As the American playwright and essayist Sarah Ruhl shrewdly observed, “There is a complex set of unspoken rules guiding women’s smiles in public.” Cheapjack chauvinists always believe the lively and unattached smile is something racy rendered just for them whilst the charged politics surrounding foundering females will commonly find them claiming witchery in the air around any feminine grin that has dodged their same wild bouts of easy pieties. Rare are the revanchist heroines who can shout-sing a reverberating “Resurgam” in a sour lemonade accent at the highest ramparts of the deep-dwelling stereotypy still sadly superimposed over self-sustaining Sirenhood in the current century. Layke is one such Lazarus-lady, the “L.A. Woman” Jim Morrison was surely pre-imagining for both fire and mojo all those years before. With her newly released, neo-dreampop roman à clef of an EP entitled Frequency, out on AGM as of July 29, 2022, she has pulled the daemon of damselhood right out from under any such oppressive oleanders and encouraged all listeners, of any spirito-body configuration, to find their truest smirk in it.
Within the chum bucket of deviant impulses that is modern conceptions of womanhood, Layke’s work has always been an act of bearing witness. If you have been tuned in to her beat-oscillations since “Friends For The Summer”, you will already be familiar with her intriguing way of giving the trying times tinges of tiare flower and turning even the most narcoleptic dirges of a given day into dancebox dreams. Since her first big single, 2018’s “Beautiful War” off the Layke, Pt. 1 EP, Layke has been vivisecting gender, sexuality, sensuality, and the seduction of the hypothetical like a metropolitan roué with a minstrel’s dialect. Writing her personal emotional travels the way Dervla Murphy penned her physical ones, Layke retains in every story-song a praiseworthy social acerbity and retaliatory lyrical steeliness toward any and all forces that seek to declaw outsiders. That everything from her name font to the dial-up mode of her website accomplishes these aims with an analog attitude befitting a Bangle is just that much iridescent icing on the vintage-glancing-horizon-moving cupcake.
When QRO caught a chameleonic minute with Layke, the club cherub in us felt like all the colors in the room had been instantly cranked up to a nice, respectable hypervivid even at “hello.” If you like the innate volume on strong women with bespoke inner radio stations, stories of how dresses can serendipitously set your course, space-age architecture, and every style of solidarity for neurodiversity, read on – all of the above and much more occur in the graphic, glow-worm frequencies of the lady that is Layke.
QRO: Hi, neon Ladyfriend! I already can’t deal with your amazing outfit…
Layke: I love your hair! We were clearly meant to talk. [laughs]
QRO: I’m so elated that you had time to chat today because I have been going back through all of your epic freaking videos and I need to tell you that you have the most alluring, true-to-form visual aesthetic. Other people look back at the ‘80s with this retro lens and you know I’m the one who never left. So, looking at your videos is like watching Night Tracks at 2 a.m. in ‘86 with the best of them! Are you consciously making this analog visual choice or is this simply an expression of your natural artistic sensibilities?
L: That’s so cool and makes me so happy to hear! I’ve always said from the beginning that I wanted to make art with art, that I wanted to pair with other artists that were emerging – and a lot of the directors I’ve worked with are way beyond emerging. I’ve been really lucky to team up with some unbelievable art minds.
With my videos, I am not interested in what is going to make the most money or make the biggest splash; I am only concerned with finding people who are going to be able to take the sensibility of the song and amplify it further. I’ve been working with Quinn Tucker on some of the more recent videos and we have a very symbiotic creative relationship so I let him run with it and he has done an amazing job.
That was an interesting internal experiment for me as well because I’m usually way more into micro-management, for all sorts of reasons – I’m Italian, I’m from Dallas, Texas, and I’m the youngest of four sisters so I learned a long time ago how to speak up! [laughs] It’s special what you create when you trust other people fully.
QRO: Absolutely! And I feel like you’ve not compromised anything of your own thought-thread in any collaboration, which is the mark of one that has gone right. “Help Me Out” is what I call therapy-pop or dance-confessional. It is honest without being attention-seeking and just unloads what needs to be gone off the chest. Do you mind talking a bit about what inspired this track and what you hope listeners will glean from it? The video is ingenious, by the way, as you’ve visually and symbolically mimicked the experience of an anxiety attack via the presence and absence of color. Can you also talk a bit here about how anxiety appears in your life as an artist and as a woman?
L: Yes, in that video we went from the white outfit to the satin disco thing and then we get into the hot pink. They’re essentially all the same outfit. When you’re in the middle of an anxiety attack, you feel very depleted and devoid of any vibrancy. All of the energy in your body is going toward combatting that response.
People forget that anxiety is a natural, protective response and something that we all have on some level. It’s just that some of us are more sensitive than others. I really want to show the process of coming out of that overwhelming kind of anxiety and thus the pink outfit. As I’m driving into the sunset there are those touches of color in the hills.
There’s a feeling when you’re in an anxiety attack that you cannot reach out or that people will not understand if you do, so I wanted to normalize talking about that as much as possible and for the takeaway to be that my art is a space that recognizes the need for that open door.
With my videos, I am not interested in what is going to make the most money or make the biggest splash; I am only concerned with finding people who are going to be able to take the sensibility of the song and amplify it further.
QRO: You touched on something there that I had planned to ask you about “good” anxiety, which I think is getting a bit lost in the cultural discourse on the subject. Good anxiety is something highly beneficial for a performer or anyone else, that fizzy feeling you get before you step out on the stage, the excitement and adrenaline of the unknown. These are the building blocks not just of brain power, but of an exhilarated life experience. We don’t want to get to a place where we are numbing people to those spikes and encouraging the notion that your life should be a flat line. Human experience is a steep and deep rollercoaster, no matter who you are.
L: Right! Homeostasis is great for what it is in a moment of crisis, but that should not in any way be your whole existence – not just because you are going to get so bored, but you would also have no experience of the highest joys. The butterflies and all that! Each year of my life, I learn how to channel my anxiety better, with art being the best way I was always drawn to. I also go to therapy, take anxiety medication, and I have prescribed CBD. Everyone has a method that works for them. I think the main thing is just recognizing what is actually helpful and what is a crutch making you quietly worse. I also think a standard conversation around inequities in access to mental health care is important.
QRO: Oh, for sure. That subject always makes me think of Joaquin Phoenix’s Joker, wherein I wept like a child at that scene when he goes to the social worker and she tells him that funding has been cut and he will now not be able to attend therapy or get his medicine. For as much as the idea of mental health is being discussed in a more open forum now, that aspect of how it is paid for and by whom is still not at the forefront of the conversation.
L: The topic is getting slowly destigmatized, but the solutions are not forthcoming yet. That differs across cultures too. I’m Italian and from this hugely Roman Catholic family. My dad’s generation does not go to therapy so you’re dealing with that additional hurdle of their “get on with it” mentality.” He has always been amazingly supportive of my wish to go to therapy though. It’s just not something he would do for himself.
QRO: Your Italian background would be the inverted mirror to my Irish. Irish people are universally caricatured as a race that talks too much anyway and, though it is wrongly attributed to Freud in the movie, The Departed suggested a funny home-truth when it said we were ‘impervious to psychoanalysis’ – the insinuation being that this is largely because we’ve already blathered it all out at the mailman in some poetic, soul-speech or another! [laughs] Are there any particular mental health charities, clinics, or organizations that you are affiliated with or would like to shout out as a potential resource for others?
L: There are a few online resources that are great for non-cost therapy. Talkspace is one that I know has been useful to several of my friends. I am not in any way endorsed by them or any of these that I will mention. I just know that their resources have been helpful to people in my life. Nuna is another and I personally really love the Calm app because it has all these different meditations, ASMR-style stuff, and materials you can just pop in your earbuds and use in seconds. There are a lot more accessible options post the pandemic and we need to start spreading that information around.
QRO: Totally! I am a sound bath girl myself – cannot actually tell you how many of those I have on my iPod and I just disappear into them! On the subject of disappearance, you mentioned being originally from Dallas – the spangled cowboy capital of the conservative world. How has that sometimes-eccentric-but-other-times-oppressive energy influenced your artistry?
L: Oh man, well you know I’m not star-spangly so much! [laughs] I love the U.S. and I love California and everybody here, but we all know this is not our land. This land was stolen and progressive mindsets like what I have can be hugely unwelcome in places like Dallas at times. It certainly colors not just my art but the way I live my life – for instance, I don’t celebrate Thanksgiving because all I see is the genocide in it.
From childhood forward in Texas, I saw so many examples of racism and homophobia so it was not an easy place for me to grow up, though I fully realize it was much, much harder for anyone of color. I’m queer, but you don’t know that unless I tell you. I don’t clock a certain way. I’m not walking around with a target on my back and can essentially assimilate how I need to. Seeing all that I did growing up in Texas definitely informs my feeling that I was always going to speak out about those kinds of injustices and my feeling is that any white person with a platform who isn’t using it to do what good they can for all that is still going on in marginalized communities is missing a crucial opportunity to improve this world for everybody. You make a choice to be on the right side of things; it shouldn’t be about geography.
QRO: Of course, and I wish more people got that – that where you are from has no meaning whatsoever beyond the meaning you give it – which should be only of its better histories, not its blindnesses. It’s ironic too isn’t it that Texas, I would argue more than any other state in the union, makes the idea of freedom threaded into the Texan identity, but they only mean for a certain group.
L: They mean for heterosexual white males, pretty much! And as much as we should not be shocked anymore, loads of white women who vote against their own interests in solidarity with said white hetero-males are just as culpable.
There’s a feeling when you’re in an anxiety attack that you cannot reach out or that people will not understand if you do, so I wanted to normalize talking about that as much as possible and for the takeaway to be that my art is a space that recognizes the need for that open door.
QRO: Oh, those are my favorites. Don’t get me started! I am the otherside wraith of those women – and boy, are they mad about it! Prior to age 40, the narrative had always been, “Well, she must be gay” or, “Well, she’s too young to know any better.” Once I crossed 40 and it became plainly obvious even to the slowest of them that I was demonstrably straight and actually quite an avid, vocal fan of good men, was not asexual, and was likewise not any longer ‘too young’ for anything and that I was, in fact, and had always been, openly disgusted by their limp domestic paradigm and thus living in full, free rejection of it? Honey, those little desperate wine mommies were fifteen different kinds of angry! [laughs]
L: [laughs] They were betting on the fact that you were either homosexual or were soon to change your mind about your own biology!
QRO: Yes! How could you not want these backward, pathetic men if you weren’t gay or crazy? How could you not agree to waste your life in marital or relationship servitude if you were not just a wee little gal who didn’t know better? [laughs]
L: Ugh, I know these women. Here’s the thing: they think that any of us who dye our hair, especially in the South – and I’ll probably get in trouble for saying this but I don’t care…
QRO: Not with me you won’t!
L: It seriously is like the “manic pixie dream girl” trope, you know? It’s Kate Winslet in Eternal Sunshine of the Spotless Mind to them! They want one night with you because they think you’re going to be really crazy and it’s this whole fantasy BS to them. They would never actually date you or consider marrying you.
QRO: You are absolutely correct and all of that was something I learned the hardest way one can. It’s surreal, really, and I honestly had no idea. Once they realize you have not lined up to do their laundry, buy their clothes, and ‘look after’ them through their imagined struggles, suddenly your hotness that drew them is now a liability and they are straight back to their pliant, unchallenging doormats who have nothing going on and a simpering dog’s need to please. You are then a manhating monster on the male side for eschewing all that and “arrogant” on the female side for exerting knowledge of your own worth above established patriarchal norms. All I can say is I’ll keep my “high” opinion of myself, thanks, if it buys me out of that ridiculous shite! [laughs]
L: Oh yeah! They see you as a challenge. So, when you are like “kiss my ass,” they get very defensive and even start fights! That’s why, when I got out in Texas, I’m very choosy about where I go because the little white, baseball-hat preppy boys can’t deal.
QRO: Good lord, you have no idea the spiritual dissertation of mine you have just unwittingly written! The beta ballcap-wearers! If you only knew the unnecessary wars I’ve walked through with those wimps. It’s back to my favorite ever of Helena Christensen’s quotes: “Guys find me intimidating and then decide I’m not nice.” Preach, supermodel! I would add-end: “So do their non-self-actualized women.” They try to blame you for the way they feel in your presence rather than fixing themselves so that they control their own futures, feelings, and figures – all of which are symbolically intertwined. Michael Hutchence was not the least bit scared of Helena Christensen though, was he? Quite the opposite. Says it all, really. It’s the difference between a male and a man, or a poser and an artist.
L: No, he certainly was not! Evolution like that on a man is extremely tough to find though…
QRO: Isn’t it just? I do think it’s hilarious that neither the men like this nor their indentured-servant-women are inherently alert enough to realize that they have the ‘dream’ part of our kind only half-cooked. Women who own themselves are the dream, and a dream that comes with no limits – they’re not wrong about that – but they completely fail to recognize that all dreams must be lived up to. They must be everyday earned. No actual dream is free, nor is any worthwhile connection. Earning burns too many calories for the couch-Cretins, I’ve learned. Stick with the feral Aussies is always my motto though so don’t mind me! [laughs]
L: Exactly. I haven’t dated a man in years and though I am still pansexual, all I can say is it would have to be a very, very special man. If you’re not fantastic, evolved, and amazing, please don’t call me because I have a lot to do right now. [laughs]
QRO: How would you describe the attitude and atmosphere of Dallas as regards women artists – because that’s a whole additional enchilada, isn’t it – or does that depend on what type of artist the women are? I can see it being a very different experience being you versus being Maren Morris, whom, let it be said, I also adore. I know you left pretty early.
L: I did leave pretty early, but Dallas has come a long way and has a lot going for it. Austin is nearby and Dallas has Mercury Studios so it’s starting to function a lot more like Los Angeles and New York for entertainment. The climate anywhere being a woman anything is a joke.
I can speak to Los Angeles and tell you it’s a shit show. The way that women are approached in this industry, even after the strides that have been made via the #MeToo movement, there is still just so much inappropriate behavior. I’m really lucky that the producer I work with, Adrian Gurvitz is an amazing human being that I was very fortunate to meet.
I’ve been working with him since 2017 so I’ve been in a very sheltered bubble for the past five years and I feel very blessed for that, but I know the kind of shady stuff I experienced prior to working with him. There is just a long way to go no matter what city a woman works in within this industry or really any other, and I hope now just to stay in this bubble with Adrian and not have to deal with toxic men!
You make a choice to be on the right side of things; it shouldn’t be about geography.
QRO: I’m sure and I hope the same for you! I was actually going to ask you about working with Adrian because he is indeed known industry-wide to be a beautiful, British gem! How did you guys originally come together artistically?
L: Oh, this is a great story! So, I went to Art Basel in 2016. A friend of a friend, a New York publicist, was there and needed something to wear to this particular event that was going on. She didn’t have anything she felt like she could wear and I had brought basically every single outfit I owned in individual, sealed Ziplock bags! [laughs] I let her borrow this outfit and she just thought I was so nice for that! She wanted to introduce me to Janice Dickenson’s publicist in Los Angeles.
Well, Janice’s son was engaged to Adrian’s daughter. At a Hanukah dinner, Adrian was talking about wanting to work with someone up and coming, someone green that he could really help. This publicist that I had just started working with was talking me up and so Adrian set up a call with me. It was maybe December 28th or 29th. He told me to show up at 9 a.m. on January 1st, not to be hungover, and we were going to figure out what to do with me and we were going to make a record. I cancelled all my plans, I watched the ball drop from my TV, got in bed by 12:30, was at his place in Tarzana at ten minutes before 9 the next day, and the rest is history! [laughs]
QRO: That is so magical and serendipitous! Definitely one of those moments where you were right where you were supposed to be and reaped all of your deserved destiny for it.
L: No question! It’s funny because I was fully in rock music before him even though I always listened to a lot of electro. I was intimidated by the world of synthesizers and drum machines because I am not a technological queen at all. Adrian really pushed me out of my comfort zone and I’m loving where I am because of that. I’m not saying that I would not go back and make a full-on rock record, but this dreamy electropop world is a fun one and all of this equipment, once you get over being scared of it, has so much to offer.
For me, it was about finding the personal frequencies where you feel the most comfortable in yourself, and also defining those frequencies that help us find one other.
QRO: Talking about the merging of rock and pop – you do know who you remind me of? And I thought this instantly: You remind me of a holy hybrid between Taylor Dayne and Terri Nunn, two of my favorite singing women in the world.
L: Oh WOW….that is a huge, amazing compliment. They’re both so fantastic! Thank you so much for telling me that!
QRO: From my glittery heart to yours, that is just the sparkle-gospel truth! I am just so happy that you exist because I don’t think that there are many people of any gender doing what you’re doing at that juncture, and with almost zero tongue-in-cheek. Dayne and Nunn are also two of my most hallowed microphone mavens from the time that came before – who would be yours?
L: I’ve always been a massive Blondie fan since the beginning of time. All of it: the music, the vibe, the style.
QRO: How smart she is….
L: She’s so incredibly intelligent and still relevant as ever. Debbie Harry is the definition of a timeless goddess. Janet Jackson has always been a huge influence as well. I was in dance from a very young age and my older sisters were learning combinations and choreo from Janet videos and I’d be right there learning alongside them. No one’s better than Janet!
QRO: I totally agree and your heart will be warmed by knowing that I still know every single move of the Rhythm Nation choreography, meticulously studied from late-night MTV sessions in the late ‘80s and early ‘90s! [laughs]
L: See, this is what I’m talking about! [laughs] First of all, that stuff takes a second to learn because it’s not easy, but once you learn it, you never forget it!
QRO: Your two goddess-shouts here are perfect because they are such iconic women who did exactly what they dreamed. Blondie carved a path that had never existed before her and Janet broke out to worldwide stardom from a level of oppressive gender, domestic, and racial abuse that I’m not sure anyone but Tina Turner could fully comprehend.
L: No doubt, and it was sickening what Janet had to overcome after the Super Bowl, the way people treated her, and the misogynistic garbage that the head of CBS threw at her. Her music was banned from all Viacom platforms. Now she has taken all of that back and with a vengeance. I admire her so much for just being like, “None of you are going to get me down, I am Janet Jackson.”
You’ve just got to find people that cherish who you are and want to lift that up and for whom you can do the same, not people who are trying to dim you down.
QRO: Precisely. There is no standing in front of a Siren and I do actively giggle when the Lowbrow Lames continuously have to find that out the hard way. Speaking of unstoppable elements, you have also just released “No One Can Stop Us”, which is shot at the most gorgeous home of Frank Lloyd Wright’s grandson, Eric Wright. How did being in such an iconic locale affect your performance and what you captured in the video shoot that day?
L: That was super futuristic and fun! That place is above the pier in Malibu, so if you look down the hill from where we were, you could see things like Duke’s. It looks like the sky is meeting the ocean is meeting the cliffs! It was an incredibly magical day. The dancers that worked on the video are all part of the queer community and each one represents a different, distinctive facet of the community. I wanted it to be as diverse as possible. All of them are part of the underground rave warehouse scene here in Los Angeles as well. I want them to be my dancers on tour, and they also appear in the XOXO video.
Filming on that property that day was majestic, even though it was so hot! We had to do a lot to even get on the property as there weren’t power sources and we could only have 20 people on the premises at a time, which was certainly a challenge. However, when Quinn (Tucker) and I saw the property, we just said “we’re going to do whatever we have to for this to work” because the place really set that otherworldly vibe that we needed.
QRO: You got all Judy Jetson with it and nothing could be more fabulous! Out there on your independent starship! On the subject of autonomy, I’d love to have you talk a bit about releasing music independently in the way that you have done because it has seemingly cost you nothing in the way of a following and given you everything in the way of freedom. Why did you make the decision to go independent and what have been the boons and banes of that choice?
L: I’m now on AGM, my producer’s label, and it is a small, independent label. This was a unique opportunity for me because Adrian was willing to give me 100% creative freedom. I own my masters and am in control of my career, which was really important to me. I think every artist’s situation is radically different and there is no right or wrong way to do the music industry; it’s just a matter of what best suits each artist’s positioning and where they want to be. Adrian is such a creative genius and it has been fantastically collaborative with him.
QRO: I love to hear it. I also loved to hear it when you had a similarly symbiotic synthesis with Snoop Dogg on “Happier”. What valuable lessons about art and the industry did you learn from King Compton himself?
L: He’s so legendary; I was really nervous! You just don’t want to look like a fool. I had twisted my knee just a few days before that video and that’s actually why they put me in such baggy pants – because one knee was swollen and I had a big brace on it! [laughs] Snoop walks in and I’m trying not to show that I have the brace and he was just so nice.
He introduced himself to everyone personally and he took me to the side for a little bit and told me not to worry and that I’d done great with the song. That meant a lot! I got out there and just started following his lead and he made it so easy because he’s such a professional. One can only hope to be as amazing, humble, and beautiful at Snoop’s level.
QRO: I have always found him to be such an inspiration on about 100 different planes and am thrilled you had that opportunity to bask in the unspoken lessons and braver wavelengths of such a rare master. Which leads me to the title of your new EP: Frequency. An important title I think, for many reasons – maybe most poignantly that frequencies are known to be quite susceptible to change. As a sound-girl and a word-nerd, it surely speaks to my own aesthetic and also happens to be one of my favorite words to jazz-bowdlerize. What was your own interpretation of this word and why did you choose it for your new EP’s title?
L: No way, that’s so cool! I love knowing that you are a fan of the word itself and have given it so much thought. We started writing the song “Frequency” and began talking about how every person operates on their own frequency and how when you feel on the same wavelength with another person, or even yourself, that’s a very rewarding thing. For me, it was about finding the personal frequencies where you feel the most comfortable in yourself, and also defining those frequencies that help us find one other.
QRO: I say all the time that if you can find your “station,” as in pure internal radio, where your tribe and your true voice are clearly broadcast for all to hear, you’ve done it. You’ve won the gold in life and possibility. Unfortunately, a lot of people settle for static and poor reception because fine-tuning antennae ain’t easy!
L: Most definitely! In the queer community, there is so much around chosen family because supports like that, people who actually get your frequency and want more of it around them, are not always immediately obvious. You want to find the people that appreciate you.
QRO: And to do it before the abruptions of those who are never going to hear you properly start to distort the signal. I’ve had plenty of scenarios in my life where I thought it was my lot to kind of wear the misunderstandings of people who were so far off the mark of my actual radio station.
L: One-hundred percent! Learning that it’s not you, it’s them, is one of the most important lessons in life when you get treated like your honesty is weird or something. Not everyone is going to like you, and it’s generally because they don’t like themselves in those moments.
I mean, I’m a strong personality and I’m a lot! I’m loud and there’s a lot to me. A lot of people are not going to like me. It’s funny too because a lot of those same people come around later because they’re like, “Oh, she’s really like this. She’s not faking it.” [laughs] You’ve just got to find people that cherish who you are and want to lift that up and for whom you can do the same, not people who are trying to dim you down.
QRO: Speaking my innermost heart again, girlfriend! Dim is such an impeccable word for it too because of its reference to both brightness of light and mind! I said a long time ago that those who cannot handle the sunshine over here had best stay where they can turn a knob because you will find no light switches in my world. The solar disco ball stays on at all times, and unapologetically! [laughs] To that end, are you and I going to be able to co-dance in the lady-luminance out here on the rock-n-roll highway anytime soon?
L: You know, I adore all aspects of music. I love the writing, recording, interviewing, shooting videos, thinking about costumes and color schemes, all of it….but I love, love, love the performance piece most of all. I love being onstage. We are just starting to get into booking, which is beyond exciting for me. The communal aspect of exchanging energy – giving energy to the audience and them giving it back to you is just wonderful. As a kid who really did not yet understand a lot of the aspects of myself I was experiencing, going to shows was where I felt accepted so I want to recreate that for other people, definitely. I’m also getting into remixing a bunch of my old catalog that I have not released, which is something I have always wanted to do and I’m just starting to dip my toe into the remixing world. It’s incredibly exciting stuff!
QRO: Oh, my word, remixes! Yes. I immediately have to ask: do you know James Chapman at all, Maps? He is on the Mute label and you might ask Adrian about him if not as James is a fellow British badass of the highest possible order. He is the unassailable king of remixes and has this expansive way with world-building in songs that I simply don’t have good enough words to describe. You absolutely have to call him if you need remixes!
L: Oooooh, I do not think I know him, but it sounds like I’m about to! I’m writing it down as we speak. Thank you so much for that recommendation because I’m really hunting! That’s exactly what I want, new dimensions.
QRO: He will blow the doors off your mind with the ease with which he can conjure those for you, promise! Come to Atlanta stat on your tour as well. Just be sure we are your last stop because you know how we do down here – we can’t say when you’ll be home! [laughs]
L: [laughs] Oh, I definitely plan to! That way we can have all the fun. I just want to put something positive out into the world after the last couple of years we have all lived through and I hope that people can feel at home in this music.
QRO: Well, you and your sounds have certainly been a bright spot in my week and I want to thank you for taking this time with me today. It’s been invigorating to hear you talk about your songs and I’m wishing you all the best electro stardust on your future endeavors with them!
L: You have been so amazing and I can’t thank you enough for having me today! This has been an unbelievable amount of fun. Thank you so much for your support and insights. See you sometime soon!
-photos from Aurelie Davis and Quinn Tucker