“Free [yourself] from the scourge of your expectations.”
Like the first barefoot step into a freshly dew-covered patch of grass, Uwade’s moment right now is as rooted in personal stillness as it is in sprightly dreams. She is an emotive folk poet, a dynamic and harmonious pop-leaning artist, and a blistering piece of the curious, genre-defying puzzle that is being a young and vocal creative in the 2020s. Her new album, out Friday, is a sunny, yet introspective snapshot of that.
While maintaining her studies at Oxford and Columbia, Uwade took major steps in her music career, bringing sweetness to projects of her own and with the likes of Fleet Foxes, as well as sharing stages with The Strokes and Local Natives. Slowly but surely, like a flower blooming, Uwade has entranced music lovers, friends, and peers with her style, which is dreamy and open-minded, seeped in vulnerability, and filled with electricity. She honed her craft, continues to hold her own, and tip-toed into this era of her life – the hardworking, inspiring Florilegium era.
The Aquarian got to connect with the spirited, blossoming Uwade to discuss all of that and more.
Florilegium – we have got to talk about it. First and foremost, there is this thematic notion of flowers and blooming and floral guideposts. It is perfectly timed for right now, the season of April showers bringing in May flowers. On your end, at what point did you know that this album would be a true spring soundtrack?
I had an idea when I decided on the title many moons ago, but the literal season of the release was somewhat accidental. And, honestly, many of the songs embody seasons other than spring to me, but somehow that’s the most spring thing! Sometimes I forget that spring is not all sunshine and flowers, sometimes it’s storms and rain and screaming into a mirror, “What is happening?!” So there’s space for all of that.
This is also your big and beautiful debut album, which is a long time coming. Is this the debut you always imagined you would be putting out into the world?
Yes! I put my heart into it and the songs feel like ‘me,’ and they are songs I would listen to myself, which is all the confirmation I need. There’s an interview in which Ira Glass speaks about the frustrating gap between taste and talent that many creatives face when starting out. I really resonated with it when I first heard it, because I just couldn’t get my songs to sound like ones I would listen to, but with this record, that gap is slowly closing for me, and it’s so exciting to witness.
What are you looking forward to most about your upcoming headlining shows and having these songs ready to come to life as part of the set?
I’m excited to have some groove on stage with me! I love playing solo and connecting with the audience in that way, but I’m ready to let loose a bit and have some fun with the incredible band members joining me. I’m also looking forward to seeing people move in the crowd, as well, and unearthing parts of my performing persona that I didn’t even know existed. It’s going to be electric, and hopefully there will be flowers!
There are really cool intros and outros on a few of the songs that make up this record. A song like “Call It A Draw” has no instrumental introduction or build in that sense, but it has a cool, fuzzy outro and drop off. When you’re piecing together songs in the studio, are those add-ons created from the jump, or are they thrown in later for the sake of the overall flow? Or, maybe it’s different for every song?
It’s different for every song, but in general, the way I start and end my demos on my computer is how I attempt to replicate them in the studio (but, of course, with the genius input of the incredibly talented musicians I get to record with). So for most of these, like “Call It A Draw,” the way it starts and ends was planned and intentional. Your girl doesn’t have the moolah for unlimited studio time, so efficiency is a must.
I could listen to “The Second Station” everyday for the rest of my life and never get tired of it. It is so gorgeous. There is a little bit of everything in it, and the vocals are so subtly strong in its dreaminess. I can talk about it forever, too, clearly. Can you tell me a bit about how that track came to be? Just because I have such an appetite for its beauty.
Stop! I’ll cry! I love that one, too – it’s an underrated legend. I can’t wait to do an acoustic version of it one day. It’s a song that came out of a sense of failure I was experiencing around spring of 2023. I’ve been a ‘high-achiever’ my whole life and am used to a very particular set of metrics of success, and when I was at home facing myself and reckoning with the fact that I was falling short of what I wanted for myself, this song was born. The chorus is my favorite because of how the instrumentation and chord progression sort of mask the melodramatic lyrics, but also the lyrics are so true. Disappoint yourself! Disappoint other people! Not in a life-altering, shirking responsibilities way, of course, but you will be free from the scourge of your expectations.
You have collaborated with, been mentored by, and toured/shadowed some of the most original artists and acts on the planet. Who has played the largest role in terms of inspiring how you carry yourself through this debut album release of yours?
One person that comes to mind is the inimitable Jamila Woods. Getting to tour with her last year was a masterclass in what it means to be authentic and generous as an artist, and as a Black woman. She is soft and strong and courageous and thoughtful. Her work is so beautiful and has so much depth. She is unapologetically herself, but also kind and capacious. I want to carry her lightness with me through this process and remember that it’s all about the art. It’s all about connection. Also, I’ve gotta shout out Kevin Morby. He’s an incredibly kind person and fantastic musician. His attitude and genuine positivity is just infectious. Both of them stick with me in these early moments.
This is all without mentioning your superb academic success that is mirroring your artistic success and overall upward trajectory. It is mesmerizing to see and we are so proud to witness the greatness and growth. How does your music career and education intersect, if at all? What is that balance like?
Thank you so much! I appreciate the kind words. There is no balance, but that’s ok for now. I think the concurrence of the first year of grad school with the release of the first record equals a lot of chaos. I didn’t know what it would be like to try and meld the two into this little life of mine, but thankfully I have a great team, cohort, and support system that are helping me through it all. My ability to multitask has definitely developed exponentially.
UWADE PLAYS TOMORROW NIGHT AT BABY’S ALL RIGHT – GET TICKETS HERE! FLORILEGIUM IS OUT THE NEXT DAY, FRIDAY, 4/25, WHEREVER YOU LISTEN TO MUSIC!
