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"A self-described Song Journalist building cinematic worlds out of layers you feel more than hear."
Red Lady Collective · Victoria, BC, Canada
Red Lady Collective is the Victoria, BC project of a producer who came to music after a career in documentary film, and it shows. "Bye Bye Bye" arrives with the atmosphere, foley and drum-led world building of a film score.
How would you describe your sound to someone who has never heard you before, and what makes it undeniably you?
I tend to have a scene in my head - almost a storyboard of the song - and I try to build layers of atmosphere, most of which are felt, not heard. I think the 'world building' that happens through atmospheric effects and foley sounds - almost like a film score - is a central theme to a lot of my music. I also really love drums and percussion, and experimenting with different styles to get different moods. I don't stay in genre boxes much when it comes to my drums, and I really like drawing from different cultural influences.
What genre do you officially claim, and what genre do you secretly belong to?
I love that question! I think I officially check off pop - with a trip hop, dark pop underbelly - but I probably secretly belong to pop rock. Like Meatloaf or the KISS Army! It goes back to the drums, and I do love a good guitar!
What emotion do you find the hardest to write about honestly?
I don't know if outrage is technically an emotion, but I've always been inspired to write about what I perceive to be injustices - I'm moved by anger to get it out of me as a song, a documentary, or an art piece. At least I'm moving the energy creatively rather than letting it simmer inside. But lately I'm finding outrage to be more of a creative block, rather than a motivating energy. I do feel like I have lots to say about what's going on politically, but I haven't been happy with anything I've written from that place lately.
Is there a sound, instrument, or texture you keep returning to, one that shows up even when you don't plan it?
I didn't realize how many of my songs I finish with a soft - often questioning - ending. The song I'm releasing this month isn't that, but I do have a tendency to create songs similar to the way I made films - with a 3 act structure and a build and climax happening around the 2/3 mark. I think that's why I like doing covers - I can see how other people structure their songs differently, and how to mess with that story arc that I tend to build out of habit.
Do you make music better alone or with other people in the room?
This is such a virtual world answer, but I've started having weekly Zoom meetings with the people I collaborate with, and it's one of the highlights of my week. A few years ago I would have definitely said I prefer to work alone, but I've really changed my mind about that.
How do you know when a song is finished, and have you ever gone back and changed something you thought was done?
Oh yeah, this is one of the curses of being a full stack producer, and jumping back and forth between the producing and engineering. That's why it's so great to collaborate and have a few rounds of notes on a project. I'm a perfectionist and would find it really hard to release things if I didn't work with other people and have a few sets of ears to rely on.
What did your younger self think your music career would look like, versus what it actually looks like now?
I thought it would be what it actually was in my early years - playing live with a full band of buddies, renting a tour bus and doing a few shows / month to make enough money to rent a studio and cut a CD. I loved that life for a few years, but it wasn't really sustainable with working in the film industry, so I had to give it up. Now, I'm quite blown away how technology has created the ways for me to work with session musicians from around the world in our own home studios. I also didn't even know what mixing and mastering was back then, so I couldn't imagine how much I'd enjoy the engineering side of music. I do miss the weekly rehearsals and hanging out after gigs, but have found a way to do that online and have the added benefit of being able to connect with people in other parts of the world.
How has your city, background, or culture shaped the music you make?
I grew up in Canada, which has always been a country that appreciates diversity, and I love that I've been exposed to a lot of music and art with creative and cultural depth. We're a bit of a 'culture soup' here, and I think my music reflects that. I often find it hard to pinpoint the genre or metadata for a song. I also live on Vancouver Island, which has always had a supportive film and music scene, maybe in an attempt to offset the isolation of living on an island. And I like to think I'm the typical Canadian as a collaborator - kind and polite and easy to work with!
How are you using TikTok/Instagram or short-form video right now, and is it something you're doing because you want to, or because you feel like you have to?
I share articles on the back story of the songs we release on Substack, which has been really fun. Especially when it's a cover song - I love music history and one of the reasons I'm drawn to doing retro covers is to contrast the vibe of the original with our interpretation of it. I'm thinking of a song release now as not just a song, but the whole journey of producing the song from start to finish. Also sharing our personal relationship to it - why the song was written or covered by us, and how it was produced. And also some of the challenges and creative choices that we made. I started a Substack show last year called 'Red Lady Producer Jam' where we share our weekly progress of producing and releasing a song from start to finish, and I've liked that so much I'll be doing more of that in the coming year. Maybe I'll find a way to tie it into the Release Club!
What's something you refuse to do online to promote your music, no matter how much it might help?
Lip sync videos. Some people can really rock it, but nobody needs to see me doing that....
How do you build a real fanbase in an era where the algorithm decides who sees your work?
I'm not sure if I'm representative of the average social media consumer, but I'm not at all drawn to the click-baity trends that seem to pander to the 'algorithm' (which is one word I could do without hearing ever again....). So I kinda think 'F--- the algorithm' and I'm just going to be me, do good work and share it in a way that doesn't feel like a grind. It helps to work with coaches who know what they're doing in the world of social media and marketing - like you and your team. But I think it's most important to have a vision of what success means, and as much as possible unhook my creativity from external numbers and metrics.
What does success look like to you, not in the industry's eyes, but in yours?
I came to producing music late in life after years of producing documentaries and hustling in the film industry. There's a real sweetness to doing this for the love of it, rather than having to build a business around it. It gives me the opportunity to really get to know the people I collaborate with, and to be more in service to the song than external goal posts. Success now means collaborating with people I truly love working with and creating great music we're all proud of.
What would you never compromise on, no matter how big the opportunity?
Not that they're asking, but I would never allow my music to be played at a Trump rally : ). Ever. Unless they want to play one of my protest songs....then that would be fun.
What do you want your legacy to be, not your career, your legacy?
On that note, I used to be more concerned about sharing my political opinions publicly. I started my career as a journalist and neutrality and seeing both sides, or all sides of an issue is something I've always tried to do. But Truth is also one of my most important values, so as I evolve as a songwriter, I'd love to leave a catalogue of songs that detail some of the truths that I care about. I'm working on a song from the perspective of one of the Epstein victims, and I feel like giving voice to people who are silenced - in some cases permanently - is answering some sort of inner calling. Like a song journalist - that's what I'd love my legacy to be - 'Song Journalist'!
What's something you've never said in an interview before, until right now?
That I want to be a 'Song Journalist'!
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