Carly Rae Jepsen Finally Gives Justice To ‘The Sound’ With A New Performance Video

If you’ve been lucky enough to witness Carly Rae Jepsen‘s Dedicated Tour (or if you’ve at least lived vicariously through other fans’ concert videos), you know that “The Sound” has unfortunately not been part of the setlist. At long last, though, Jepsen has given justice to the Dedicated ditty by giving it a live performance video that’s adorably autumnal and simply sublime.

In the vid, released on Friday (October 18), Jepsen and her bandmates take over the dock of a lake in Lapland, Finland, for a waterfront performance with absolutely zero fans (or any other humans, for that matter) in sight. Random? Sure, but the scenery is absolutely gorgeous, and perfectly fits the song’s easy-breezy vibes. Wearing a Penny Lane-esque coat, Jepsen sounds impeccable as she sings about needing more than words from her partner: “Love is more than telling me you want it / I don’t need the words / I want the sound, sound, sound, sound, sound.”

Jepsen’s live video for “The Sound” comes just a few weeks after she released the vibrant vid for Dedicated single “Want You In My Room.” Next up, she’s continuing touring behind her fourth album, while also teasing the possibility of writing a pop musical. This girl sure knows how to keep us on our toes.

Nasty Cherry Are The Might-Seduce-Your-Dad Types On ‘Music With Your Dad’

Nasty Cherry, the hybrid U.S./U.K. quartet that debuted earlier this year with the effervescent “Win,” have unveiled yet another song that offers a deeper look into its four members’ mischievous minds. It’s both infectious (thanks to cheeky lyrics) and cavernously deep (thanks to some bong-rattling bass). And it’s called “Music For You Dad.”

“We have the same taste in whiskey, but you don’t even drink wine / He just bought me a Cadillac ’cause I already crashed nine,” singer Gabby delivers to an unnamed person, though from the sound of things, it might be her new step-daughter. The refrain finds her in the garage, “making music with your dad,” naturally, over a pulsating club-ready beat.

They helmed the late-night grooving track with cowriter Blu DeTiger “one night after wine and pasta,” and they revealed on social media, and producer Justin Raisen, who’s previously worked with Angel Olsen, Sky Ferreira, and on early releases by band’s mentor, Charli XCX. “Music With Your Dad” would fit right in next to releases by the two latter artists.

“He just wants me, he just gets me,” Gabby sings over support from Debby on drums, Georgia on bass, and Chloe on guitar. “We hope you love it and play it to your dad/daddy/zaddy/your lover’s dad/your therapist,” the band wrote on Instagram.

Listen to the track above and decide for yourselves whether it’s a smasher or not. (My vote? Smasher.)

Lewis Capaldi Is Literally A Man On Fire In His Emotional ‘Bruises’ Video

Just when you thought Lewis Capaldi couldn’t make you cry any harder than he did with “Someone You Loved,” the singer-songwriter is airing out his heartache all over again. Someone give this man a hug, pronto.

On Friday (October 18), Capaldi debuted the video for “Bruises,” another compelling ballad that details his post-breakup blues. “I’ve been told, I’ve been told to get you off my mind / But I hope I never lose the bruises that you left behind,” he belts while standing in the middle of a desolate scene.

The majority of the video, directed by Emil Nava, centers around a young couple and the dramatic aftermath of their relationship. As they stare intensely at each other, we see flashbacks of their ups and downs together, and the tension eventually comes to a head with a molotov cocktail-fueled riot. Capaldi himself goes up in flames (literally), and the whole thing ends very cryptically — does the couple reconcile, or are they too burned and bruised? Watch below and decide for yourself.

“Bruises” is taken from Capaldi’s EP of the same name, as well as his debut album, Divinely Uninspired to a Hellish Extent. The single was originally released back in 2017, but it’s found new life as Capaldi’s star power has grown this year, thanks in large part to “Someone You Loved.”

The Scottish singer-songwriter, who is October’s MTV Push artist, recently gave us an exclusive performance of “Bruises” and discussed the genesis of the emotional single. He said, “‘Bruises’ was probably the first song I wrote about that breakup that I had with this lady, and it was the first time that I’d ever written song that was proper about heartbreak and stuff like that.”

He also revealed that “Bruises” was the first song he ever wrote on a piano, which totally changed the direction of Divinely Uninspired. “I wrote it the day I turned 20. The album I was making was going in one direction, and then I wrote ‘Bruises’ and things just tilted slightly,” he said, jokingly adding, “So if anyone is not a fan of my piano, sad, heartbreaky, ballady stuff, you can blame this song for doing it.”

BTS Team Up With Lauv To Send A Meaningful Message To Their ARMY

The relationship between BTS and their fans, called ARMY, is a special one. For starters, it isn’t some kind of one-sided devotion; for the members of BTS, their fans are as integral to their success as their music. And with the release of their latest collaboration — a version of “Make It Right” featuring singer-songwriter Lauv —  they’re showing ARMY just how much of an impact they’ve had on their lives.

Written in part by Ed Sheeran, “Make It Right” was originally featured on the Korean group’s EP, Map of the Soul: Persona, earlier this year. The latest version features an English-language verse from Lauv and more soft, breathy vocals from BTS. “You were the only one who understood me / And all that I was going through,” he sings. “You were there for me through all the times I cried / I was there for you but then I lost my mind.”

The accompanying visual features footage of both BTS and their faithful fans from the superstar group’s Love Yourself: Speak Yourself world tour in addition to a colorful animation of a young man who finds strength and companionship in a young woman. The fable depicts the relationship between BTS and ARMY; as the boy could only slay the dragon with the support of the young woman (figuratively) by his side.

No matter how many dragons BTS face on their way to the top, “Make It Right” is a meaningful reminder that ARMY will always be there to fight alongside them — and, in return, they’ll help their fans slay their monsters, too.

Summer Walker’s Soulful Five-Song Run On Tiny Desk Is Designed For Feels

Close your eyes, snap your fingers, and sway to the beat. But don’t make a sound (sorry, it’s contradicting) while Summer Walker and her band play while you watch her perform at NPR’s Tiny Desk series. You’re there in spirit, absorbing the warmth in the room. The vocals, the instruments, the presence, everything just borders on overwhelming your pleasure senses. Now, come back to reality. Walker’s five-set, fifteen-minute performance is instantly unforgettable. After watching it, don’t stand up too fast or you’ll get dizzy.

From the moment that the video starts, Walker looks like an absolute star. She wears these magnificent, diamond-encrusted glasses that draw all eyes to her. She kicks things off without discussion, strumming the guitar while she softly sings “Session 32” with equally talented backup singers. She then immediately went into “Wasted” and let her soulful vocals grow louder as the warmth of the sun bled through her words. “Girls Need Love” was next, sans Drake of course, that began with a sip of water to clear her throat and moisten her chords. An electric piano gave the oh so familiar starting point and then she raced into the slow-moving number, softly fitting in between the backup singers and simple drum patterns.

Afterward, the band introduced themselves before going into “Riot.” It was clear from Walker’s lack of words that she was focused intently on the music and ensuring the best possible listening experience for those in the room. After “Riot,” she wrapped things up with her current single, “Playing Games.” It was the softest moment yet, with the backup singers working with Summer for an epic, twisting finale. It put the finishing touches on one of the smoothest Tiny Desk installments yet.

Watch Walker’s mesmerizing performance up above.

Bop Shop: Songs From Katy Perry, Kim Petras, Sam Hunt, And More

If you aren’t listening to “I Wish I Missed My Ex” at least once a day, you are missing out. The English singer-songwriter is turning out bops like it’s her job (which it is), but this song is the one to listen to first. Its soulful, fun R&B sound will have you waving your hands in the air, chanting the lyrics with her, and finding comfort in your decision to ignore your ex’s text message. “Don’t you know you’re so predictable? / I know everything you’re going to say, like / Hey or hi, how you been lately? Fine / I been missin’ you baby,” go the all-too-relatable lyrics of the pre-chorus. Maybe that’s just my favorite part, but I guarantee it will be yours, too.

Luckily for us, Mahalia stopped by MTV News in September to perform on Office Hours, our intimate stripped-down performance digital series, and the whole office has been listening to her set ever since. The crowd dug her beautiful vocals and vibey energy, and if you want to keep the Mahalia party going after you’re done jamming to “I Wish I Missed My Ex,” kindly transition into her other hit, “Simmer,” featuring Burna Boy. —Alissa Godwin

How Laetitia Tamko Found Vagabon in Herself

By Max Freedman

Imagine writing and recording deeply personal songs you expect only a few people to hear. Then, imagine tens of thousands of people across the country hearing them instead. Then, imagine playing those songs, night after night, to ravenous crowds of those people, in city after city, for years on end. Sounds exhausting, right?

Laetitia Tamko, who performs as Vagabon, would know. Her invigoratingly scrappy guitar-heavy 2017 breakout Infinite Worlds reached more people than she ever envisioned, with accolades including Pitchfork’s ever-coveted Best New Music tag. She then toured the album for two years.

When she finished touring, she was more than just exhausted: She became so anxious and hesitant about continuing her musical career that she couldn’t bring herself to write new songs. “I would get home from tour and just put my guitar down. I didn’t want to touch it anymore,” Tamko tells MTV News.

But she wouldn’t dare give up that easily. To reignite her songwriting spark, she gravitated towards new instruments, especially ones she didn’t own, and took full control of her music’s production. “I would go to my friend Eric Littman’s house pretty often. He has a lot of gear that I don’t,” she says. “He’d show me around the synthesizers and how to patch in the sounds that I want. I would go there when I came home from tour with my laptop and my ideas.”

As a result, her self-titled sophomore album — Tamko’s first album for legendary Warner-owned label Nonesuch, a move she only half-jokingly calls “a flex” — could pass for the work of an entirely different artist if not for Tamko’s unmistakable singing voice, which is simultaneously round, bright, warm, and comforting, like the sun rising over a forest at dawn.

When writing the album, Tamko sought to, in her words, “touch things I didn’t know that well. That ended up being a keyboard and programming drums. The synths on [the album] are just what Eric had. I [still] don’t even have those!” Writing with such unfamiliar instruments proved pivotal for the album’s creation: “I’m constantly trying to tap into the naïveté I felt while making Infinite Worlds, when I didn’t consciously know what I was doing,” she says.

Compact, electronic instruments were also convenient. “Living in New York, you have to pay for a practice space to be loud,” Tamko says, and “when you’re constantly leaving, it’s hard to justify even paying rent.” Without a room where she could make her guitar shout, Tamko says that Vagabon became “an exploration of how to make music when I don’t have the space to be loud.”

Vagabon is thus entirely devoid of the overdriven power chords that defined Infinite Worlds. When Tamko does use guitars on Vagabon, they often take the form of finger-plucked acoustic notes couched in gorgeous, ambient synths, such as on the serene “In a Bind,” “Secret Medicine,” and “Every Woman.” Tamko credits these songs’ unclouded nature with her love of the “hammer-ons and pull-offs of African music,” which first introduced her to the guitar.

For the most part, though, the spacious, almost grayscale Vagabon is comprised of electronic elements. “I was doing a lot of exercises to get over my anxiety about making a second record,” Tamko says of her shift to electronics, “and I started maxing a mixtape, which was just looping a sample, just writing for the fun of it.”

She ultimately built the brass-flanked, pitter-pattering Vagabon highlight “Please Don’t Leave the Table,” which features close friends and fellow musicians Jay Som on trumpet and SASAMI on french horn, from a snippet she wrote during the Logic session that birthed the mixtape. The song showcases Tamko’s newly emphasized R&B and hip-hop influences, as do the pulsing bedroom pop of “Water Me Down” and entrancing dream pop of lead single “Flood.”

“I was really interested in drum- and vocal-forward recordings,” she says of the two genres’ impact on Vagabon. “On Infinite Worlds, I was really afraid of my voice. This time around, I wanted to really explore the different ranges and depths of my voice.”

Just as her voice does, the sounds comprising Vagabon traverse sonic palettes as readily as they cross mental states, reflecting the LP’s traveling origins. Across the album, Tamko manages the remarkable feat of cohesively uniting distinctly different styles — dream-pop, bedroom-pop, folk music, brass-heavy trap journeys — under one engaging roof. Although she visits all sorts of destinations, the path she travels among them remains perfectly clear throughout, just as on a tour.

Touring played a pivotal part in Vagabon‘s genesis. For most of the album’s songs, Tamko let the seeds of ideas she wrote while touring blossom into gorgeous, fully bloomed forms. Even when she got off the road, she composed with touring in mind: “When writing Vagabon,” she says, “I was thinking about what a one-hour Vagabon set looks like… and how I would like to tour an album.”

Among the most exciting new additions to Tamko’s live set are two songs she cites as the album’s theses. On “Wits About You,” after a cavernous chorus in which Tamko murmurs over lightly vibrating synths, she almost entirely silences these synths to uncompromisingly center her voice, which delivers a paean of inclusion and representation. “I was invited to the party / They won’t let my people in / Well then, never mind / We don’t wanna go to your function,” she whispers, sounding as strong as if she were roaring. Simply put, a space that doesn’t welcome the marginalized doesn’t truly welcome anyone.

The album’s other thesis, “Every Woman,” is far less electronic, boasting only synths that are ambient and easy to miss. Over a collage of warming, finger-plucked acoustic guitar and comforting intonations, Tamko stands up for her fellow marginalized people. “All the women I meet are tired,” she sings, later issuing a sweeping call to arms: “We’re not afraid of the war we brought on / And we’re steady holding down the fort.”

Of “Every Woman,” Tamko says, “I wanted to create that feeling that others have created for me where I’ve felt so seen, heard, understood, and stuck up for. In writing the song, I wrote it for me, but I wrote it for so many people.” She feels similarly about the near-silent midsection of “Wits About You,” for which she removed pretty much every instrument other than her voice because “I wanted to be very explicit in what my making music is all about, what I stand for, what I do, and why I’m doing this.”

Tamko didn’t want to remind just listeners of her mission. She also needed to remind herself why she makes music. In writing Vagabon, she ultimately countered her post-tour burnout and rekindled her passion, and one goal above all helped her stay grounded, even as she tackled complex topics: “I wanted to make songs,” she says, “that I can play for another two years and feel really happy about.”

Cody Simpson Released The Love Song He Wrote For Miley Cyrus, And It’s Romantic AF

If you’re confused at all about Miley Cyrus and Cody Simpson‘s relationship, you’re not alone. Over the past few weeks, fans of both singers have been desperately trying to figure out the status of their romance. That is, until Simpson confirmed the rumors himself in an interview with People. But if you’re still not totally convinced the two are dating, Simpson’s new song, “Golden Thing,” might convince you otherwise.

The track, which Simpson released yesterday (October 17), is a slow burning, romantic ballad that could only be written by someone with true feelings. After describing Cyrus as a “crystal dream” and “Cali queen” in the first verse, Simpson harkens back to the song’s title. “I’m shot, it’s a golden thing she’s got,” he croons over a soft acoustic guitar, proving that what they share is more than just a fleeting romance.

The song’s remaining lyrics continue to reveal just how smitten Simpson is. He opens up about singing softly to Cyrus, hearing birds chirping when they’re together, and feeling heard. He closes out the song by switching up the “golden thing” lyric to reflect not just Cyrus as a person, but their whole relationship. “It’s a golden thing we’ve got,” he sings. And while some might argue that the lyrics could be about anyone, the single artwork is literally a photo of Cyrus, so the track is definitely about her.

We can’t say we’re surprised by this release, though. The new couple teased that it would probably come out this week after Simpson performed it for Cyrus at the hospital when she was receiving treatment for tonsillitis on October 8. “this sweeeeeetest guy came to visit at the hospital and sang the sweeeeeetest song he wrote just for me,” the “Slide Away” singer wrote on her Instagram Stories alongside a clip of Simpson singing the tune. Cyrus then added that she was “pressuring” him to drop it “next week.” And well, here we are.

Check out Simpson’s swoon-worthy ode to Cyrus up above.

The Wait Is Over: Liam Payne’s First Solo Album Drops In December

Two years ago, Liam Payne dropped his first solo single, the Quavo collab “Strip That Down.” Fans have been ready for his debut album ever since, and all that materialized was an EP a year later. But now, the wait is over. Payne’s studio debut, LP1, is now set to drop on December 6. It’s the perfect Christmas gift to wrap up this decade.

Payne announced the exciting news to the world through Twitter, with a sexy high-definition GIF of his face in crystal-clear HD. “So I can finally reveal that my new album LP1 will be out on 6th December!” he wrote. “Thanks for all your support as always, you’re the best fans I could ask for. I can’t wait to share the album with you with you all.”

Payne preceded the reveal with a hilarious 10-second video compiling the countless tweets from fans asking for the album. Each tweet came with the chirping notification that Twitter is famous for, so with its rapid buzzing, it simulates the fact that his account is constantly bombarded with inquiries from fans.

Now that the news is out, listeners can check out Payne’s latest song, “Stack It Up,” with A Boogie Wit Da Hoodie, to get the freshest taste of what to expect. His last release before that was “Savage” that came in 2018.

Check out Payne’s exciting announcements up above.

With New Album Pang, Caroline Polachek Is Finally Free

Caroline Polachek has spent a lot of time limiting herself. To be fair, the fruits of those limitations have been wildly successful: She popped into the zeitgeist in 2005 as a member of critical darlings Chairlift, the alternative indie-pop project that built a cult following for more than a decade before Polachek and bandmate Patrick Wimberly called it quits in 2016. On the side, she filtered her solo work through the lens of monikers Ramona Lisa and CEP, all the while co-writing and producing with heavy hitters like Beyoncé, Travis Scott, and Charli XCX. All opportunities to stretch her creative wings — but always within the rules.

And as she explains it, these conceptual boxes she’s willingly placed herself in — Brooklyn-flavored indie pop princess, experimental synth queen — allowed her to hone her own creative strengths. “I think in the past, those limitations have been extremely useful for me to remember what I’m doing and how to do it best,” she tells MTV News.

But now? Allow Caroline Polachek to reintroduce herself. “I think I finally felt ready to take off all of those limitations and just say what I have to say,” she reveals. Pang, her long-awaited album and the first under her own name, is available today (October 17). It features one of the year’s best pop songs in “So Hot You’re Hurting My Feelings,” an ironically quirky declaration of being painfully, hopelessly in lust with a flame just out of reach. The feeling it owns is so deeply relatable, yet oddly specific, it’s easy to believe that this is Polachek at her most honest. “I knew I wanted this music to be more direct than anything I’d ever done before,” she explains, “and forcing myself to finally use my own name felt like a way of stating that very clearly.”

MTV News: I have to talk about “So Hot You’re Hurting My Feelings,” as I just think the world of it. Tell me everything about how it came together.

Caroline Polachek: So, “You’re so hot, it’s hurting my feelings” is something I’d actually told someone a week prior, and the phrase just kept playing on my mind. I had a session set up towards the very end of writing this record with a couple friends of mine, and the first melody that came was the melody that’s now the beginning of the song. There’s something kind of classical about it, but it also reminded me of “Video Killed the Radio Star”-era ’80s pop. Just something about the quality of the jumpiness of it. And then I thought, wait a minute, this is kind of the perfect vessel for that lyric. So [I] just started writing around that idea.

MTV News: Just that line itself, it has these elements of lust, desire, pain, jealousy. This person, who was so hot it hurt your feelings… which emotional directions did that come from?

Polachek: Well, when someone’s hot, and is just not actually attainable… we kind of have this idea that maybe if you hold them or get some kind of promises from them or have sex with them, there’s some kind of satisfaction that can be attained. But, the fact is there isn’t. When you’re that attracted to someone, there is this kind of thing about them that you can never truly have or possess, and it’s that kind of frustration of wanting it and never being able to have it. It’s also, more generally, a song about long-distance attraction. I don’t know if it just needs to be a relationship; I think in 2019, so many people are experiencing relationships through their phones, even if they’re not living that far away from each other.

MTV News: I’ve also been listening to “Door,” and there’s a really lovely line in the song towards the beginning: “10 laps around the planet to prove what I wasn’t.”

Polachek: Yes, exactly. For me, that lyric was very specifically about my twenties. I think, and I feel this is pretty normal, that a lot of my twenties [there] was this kind of desire to prove both what you are and what you’re not, and kind of entering into another later chapter in my life now, that kind of need disappeared. You get more confident. You know yourself more.

MTV News: When you hear “So Hot” and “Door,” as well as songs like “Ocean of Tears,” these songs on Pang aren’t songs of total bliss, nor do they feel like songs of complete misery. They dive into these moments of murkier emotional tension, whether it’s with a lover or within yourself.

Polachek: Yeah, that’s a good part of what Pang means to me, both as a sensation and as the title of the album. Panging is the kind of sharp pain you feel inside when you’re reminded of some kind of unattended need or something that you’ve neglected. Whether it’s nostalgia or hunger or envy or regret, all these ideas come from addressing a lack that’s been ignored. And a pang is ultimately private. It’s not a thing that gets broadcast to the world; it’s a kind of internal alarm that sounds when something has to change and it has to change fast.

MTV News: This being your first album with your name on it, is there anything you feel like you’re saying now that you may not have been able to say before?

Polachek: It’s all just more unfiltered now. I’m definitely getting into aspects with my personal life that I probably wouldn’t have dared to get into before, but I think that’s just coming from kind of a new desire for things to feel very clear.

MTV News: I have to ask about “No Angel,” the Beyoncé song you co-wrote and produced. To me, it’s another song that’s not bliss, but not misery. It’s this in-between of two people wrestling with the reality of who the other is.

Polachek: Yeah, exactly. The song is kind of about reconciling in a salty way with your partners and professions and asking for compromise and also asking that your own imperfections be taken as well. That song was written about a year and a half before Beyoncé even reached out. It was a song I wrote right at the very beginning of experimenting by myself as a producer for Ramona Lisa. That song is about kind of the end of a bickering match with someone you’re in love with, and no one walks away a winner, but ideally both walk away still in love.

MTV News: Back then, as a songwriter, was there a way that you decided what songs were for you and what songs were for other people? And has that changed now in any way?

Polachek: “No Angel” was definitely written for me, but the thing is, I usually write my best when I’m writing for myself, [and] anything’s up for grabs. I kind of think that’s the best way to operate; even when I’m in sessions writing with other artists, I’m always pulling from the kind of emotions that are the most raw in my own life and offering them up in the studio. I’m not that precious with music when I write it.

MTV News: I think about Julia Michaels, an amazing singer-songwriter, who has spoken about her first single “Issues” and feeling like it was the first song too personal to her to give to someone else. And that song wound up being a Grammy nominee for Song of the Year.

Polachek: Oh, Julia Michaels is such a legend… OK, if we’re being honest, there are a lot of songs on Pang I would absolutely not let go, no matter who wanted them.

MTV News: Which ones would you say those are?

Polachek: “Parachute,” for one, I would never give that song away. It’s so close to my heart. I would enjoy seeing anyone else sing “Caroline Shut Up.” That would be interesting. I would give that one away, actually, which is funny, even though it’s very personal. “Door,” I would never give away. This one called “Hey Big Eyes,” that’s right at the top of the b-side of the album, that one’s also just so extremely personal to me, I could never let it go.

MTV News: So what can we expect from Pang?

Polachek: Well, Pang has a narrative thread that kind of runs loosely through it. The first side of the album is kind of an unraveling, narratively. It’s a kind of descent into self-questioning, doubt, structures falling apart, fear, confusion. And then the second half of the album is kind of making sense of it and rediscovering humor and rediscovering trust kind of in my own life.

MTV News: Was that narrative thread something that you set out to do initially, or was it the way the music came together?

Polachek: It wasn’t the order that they were necessarily written in, but they’re all kind of taking place at different parts of the same thought process. So structuring the record was very, very easy in terms of the internal logic of it. But it did happen afterwards as a second process.

MTV News: Was there a point, or a song in particular that you finished where after it was done you felt like, “Oh, I have an album here.”

Polachek: Oh, that’s such a great question. Yes. Actually, that song was “The Gate.” “The Gate” ironically opens the album, and the first track that was written for the album closes it, which is “Parachute.” But “The Gate” was written at 4 a.m. in my apartment and recorded in that moment as well. That’s the take. It just felt like a finished thing when that song got added, and I knew immediately it was going to be the intro to the album. That song kind of serves in a lot of ways like the kind of overture or the forward in the book, kind of, if you will.

MTV News: Got you.

Polachek: And the song ends with this line, “I come here every day just to hear you say, finally there’s a way to be both free and safe.” And, I think the whole album proceeds from there, this impossible combination of freedom and safety, trying to find it in my own way.

MTV News: Which one do you think you’re leaning more towards now, as a person?

Polachek: Well, I’m always out of balance. I think right now, a part of my conception of safety is taking care of the things I’ve made, but I’m probably leaning a little bit more towards safety this week, because I haven’t really been taking great care of myself this week. I’ve been working so much on getting this record ready, but I think that’s fine. These are the sacrifices we make for things that we love and keeping them safe, right?

MTV News: You could say that when you were an artist under another name, you gave yourself parameters with which to feel safe, and it feels like coming out on your own name and your own terms, there’s a freedom to it.

Polachek: Yeah, exactly. I hadn’t thought about that, but it’s true.

MTV News: So which do you think you’ll feel when this comes out?

Polachek: Well, there’s a freedom in being understood, isn’t there? So I think I will feel more free. Hopefully. Let’s find out.