Q&A by Erandhi Mendis // Photography by Dillon Matthew
In the ever-fluid landscape of indie music, few artists have pushed the zeitgeist quite like Sarah Kinsley. Her debut LP, Escaper, has garnered both critical acclaim and fan resonance – establishing her as a compelling figure amongst a generation that often feels saturated with new voices. Released earlier this year, the album has been celebrated for its haunting melodies and introspective lyrics, showcasing a mature sound that belies Kinsley’s young age.
The magic of Escaper lies in its ability to blend personal narrative with universal themes of longing and self-discovery. It’s easy to praise its lush instrumentation and Kinsley’s ethereal vocals, which weave vulnerability and empowerment against creative melodic risks. One of the album’s standout tracks, “Starling,” has been heralded as an anthem for ephemeral love, both platonic and romantic.
What makes Escaper particularly special is Kinsley’s unique approach to storytelling. Traditional song structures are jostled into a far more intentional artistic vision. It’s as orchestral as it is alternative and after a slew of standalone singles and EPs, her debut is a assured arrival into the mainstay. We sit down with Sarah to discuss the inspiration behind Escaper, the album cycle, and what lies ahead as she tours her new record.
Congratulations on the release of Escaper! Love the title – the record seems to explore both melodically and lyrically the concept of liberation and freeing oneself. What is the most notable personal experience or story that influenced deciding the album’s narrative?
Thank you – I think the concept of freeness has been a really meaningful theme that’s carried its way throughout all of the music I’ve made so far. The two years spent making Escaper were filled with a lot of grief and regret. All those things that make you want to hide in entirely different worlds as a means of distraction or disconnect. I did a lot of that. The title for me is an acknowledgement of the escapist in me, but also of the inevitable return: coming back to yourself and learning how to be free again.
Are there any moments in the creation of the record where now you listen to the final version and hear a distinct evolution from initial concept to mastered song? Are there any songs that fans would be surprised to hear the original demos of?
It’s definitely strange to hear ‘Knights’ between the demos and the final version. It morphed so much during the actual process of recording. As much as I try to calculate and create what the landscape will sound like I think ‘Knights’ was just really uniquely unpredictable. I enjoy knowing that about the song.
The sound on this record is so cohesive and uniquely you – what was it like working with John Congleton and letting him into your largely self-produced universe?
It was very very cool. I was incredibly nervous at the beginning to do that – to let somebody into this whole world I’ve built. He was very understanding and very aligned with my goals for a collaborator from the very beginning. I wanted someone who could be another vessel for the music to come alive through – someone to make it even more grand, even more intense. I appreciated that a lot.
If you could handpick a few of your favourite lyrics from the release, which would you choose?
There’s definitely a few that hold more weight in my heart. I’d probably include the following as of right now:
“I am ignoring how it is / and indulging what it was”
“stuck in a haze and it never goes away / everything changed but my mind couldn’t change me”
“this one i want / this one i dare / but i can’t ignore the thoughts of me there”
From your perspective, how does Escaper reflect your musical growth as an artist?
I think Escaper is my best work so far. It’s more daunting than I would normally be, still pressing into vulnerability, attempting to be really raw and still ambiguous. I’m very proud of the record and what it represents for me. I think I’ve come a long way from being a young college student trying to understand music software and instruments and how to capture my voice. But it’s my first album, and it’s only the beginning of what I want to create and carve in the indie scene for myself.
You’re about to go on tour, how are you planning to bring the songs from Escaper to life in live performances? What is the song you’re most excited to play live? Is there a song you’re nervous to perform?
It’s very exciting to watch the songs transform and shift. I play with three other musicians – very jaw-droppingly talented – so the songs just take on new skin, new shapes. I’m very excited for crowds to hear the title track, ‘Escaper’, ‘Barrel of Love’, ‘Realms’ … a few others. They intentionally don’t sound identical to the record – I like that a lot about touring.
Many of us at Ramona are originally classical or jazz trained musicians – why is merging of genres important to you as a musician?
I think at the beginning I wasn’t thinking of it as purposely merging ‘genres’ because classical music was already so ingrained into my style of thinking about music, or even subconsciously deciding what music I preferred listening to. I’d always loved albums with very massive orchestral swells, albums that featured string or brass arrangements. It’s not hard to pin where that comes from. But I don’t know if my music really counts as merging classical and indie or if it’s more of a sensibility that I’m trying to unfold within my music. I think classical music has a lot to show for emotion, the tides of swells and melodic pulses it features that are very much in line with indie music, pop music even. It’s a feeling that takes us somewhere.
Has there been anything that has surprised you about this album cycle, either personal or professional learnings?
I’m very surprised by the things people are saying about the album – I did not really understand or know how much people would dig into it and try to parse out my words or what I want to say. It’s been overwhelming in a very wonderful way. I also find that I’m already rushing ahead to think about what’s next … whatever that may be.
What advice would you give Sarah, a year ago?
Breathe. Lay down outside more often. Stop questioning whether the music is enough for other people. Play for fun more.
