Exclusive Interview With Annie On The Run
LGBTQIA+ synth pop artist, annie on the run, released her new single ‘Feral Girl’. She’s got these dreamy, ethereal vocals mixed with electronic beats, all wrapped up in this dark, cinematic atmosphere. She writes about queer love, mental health, and even revenge. The way she blends it all together feels like you're stepping into a dystopian world.
We had the opportunity to have a chat with Annie and talk about her single, her creative process, influences and her take on what it means to be a female producer in the industry.
1- Feral Girl reached 1k streams on Spotify faster than any of your other tracksᅳcongratulations! What do you think it is about this song that has connected with listeners so quickly?
I've seen some amazing artists there, Lana Del Rey, Shania Twain, Avril Lavigne, Remi Wolf, Cyndi Lauper, Dua Lipa, but the festival is so much more than the line-up. The opening of the lesbian venue, Scissors, at Glastonbury this year was a homecoming for me and really solidified the feeling behind Feral Girl. As a member of the LGBTQIA+ community, there really is nothing like entering a safe gay space and feeling your shoulders relax because you're free to be yourself. That's magic, and that's what i tried to capture in Feral Girl.
2- You've described "Feral Girl" as capturing that feeling of queer joy. How do you share and translate such personal emotions into your music? Does it come naturally, or do you actually plan it?
Sometimes there's something I absolutely have to say, sometimes I just want to make something that FEELS a certain way, like scene setting or a mood board. Feral Girl was a case of that. The song started as being very substance referential, and that's the beauty of having the control of your production schedule, I was so over those tired addiction metaphors by the time I came to record, so the chorus became completely different, and better. I saw it as a duet with me and a mad synth at that point, and that's what it became. When you hear queer people talk about queer joy, it's magical. What we're really saying is "we're happy because we can love without danger and we can love with maximum freedom" and that's what I wanted Feral Girl to feel like.
3- For the first time, you produced a track by yourself. Can you share what motivated you to step into the role of producer for your own work, and what has been like so far?
The first producer I worked with propositioned me, so it put me off working with any male producers. The second was a woman, Elektra Lovelle who produced my first EP, and she inspired me to produce myself through her encouragement and style. I realised when working on tracks that I had the sound in my head and it was just a case of learning how to put that into the song for other people to have it in their heads. I went from just recording piano and vocals, to fully recording drums, bass, synths, soundscapes AND vocals, and putting them all together.
My producer peers are mainly men so surely our music today is produced from a majority lens. It makes me think - what are we missing, what viewpoints and artistic angles are we just not experiencing because of this uneven split? When you say name a producer, it'll be Jack Antanoff or Dan Nigro, but are we considering those women and non-binary artists who constantly produce their own music?They're producers too but we seem to approach them from such a visual view point - we can see them singing and performing so that's what they are, but we never envision them sat there in the studio producing their own vocals and synths. It's a huge part of the process that is overlooked. TikTok has granted us a window into this slightly but it's an echo chamber where female producers are supporting other female producers but still struggling to be seen by everyone else.
It's a huge struggle, and like many women I was misdiagnosed as a teen with OCD, but since my correct diagnosis I've been able to use it rather than battle it. I've learnt that there are some things my brain can do that neurotypical music producers can't do. It's weird because I can listen to music and make a pretty accurate guess over whether or not the artist or producer is neurodivergent. Lorde's music is an example of that.
I love spontaneity with music, especially lyrical spontaneity. I am a fan of cutting down a beautifully constructed metaphor with something very literal. My best lyrics always come quickly, like they were ready to be born, but the production needs rethinking constantly and "sleeping on". When I think I've finished a song, I usually haven't. I "let it rest" and come back to it weeks and months later. Some aspects, like THE chorus synth, happen and they become the main star of the production, then everything else gets built around championing that aspect.
Sometimes I lead with vibes, sometimes there is something I absolutely HAVE to say, and music is my conduit for that. My next single coming out on October 25th 2024, Survivors' Club, is a case of that. I had a experience that probably is not unique to victims of abuse where I had finally left a truly awful person after many years and their ex contacted me to offer their support and share recovery tips. Turns out things were a whole lot worse than I ever imagined.
2- You've described "Feral Girl" as capturing that feeling of queer joy. How do you share and translate such personal emotions into your music? Does it come naturally, or do you actually plan it?
Sometimes there's something I absolutely have to say, sometimes I just want to make something that FEELS a certain way, like scene setting or a mood board. Feral Girl was a case of that. The song started as being very substance referential, and that's the beauty of having the control of your production schedule, I was so over those tired addiction metaphors by the time I came to record, so the chorus became completely different, and better. I saw it as a duet with me and a mad synth at that point, and that's what it became. When you hear queer people talk about queer joy, it's magical. What we're really saying is "we're happy because we can love without danger and we can love with maximum freedom" and that's what I wanted Feral Girl to feel like.
3- For the first time, you produced a track by yourself. Can you share what motivated you to step into the role of producer for your own work, and what has been like so far?
The first producer I worked with propositioned me, so it put me off working with any male producers. The second was a woman, Elektra Lovelle who produced my first EP, and she inspired me to produce myself through her encouragement and style. I realised when working on tracks that I had the sound in my head and it was just a case of learning how to put that into the song for other people to have it in their heads. I went from just recording piano and vocals, to fully recording drums, bass, synths, soundscapes AND vocals, and putting them all together.
I'm extremely self-taught and there's an excitement in that. I might stumble onto a sound no one has ever used before, or I might manipulate samples in a brand new way. My latest release, Bitch at the End of the World, was such a production triumph for me because it was the first track I had created the drums myself. It gave me the confidence to continue that and from that moment, I adored making my own beats. I'm working on a beat currently for my next "era" that I am so excited about. I feel like the beat is the backbone that keeps the song together.
4- You mentioned how only 2.6% of music producers are women. How has your experience been in the industry as a female producer, and what changes do you hope to see in the future?
4- You mentioned how only 2.6% of music producers are women. How has your experience been in the industry as a female producer, and what changes do you hope to see in the future?
My producer peers are mainly men so surely our music today is produced from a majority lens. It makes me think - what are we missing, what viewpoints and artistic angles are we just not experiencing because of this uneven split? When you say name a producer, it'll be Jack Antanoff or Dan Nigro, but are we considering those women and non-binary artists who constantly produce their own music?They're producers too but we seem to approach them from such a visual view point - we can see them singing and performing so that's what they are, but we never envision them sat there in the studio producing their own vocals and synths. It's a huge part of the process that is overlooked. TikTok has granted us a window into this slightly but it's an echo chamber where female producers are supporting other female producers but still struggling to be seen by everyone else.
I hope in the future, women are championed for their technical music skills rather than the outward facing stuff. It's just another form of objectification. It's saying "we value you for the way you look to men" and completely ignoring the talent and intelligence behind the production of the art. As a society, we're brainwashed into seeing a women's worth as only skin deep. Change will come, but it won't come without action, and a thousand tiny actions like me talking about it here, and other great initiatives like EqualizeHer and She Makes Music UK, will contribute to making meaningful and significant change in the industry.
5- ADHD seems to play an important role in your creative process, particularly when it comes to 'following the dopamine.' How do you channel that energy into writing and creating music?
It's a huge struggle, and like many women I was misdiagnosed as a teen with OCD, but since my correct diagnosis I've been able to use it rather than battle it. I've learnt that there are some things my brain can do that neurotypical music producers can't do. It's weird because I can listen to music and make a pretty accurate guess over whether or not the artist or producer is neurodivergent. Lorde's music is an example of that.
My record label, Nutopia records, told me to work on whatever is exciting me in that moment, so I have around 10 songs and projects happening at various different stages. Some are still being written, some are being recorded and produced and some are in the finishing touches stage. It helps as when I'm not particularly feeling up to recording vocals in that moment, I can work on another aspect of a different song like the beat or bass - whatever aspect is feeding the dopamine in my brain.
6- "Feral Girl" has such a vibrant festival vibe, it's all about freedom. When you're creating a song like this, how do you balance spontaneity with technical precision in production?
6- "Feral Girl" has such a vibrant festival vibe, it's all about freedom. When you're creating a song like this, how do you balance spontaneity with technical precision in production?
I love spontaneity with music, especially lyrical spontaneity. I am a fan of cutting down a beautifully constructed metaphor with something very literal. My best lyrics always come quickly, like they were ready to be born, but the production needs rethinking constantly and "sleeping on". When I think I've finished a song, I usually haven't. I "let it rest" and come back to it weeks and months later. Some aspects, like THE chorus synth, happen and they become the main star of the production, then everything else gets built around championing that aspect.
There can be difficult areas to balance, such as having that signature floaty reverb but also allowing the listeners to hear what you're actually saying, but it's something I constantly consider as I go. I may not make the most perfect decisions with production, but they are uniquely mine, and in a world where women are constantly compared to other women, it's good to follow your quirks and individuality.
7- You've talked about controlling your own narrative by producing your own music. Does this new creative autonomy influence the stories you tell and will tell in the future?
7- You've talked about controlling your own narrative by producing your own music. Does this new creative autonomy influence the stories you tell and will tell in the future?
Sometimes I lead with vibes, sometimes there is something I absolutely HAVE to say, and music is my conduit for that. My next single coming out on October 25th 2024, Survivors' Club, is a case of that. I had a experience that probably is not unique to victims of abuse where I had finally left a truly awful person after many years and their ex contacted me to offer their support and share recovery tips. Turns out things were a whole lot worse than I ever imagined.
Being gaslit gives you this desperation to know and share the truth. Survivors' Club is a truth I need to get out there. I am excited for this release so I can let go of some past trauma. My natural sway with production is to go darker and I am known for that sad girl aesthetic, which usually means I tend to write darker songs but I'm hoping to release more songs like Feral Girl with more danceability to them. Being my own producer allows me that freedom to change, and it allows me to start with production unlike artists who have a dedicated producer. If I start with production, I can influence what story the song tells.
8- What advice would you give to young women who are interested in music production but may feel intimidated by the lack of female representation in the field?
Brandi Carlile is a huge inspiration of mine, both as a lesbian and songwriter/producer. Although her music is far from mine, it inspires so much of what I do. Brandi made music her life, and to experience even 1 per cent of that in my time in the industry, I would be eternally grateful. Having her as my representation in the music industry as a lesbian artist has shown me that I can be that person.
8- What advice would you give to young women who are interested in music production but may feel intimidated by the lack of female representation in the field?
Brandi Carlile is a huge inspiration of mine, both as a lesbian and songwriter/producer. Although her music is far from mine, it inspires so much of what I do. Brandi made music her life, and to experience even 1 per cent of that in my time in the industry, I would be eternally grateful. Having her as my representation in the music industry as a lesbian artist has shown me that I can be that person.
You can't be what you can't see, and if we can't see female producers and queer producers, then we can't aspire to be like them. My advice is to latch onto your heroes, learn from them, watch their "behind-the-scenes" videos more than their polished works, you need to see the cogs and blueprints as well as the finished product if you're going to make your own. And remember, the only way we're going to change the industry, is if we're in the industry. Be the example you're looking for.
Listen to the gems of Women in Pop #curatedbypowhersound
Comments
Post a Comment