can you tell us what the twist is when you say you write “relationship songs with a twist”?

Many of my songs are relationship songs, but I like to twist convention as opposed to fall trap to it. I’ve noticed that a lot of relationship songs (admittedly some of my favorite, in fact) either paint the woman as the victim or as fawning over some perfect male specimen.

I would like to think that my songs take a more empowering outlook, in giving myself the autonomy and encouragement to walk away and/or to love someone wholly, but without the codependence and instead as their own, separate, unique person.

There are a lot of “empowerment” songs out there, but I feel like sometimes they seem to lack vulnerability. There is this “You can’t touch this!” vibe or persona that I often don’t connect within classically empowering music. The truth is that all of these experiences truly did happen to me. Sometimes I did get hurt. I used songwriting as therapy and as a reminder of my own power to change the situation and as an objective outlook on the situation (when sometimes I could barely see the forest from the trees). My break-up tracks don’t tend to point fingers, but instead acknowledge that things maybe didn’t work out as I had hoped and that it’s left me with feelings to acknowledge, but not hatred. I like to look at relationships from a forthright and more objective standpoint when possible. Because, as I said, I use songwriting as a reminder to myself of what to do. It feels like my higher self-talking to me when I am believing thoughts that aren’t necessarily objective.  Hopefully, that makes sense and answers the question!

Tell us more about singing Shania Twain’s “Man! I Feel Like A Woman” in a cruise ship talent show at the age of 6.

Well, I remember having my hair in a french twist, then ripping the hair clip out and whipping my hair back and forth on the beat…so there’s that…

What inspired you to write fully formed relationship songs at a young age?

I have no idea. I just loved creativity and my parents really encouraged it, from writing film scripts with me to taking me to act in an indie film. Between Britney, Madonna, and Shania, I had heard my fair share of “relationship songs” and so I started writing “Yeah, you’re playing with me and I don’t know why, but you’re making me, making me cry…” when I was like 6 years old.

How did “Doodle Bear” get his name?

“Doodle Bear” was a bear that you could draw on with colorful markers that would then rinse out in the wash. He was purple and I loved him dearly.

What made you decide you wanted a career in music?

I started out wanting to be an actress and went to school at USC for Theatre. I’d always written songs and would sing in the shower as a hobby, but never pursued it seriously as I’m not one to give up on something easily and was terribly focused on acting. I can be a bit all or nothing in my approach. That said, it hit me that this songwriting thing wouldn’t be going anywhere when I was gifted a guitar in college and spent my entire senior year writing music at 2 in the morning. Then, when I graduated, I would write and record songs with my friend Jon until 5 a.m. and yet left feeling fulfilled and happy. Acquaintances started inviting me to musical auditions or to play gigs and I felt drawn to give it a go, despite never having taken classes as I had with acting. Granted,

there are incredibly challenging aspects to pursuing a career in music, especially once you get down that road a little further,

and I had some catching up to do, but I realized that it was a path I was naturally walking down and will continue to.

You played a headlining set at the Hotel Cafe in Hollywood back in July. But you sold out the same venue previously, without releasing a single. What was your strategy for achieving this?

That’s a great question. I guess my honest answer would be to be kind to people, support them, and they will show up for you in the most humbling of ways. It’s also never a bad idea to have a friend open or vice versa. Leaning on your friends when you need them most is the way to go! Bring each other up so that it’s a win-win for everyone involved! Those are always the best situations.

Have you considered having your music considered for TV/movie soundtracks? Why or why not?

I would love that! I’ve been incredibly focused over the past year in getting my releases out into the world and developing myself as an artist, but I would love to look more into that side of the industry.

You completed a West Coast tour this summer. What were your most memorable experiences, venues, and/or audiences?

I had a wonderful time with my friend, Carly Van Skaik, and cannot wait to get back on the road. Some of the most memorable experiences off the top of my head:

1) Staying in the most horrific frat house!

2) The cutest little girl buying all of our merch and coming up on stage to sing our songs, while playing the tambourine for an entire show!

3) Listening to the entire Serial podcast for 10-hour drives!

4) Visiting a nightclub in an aquarium!

You want to empower, inspire, and connect with young women of the next generation with your songs to make a difference in their lives. Have any fans reached out to you about how your songs have done that for them? If so, how did that make you feel?

I’ve been so thrilled to meet fans who have understood exactly the message I am trying to get across with this project.

I received a phone call from someone that a song I released made a positive impact on what they were going through in a way that I could have never expected. They broke down my entire “Life in Rear View” video and understood everything I was trying to get across, expressing that it left them in tears.

The other day, I Facetimed with someone who told me that my releases had inspired them to pick up the guitar and take piano lessons, which was very exciting to hear.

I also received a message this week about my new song “Abuser” that said, “Love your new tune. You take this topic and rather than be painful, scary and disempowering, once again, you recognize what’s unacceptable and ‘choose’ to walk away (rather than complain and be the victim). You are such a great role model for younger (and older).”

It makes my day when someone acknowledges and recognizes what I am trying to do. There are truly no words for it.

Sometimes it can feel like you’re not making a difference and so these little reminders help keep me on this path.

How do you think women can be better supported in indie music?

I think that women can be better supported everywhere, honestly. It starts with allowing women to have a voice. I’ve come across many people—particularly men in positions of power—who have tried to manipulate me, control me, tell me who to be, what to feel, and how to think. This needs to stop, globally. So many of my friends have left studio sessions in tears because of the misogyny or power play that is so prevalent in this industry (and also just the world). I think that we need to band together and let each other know who we’ve had positive experiences working with and also who we’ve had negative experiences with to help others along their path.

We need to commit to holding out and working with the kind, supportive people, even when we feel we have no other choice. We need female mentors.

Men seem to have male mentors, whereas women seem to also have male mentors (who often later try to sleep with them). The whole dynamic needs to shift. I don’t entirely know the answer on how, but I do know that we need to continue having conversations about it.

What advice do you have for young women thinking about or are actively pursuing a career in music?

My advice would be to be prepared to have to fight for your vision every step of the way. I get personally invested in all relationships in the sense that I don’t ever want to disappoint people and I always want to find common ground. I view my business relationships with the same care that I view my friendships. Unfortunately, I’ve found that many others don’t see things that way. My friend uses a term I love called “ruthless grace.” I think you protect the self-worth you have cultivated by kindly, but firmly, asking for what you need and expecting the respect you deserve. And being willing to walk away if you don’t receive it.

What are your tour plans for 2019?

I plan to tour for this record and play a couple of festivals, but I don’t have all of the details yet! Will keep you posted.

What projects are you working on for 2018/2019?

Expect my full record dropping in early 2019, another music video for an upcoming single, more visuals in general, live shows and also the beginnings of my follow-up project to “Life in Rear View.”

Thank you, Kara, for the opportunity to interview you.

Thank you for the lovely, thoughtful questions!

BONUS QUESTION VIDEO: What is Kara’s Superpower and how does she use it in her music?

Purchase “Nice Guy” on  Apple Music, Amazon, and Google Play.

Stream it on Spotify here.

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Instagram – @karaconnolly

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Twitter – @mskaraconnolly

Spotify Artist Page

Soundcloud: Kara Connolly

 

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