Music gives a voice to those who need it when they need it the most. Our favorite artists say the difficult things out loud, so we don’t have to — but can learn how to.
By the same token, lovelytheband translate emotions, anxieties, and feelings into lush, layered, and lively indie pop anthems. When the band was founded by lead singer Mitchy Collins, guitarist Jordan Greenwald and drummer Sam Price in 2017, the trio maintain a lasting connection to listeners by holding nothing back.
“I really believe the importance of songwriting is saying something when someone else doesn’t know how to,” affirms Mitchy. “In the songs, I’m talking about life, trials, tribulations, depression, anxiety, and shit I deal with as well as the headaches that come along with the good and bad days. My problems don’t define me, but we should embrace every side of who we are. The message is, ‘Everything will be fine.'”
This message immediately resonated among audiences everywhere. A centerpiece of the everything I could never say… EP, the group’s debut single “broken” caught fire as “the longest running #1 track on Alternative Radio thus far in 2018” with six weeks at the top. In under a year, it amassed 25 million total global streams. BuzzFeed summed it up as “So. Damn. Good.” Billboard proclaimed the group among “10 Rock & Alternative Artists to Watch in 2018” as they supported Vance Joy and AWOLNATION on tour between headlining dates everywhere. Everything paved the way for the arrival of the band’s first full-length, finding it hard to smile [RED MUSIC]. Produced by “broken” collaborator Christian Medice, these 16 tracks entrance, engage, and enchant, offsetting shimmering keys, sweeping synths, and spacey guitars with cathartic, compelling, and catchy choruses.
The title speaks directly to its thematic push-and-pull.
“finding it hard to smile touches on my life,” says Mitchy. “There are days when it’s hard to even walk out of my front door or get out of bed. So, you find the will to power through, call on your friends, and rely on loved ones to pick you up when you’re down and bring magic out of you. A lot of the record is about embracing who you are as well as dealing with relationships, breakups, nostalgia, and unrequited love. It’s really introspective for me.”
They preceded the album’s release with the single “these are my friends,” which quickly cracked 2 million streams worldwide. Wound up by faint guitar and a chant, “These are my friends, these are my friends, I love them,” the track crescendos towards an ambitious arena-ready hook.
“I was walking around Los Angeles one day thinking,” he recalls. “I left a party where I had a really good time at. Right after, I wrote the main lyric in my phone. I held onto it for a little while, but it eventually turned into a song about wanting love and wanting to fit in. I brought it to the guys in the studio, and they really took it to the next level. It becomes a lovelytheband song when everyone is on it.”
Whether it’s the feedback buzz and 808 rush of “pity party” or orchestral ambiance on “alone time,” the soundscapes mirror the emotional ebb and flow encoded in the lyrics. Elsewhere, the intimate “maybe i’m afraid” unveils an infectious confession as the band admits their fears without filter.
“It’s one of my proudest moments as a songwriter,” says the frontman. “It turned into the story of relationship. You’re in it. You know things are beautiful, but you’re scared to commit to the other personal. I think a lot of people struggle with the same thing. It feels relatable.”
As they round out 2018 on a headlining tour and hitting the stages of Lollapalooza, the Billboard Hot 100 Festival, and more, lovelytheband’s voice will only get dramatically louder.
It might just make crowds feel better too…
“I hope when you listen to it, you can find some solace or reassurance,” Mitchy leaves off.
“Maybe you didn’t know how to communicate something aloud, and it helps for us to talk about it. Hearing it might inspire you to make a move. Music moved me and gave me a little hope as a kid. I hope you can take away something from this in the same way my favorite records helped me. That would be my biggest goal with lovelytheband.”
On their new album The Rise and Fall of Loverboy, Sir Sly document a period of intense transformation for frontman Landon Jacobs, a journey from self-destruction to radical self-discovery. Brought to beautifully strange life with his fellow multi-instrumentalists Hayden Coplen and Jason Suwito, the Southern California trio’s third full-length offers a real-time portrait of near-catastrophic despair and the gradual reclaiming of purpose and hope, ultimately providing listeners with profound inspiration for navigating darkness with both courage and clarity.
Jacobs’s own path toward recovery began just over a year after the release of Sir Sly’s sophomore effort Don’t You Worry, Honey, a 2017 album featuring the hit singles “&Run” and “High” (which reached #1 and #3 on the Alternative Radio chart, respectively, and helped boost Sir Sly’s total streams to more than 350 million worldwide). While Don’t You Worry, Honey was written in the aftermath of Jacobs’s divorce and his mother’s death, he soon found himself facing a whole new set of personal challenges. “I’d been drinking every day for maybe five years, and it had ramped up to the point where my brain wasn’t working the way I wanted it to,” says Jacobs. “I was becoming increasingly depressed and suicidal, and I really couldn’t manage my own life anymore.”
In October 2018, in the throes of creating the band’s new record, Jacobs decided to get sober. Along with returning to therapy for the first time in a decade, and directly addressing the mental-health issues he’d long self-medicated with drinking, he took up transcendental meditation and immersed himself in rigorous self-examination. “I wanted to figure out how to make life feel meaningful again, and rediscover the sense of purpose I’d lost when I lost my faith in my early 20s,” says Jacobs, who was raised as an evangelical Christian. “That whole shift in perspective made a huge difference in finishing the record, and finding a new way of writing about my life.”
In the album’s layered reflection on life’s most essential questions — love and loss, control and chaos, anxiety and existential dread — Jacobs drew straight from the diary-like yet poetic observations he’d recorded throughout his recovery. “Every song I write starts out as a private journal entry,” he says. “And because I’ve conditioned myself to write songs so consistently, I can’t help but process things in rhymes.” As a fitting counterpart to its often-dreamlike lyrics — an element partly inspired by Jacobs’s extensive reading of Japanese surrealist Haruki Murakami — The Rise and Fall of Loverboy unfolds with an elegantly shapeshifting sound, embedded with flashes of folk and psychedelia and even left-field hip-hop. The resulting body of work expands on the potent originality of Don’t You Worry, Honey, all while harnessing the frenetic energy of the live performance Sir Sly have now brought to every major U.S. festival, including Coachella, Lollapalooza, and Bonnaroo.
With its playful homage to David Bowie, the title to The Rise and Fall of Loverboy references one of the album’s most effusive tracks, an electro-glam anthem whose protagonist serves as a proxy for Jacobs’s most damaging impulses. “I’d gotten into a new relationship, and ‘Loverboy’ was the first love song I’d written in a long, long time,” says Jacobs. “It’s me saying, ‘I’m feeling extraordinarily broken, and this relationship is the thing that will fix me.’ As we were finishing up the album, I realized the toxicity of the idea that something outside myself could ever solve all my problems. And if there’s a narrative to the record, it’s about looking for that outside help for most of my life, then eventually overcoming that way of thinking in order to build a healthier mindset.”
An album propelled by unflinching self-awareness, The Rise and Fall of Loverboy looks to matters of spirituality on songs like “Material Boy,” a luminous piece of synth-pop laced with brilliantly cheeky lyrics (e.g., “This is a spiritual world/I’m a material boy”). “As I was getting sober I had the revelation that I’d made the mistake of conflating religion and spirituality, and really thrown out all sense of a spiritual identity in losing my religion,” says Jacobs. “I’d sunk very deeply into a nihilistic worldview, and there was this huge spiritual deficit in my life. Now I know that what spirituality means to me is being okay with not being in control, and living life much more in the moment.”
On “Are We Having Fun,” Sir Sly perform a sort of wicked alchemy, setting Jacobs’s vivid detailing of his past transgressions to a sing-song melody and shimmering sonic backdrop. “That song was born out of looking back at my compulsive drinking and wondering what it would be like to see it from the outside,” says Jacobs. “It’s partly lamenting not being able to remember the specifics of what were probably amazing nights in my life, but it’s also asking everyone, ‘How much fun are we really having if we’re not going to remember most of it tomorrow?'”
One of the album’s most unsettling moments, “sic sick [sic]” finds Sir Sly pushing into the most thrillingly odd reaches of their musical imagination. With its jittery rhythms and warped vocal work, the song emerges as the shadowy flipside to the wildly unchecked romanticism of “Loverboy.” “‘sic sick [sic]’ is me trying to make sense of a breakup, and a situation where I wanted something to fix me so badly that I destroyed it from the inside out,” says Jacobs. “I started with this line about returning her coffee cup and knowing it was the last time I’d ever see her, and I ended up writing three pages of lyrics about this codependent relationship coming to an end.”
Although much of The Rise and Fall of Loverboy embodies a moody urgency, the album slips into a far brighter tone on “If The World Ends,” a sweetly lilting track sparked from a moment of goofy spontaneity. “I started writing that one after a completely failed day of songwriting for our second album — I just picked up an acoustic guitar and jokingly sang that first line: ‘If the world ends, I’m a piece of shit/I couldn’t do my job, I couldn’t write a hit,'” Jacobs recalls. And while “If The World Ends” speaks to very real fears and insecurities, it also marks a certain breakthrough in Jacobs’s songwriting approach. “I feel like I’ve been able to bring more nuance to my writing than I’ve done in the past,” he says. “Instead of being consistently mopey and then using the music as a way to add levity, I’ve been able to bring that levity into the lyrics as well.”
Like every Sir Sly release since their 2014 debut You Haunt Me, The Rise and Fall of Loverboy was self-produced and recorded in Suwito’s Costa Mesa studio, a self-built facility named Noise Coalition. In shaping the album’s dynamic sound, the band made abundant use of Suwito’s stash of newly acquired synths and pedals and drum machines, as well as a redesigned layout even more conducive to free-flowing creativity. “We gave ourselves more time per song on this album and got hyper-fixated on the individual sounds, with a goal of making sure that everything moves and breathes in a very natural way,” says Jacobs. “That was a great revelation for us: to enjoy the process more, and give the music space to explore a bit.” For Sir Sly, the entirely self-directed nature of the recording process goes hand-in-hand with their uncompromising commitment to overseeing all facets of their creative output, including cover art and videos. Not only an extension of their sharply honed vision, that deep dedication echoes the pure joy they find in creativity. “We’re the luckiest people in the world for getting to do what we do, and we just want to do more and more of it,” says Jacobs.
As Jacobs reveals, the making of The Rise and Fall of Loverboy served as something of a lifeline as he worked his way toward health and sobriety. And in sharing the album with the world, Sir Sly hope that it might have a similarly restorative impact on their audience. “For a long time I thought that everybody who’s happy is fake, and everybody who’s hopeful is lying to themselves — and now I realize that’s just about the shittiest thing you can believe,” says Jacobs. “So instead of feeding into a system that touts those sorts of ideas, I want to be a voice of positivity. And I’ve always said that I want our music to help people feel less alone, but now I want them to take that one step further and actively seek connection with other people. Because even though the idea of opening up to someone else can seem really scary, in the end I think it’s the most valuable thing you could do.”
Music shuffles around the past, the present, and the future. All at once, CANNONS recall warm memories, soundtrack the bliss of the moment, and gaze towards a brighter tomorrow. The Los Angeles trio — Michelle Joy [vocals], Ryan Clapham [lead guitar], and Paul Davis [drums, keys] — co-mingle handcrafted analog production, glossy guitars, and cinematic synth-craft with fluid breathy vocals and evocative lyrics threaded together by classic songbook poise. (Think a Cliff Martinez score accompanied by Stevie Nicks, and you’re half way there). Generating 20 million streams independently and landing placements on shows such as Lucifer, Never Have I Ever, and many others, the group continues to transfix audiences as part of the Columbia Records family with more music on the horizon.
“The vibe takes you somewhere else, because it has a nostalgic and melancholy feel,” says Ryan. “We try to make everything as catchy as possible. You can play it at low volume in a restaurant or salon. You can crank it up and boogie to it in a club. You can listen to it in your darkest hour or when you’re partying.”
“We aim to make universal music,” adds Michelle. “There’s no age limit. Your grandmother can listen to us or your baby.”
“We’ve also gotten better at baby-making music,” laughs Paul. “A lot of babies have been conceived to CANNONS!”
Originally formed in 2013, the band united lifelong friends and musical partners-in-crime Ryan and Paul with recent Los Angeles transplant Michelle. After moving to the West Coast from Florida “for a relationship that didn’t work out properly,“ she sought out other local musicians. A Craigslist post later, the future bandmates met for coffee, got along instantly, and sent sonic ideas back and forth via email. An early upload entitled “Shallow Lagoon” gained traction on Soundcloud as they built up a following by endless gigging around town. In addition to early radio support from tastemaker KCRW, “Body Talk” appeared in an episode of the HBO series Ballers, while the campaign for Kendall and Kylie Jenner’s Topshop collection touted “Evening Star” as its theme. In between, the group released Night Drive , the In a Heartbeat EP , and Shadows . A stylist played the latter for Harry Styles who instantly fell in love with the band, shouting them out online and inviting them to a sold out Los Angeles show at the Forum. In 2020, “Fire For You” bubbled up into the collective pop culture consciousness. Synced in a pivotal episode of the NETFLIX smash Never Have I Ever, it elevated the show to #1 on The Hollywood Reporter‘s Top TV Songs Chart. Signing to Columbia Records, the band went from “jobless to dream jobs” powered by a singular style.
“We’ve always had a very D.I.Y. approach,” Paul goes on. “We’ve done everything ourselves from the production to the writing. Over the years, we’ve gotten more comfortable with one another. The songwriting process comes more naturally. It’s like a seventies approach to a modern sound.”
“A lot of the songs start on guitar, and we incorporate real instruments into electronic textures,” Ryan elaborates. “From there, it’s all about hooks.”
Hooks abound on “Fire For You.” A finger-picked riff cuts through a synth haze as Michelle intones, “I was on fire for you. Where did you go?” The vocals shimmer and simmer over the bounce of a rapturous beat.
“I was going through a really rough breakup at the time, and I felt very left out in the cold,” the frontwoman admits. “I was all in. The other person took the relationship for granted and didn’t respect me. I was very sad and angry. It was cathartic to get those emotions on paper and speak them out loud. It’s very relatable.”
In the end, CANNONS make a lasting impression and an even deeper connection.
“When you listen to us, I’d love for you to feel like you’re not alone,” Michelle leaves off. “Music has always been there for me. It’s one of the things that’s helped me through difficult times. For the worst and best moments, there’s always been a song.”
“I want you to put on headphones and feel like you’re escaping,” Ryan concludes. “There’s something beautiful about being submerged in music. You leave your element and go somewhere else. We want to bring you there.”