the partae

What’s the most unexpected place or situation where a lyric or melody for “Wish On You” first came to you?

The main melodies in this track are almost a decade old. Melodies come to me all the time — while out on runs or in line at the café. I record them quickly and file them away for safekeeping. I took several out of the archive for “Wish On You,” and the lyrics came to me quickly. I wanted to write a song that blurred the lines between sincere relationships and parasocial relationships, and while trying to work it out, I took my dog outside that night and saw a shooting star — true story!! — and knew that was the perfect allegory.

If “Wish On You” were a movie scene, what would be happening on screen when the song plays?

Oh, definitely someone screaming at their television or throwing something through it. I’m a big fan of drama like that!! This song is pretty messy and hyper-dramatic, but I use that to mask the real emotions in it. I’m my most sincere when I’m being ridiculous!

What’s one thing about your creative process that would probably surprise people?

When I’m writing my lyrics, I prefer total silence. I know the melody and notes in my head, and I write better in silence with the lights out! I’m a failed poet at heart, and my music is just another avenue for my ironic, angsty poetry!! Call it “performative masculinity poetry” or whatever — it works for me!!

If you could time-travel back to the peak blog-era days, which artist or band would you want to collaborate with and why?

OOOF, so many to choose from. I used to work for a college radio station during this era, and we were sent so many promotional tracks from amazing, truly indie artists. It was such a formative time for me, so I’m going to end up leaving so many out!! I think the top of my all-time-collab-dream list would definitely be Metronomy, Phoenix, Hot Chip, and Neon Indian!! They all have such an amazing approach to their music and lyrics — there’s something to all of them that feels almost hyper-real!! If any of them or their reps are reading this — you know where to find me!!

What’s the strangest or funniest reaction you’ve had from someone hearing your music for the first time?

My dad is probably my biggest fan, and I owe so much to him for curating my taste in music since I was an infant. He loves my music but likes to remind me that I sing like “Weird Al” Yankovic and that “Wish On You” really highlights this! Definitely not an insult in the least bit. I’ve often thought that when Weird Al retires, he’d be able to pretty easily pass the torch to me. He was my first concert growing up, and I have a pretty gosh darn good taste in polka!! Myron Floren? Come on!! Though that’s hardly a hot take.

How would you describe Bobo Gogo’s sound if you had to use three completely random objects instead of music terms?

I don’t want to spoil anything, but my sound is definitely going to change drastically and constantly. I have some things planned for 2026 that are… pretty wild!! I think the distinct through-line of all of my tracks is my approach to melodies and lyricism, and the objects that really capture my perspective are: an empty giant soda cup from a cliché American gas station, an unfinished crossword puzzle (Sudoku is an acceptable substitution), and infinitely tangled corded headphones that are more wound together than the Gordian Knot.

What’s a piece of pop culture — a film, a meme, a video game — that secretly inspired this track?

A lot of my little melodies and hooks are always going to sound a little retro video-gamey, especially for my first few singles. I get a lot of inspiration from Nintendo 64 soundtracks — they all have such a bright approach to instrumentation and composition that can’t help but excite you!!

If someone made a cocktail called “Wish On You,” what would be in it?

I’m actually a hardcore non-drinker — the people’s straight-edge pop star!! So I think the “Wish On You” would be a Sprite with sour mix and a ton of cherries. That’s my go-to drink when I’m out on the town, and it’s so zippy and sweet that it can’t help but get you into a manic state (which is pretty much required for this song).

What’s a lyric from the song that hits you the hardest when you perform it, and why?

“Can’t even watch a show without you on my TV screen” is the standout lyric to me in this song. It really captures the inescapable feelings you have for someone — whether you’re literally seeing them on screen because they’re now super famous (perhaps I’m talking from experience, perhaps not), or you’re figuratively projecting someone you miss onto characters in a show. Then all of a sudden you’re in your feelings about Michael Scott in The Office or something.

How do you want people to feel after blasting “Wish On You” on repeat?

Oh wow, I hope people listen to my music a lot, but maybe this isn’t good for the psyche!! I think “Wish On You” is an intense song that can evoke a lot of feelings, but by the end I hope people are releasing all of those pent-up emotions and dancing them away!! Or head-bopping or foot-tapping!!

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Primal Urges feels both introspective and lighthearted — what kind of headspace were you in while writing this record?

I’d say the blanket headspace was just being open to whatever came through, and a lot did – but there’s about an album’s worth of other songs that didn’t make it out of demo territory for good reason!

You’ve said the songs are more “outward focused” this time. What shifted in your perspective compared to Dreamworld?

I didn’t have the low hanging fruit of breakups or singledom breakdowns to pick from this time around.   Dreamworld was full of that stuff and it’s easier to write so it was nice to open up a bit and let other things in a bit more.  Speaking of – my partner Becky who does all the visual art for us have been juggling having baby born and raising him through all this.

There’s a warmth to this album that feels lived-in. How did you balance humour and melancholy without tipping too far either way?

I want the songs to be able to wash over the listener without the lyrics slamming them in the face, but if you want a bit more there is more.  It’s a part of that balance I think.

Working with Alex Markwell seems to have brought a certain polish while keeping your charm intact. What was that collaboration like in the studio?

He’s a lot of fun. He has a way of being so relaxed by doing all studio tasks at wizard pace.  We didn’t talk much about tones or anything, we all just did our thing and it worked pretty naturally.

“Blue Horizon” dives into an imagined love story between a bushranger and his lover — where did that idea come from, and what drew you to that era?

Ahem.. not imagined!  The part that is imagined is Frank convincing his lover to escape with him after the heist.  They did exactly that so one would assume there were convincing convos a plenty.

The album moves from hazy nostalgia to something almost cinematic by the end. Was that progression intentional?

Not at all but thanks for listening to it. I tried to put catchiest ones at the start so by the second half you feel obligated to stay on board.

You’ve been praised for your clever, observational lyrics. Do you start with words, or does melody usually lead the way?

Almost always chords then a loose melody then lyrics.  I’d love to change it up and do lyrics first but it hasn’t happened much yet. Maybe next time.

After your return to live shows with “Blue Horizon,” how did it feel reconnecting with audiences after a few quieter years?

A lot of fun. We’ve had Liam Gough on drums for this run of shows and we’ve never sounded better. I’m on the guitar for a change , so for Aiden (guitar) and Riz (bass) and I it’s been a Breath of fresh air and I think that translates live. People seem to enjoy it!

You’ve cited everyone from The Clientele to early Madonna as influences — how do you blend those references into something uniquely Redspencer?

I think I’m so locked into my songwriting style now that it’s hard to make anything that doesn’t sound like Redspencer.  So I guess I’m a blender.

Looking ahead, what do you hope listeners take away from Primal Urges — and where do you see the next creative chapter leading?

I want people to feel positively charged after hearing it, I tried not to write any filler moments in there, nothing too challenging. It’s a pop album and we’re very proud of it . I’m not sure what happens next because we are all so busy these days with kids and running businesses ect – so we’ll just enjoy this era for now and see what happens naturally!

Primal Urges is out now, with vinyl available for pre-order HERE

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“Tangerine” feels both intimate and cinematic — what moment or emotion first sparked its creation?

Oddly enough, the song was inspired by my best friend’s daughter, who was just days away from giving birth to her first child at 20. I remember sitting there, listening to the music I had so far, searching for a melody and lyrical direction. I started thinking about her—how brave and terrifying it must be to face something like that so young—and that’s when the first verse and the seed of the chorus, “Who’s gonna love you,” just kind of appeared.

The song wrestles with vulnerability and the fear of falling apart. When you were writing it, were you reflecting on a specific period in your life?

Yes and no. I was reflecting on my own life and how I tend to handle difficult moments—my craving for connection and community, especially when things get tough, and a time when that support wasn’t always there. That experience pushed me inward, to learn how to have my own back and give myself the love and reassurance I needed. In that way, the song became a personal reflection on the question, “Who’s gonna love you when you’re falling apart at the seams?”—something I think many people can relate to.

You’ve described “Tangerine” as a plea for unconditional love and support. What does that look like to you in real life — who stands by you when things unravel?

The phrase “You’re lucky if you can count your real friends on one hand” definitely comes to mind. I’m grateful to have a few solid friends who’ve stood by me through so many ups and downs. Over time, life has really whittled that number down, but I’ve learned it’s all about quality over quantity. And honestly, my little orange cat, Cali, has been a huge source of comfort too—an emotional support furball in every sense.

There’s such a vivid contrast between the song’s warmth and its emotional heaviness. How intentional was that balance between beauty and ache?

The overall vibe of the music came first—it naturally carried a sense of sweetness and warmth. The melody and lyrics came later, and while I didn’t set out to create a contrast between beauty and ache, it started to reveal itself as the song developed. In the studio, as we refined the instrumentation, the vocal delivery and harmonies really helped the lyrics define that balance between beauty and ache. One of my favorite moments is the bridge—it feels like a breath of fresh air, more uplifting and encouraging, almost like it’s saying, “Don’t be so hard on yourself. Keep going. You’ve got this.”

You wrote this track between Asheville and Los Angeles — how did those two worlds influence its sound and tone?

At the time, I was traveling back to Los Angeles often for work—(I do video game audio as wel)l—and ended up staying in my old stomping grounds in Venice Beach. I’m so glad the melody and lyrics for this song began there. Venice is pure magic to me. I lived there for ten years, and it will always be my happy place—the spot where I feel most creative. The raw, gritty, colorful, and free-spirited energy of Venice absolutely influenced where my mind went while writing. It’s a place that feels safe enough to be deeply vulnerable.

Asheville, on the other hand, has become my second home. Collaborating with my producer and some incredible local musicians here has really helped me find a creative community that values connection and collaboration. Recording the vocals, harmonies, and final instrumentation in Asheville brought a warmth and organic texture to the song that perfectly balanced the edge and grit I felt in Venice.

Working with Patrick Doyle and Phillip Shaw Bova brought some serious pedigree to the production. How did those collaborations shape the final version of “Tangerine”?

Patrick Doyle is incredible at what he does. You can tell he genuinely cares about his craft as a producer and engineer. I feel so lucky to work with someone who’s also a master of harmonies — something that’s still relatively new to me. Every time we added harmonies to Tangerine, it helped highlight the vulnerability and delicateness of the lyrics. Patrick is truly one of a kind, and I’m so grateful to have him helping me shape my sound as a new artist. 

Philip Shaw Bova is an amazing mastering engineer, and I was thrilled he agreed to take on my project. Having someone who’s worked with artists like Feist, Bahamas, and Lake Street Dive add his final touch to Tangerine — and the record as a whole — was such an honor.

The name Pretty Little Saturday has such a poetic, nostalgic feel. What does it represent to you as an artist and a person?

As I mentioned earlier, I spent ten years living in Venice Beach, CA — a vibrant melting pot of people, art, and energy. Those were some of the best years of my life. I’d wake with the sun, play beach volleyball with friends for hours, watch every sunset I could, and share family-style meals with travelers passing through. I rarely left my little ten-block radius of sun-soaked paradise. I walked, biked, and skated everywhere. Life was simple and spontaneous — it didn’t need much planning, just presence.

Pretty Little Saturday is a tribute to that time and place that shaped me so deeply. It captures the spirit of those days — light, free, and full of connection and creativity.

“Tangerine” explores isolation and the search for connection — how do you personally find grounding or stillness when life feels chaotic?

I find grounding and stillness in a few different ways. Recently, I’ve gotten back into meditation and yoga, which have both been really helpful. I’ve also started a habit of burning incense and putting on a calming playlist as I wind down in the evening.

Limiting my time on my phone — though it’s definitely a challenge — has helped open up more space for daydreaming and reflection, especially when I’m searching for lyrics or trying to understand what I want to say in a song. And lately, spending time with a new instrument has been grounding, too. Getting to know the Weissenborn guitar has helped me hear music in a fresh way — it’s brought me back to a beginner’s mind, and that’s been really inspiring.

Looking back at your debut and now this release, what’s changed most about your creative process or what you want to say through your music?

I’m already back in the studio working on my second album while continuing to promote singles from my debut and preparing for a big social media push leading up to the full album drop in early 2026. 

This next record leans more heavily into live drums, gritty guitars, and synths — a sound I’m really excited to explore. Also, As I mentioned earlier, I’ve been frothing over a new instrument: the Weissenborn guitar. An incredible luthier named Tim Kill is currently building a custom one for me in Australia. I’m hoping to fly over to pick it up in person — it’s been a dream of mine to visit Australia, and I can’t think of a better reason for a first trip. I plan to feature the Weissenborn on this second album; it has such a unique emotional character and brings a whole new texture to my sound. 

As for what I want to say with Album 2, I’m trying to stay open and let the songs guide me. Each one has its own story and energy. As long as I’m making music and pushing my creative boundaries, I’m happy.

You’ve hinted that “Tangerine” is a taste of what’s next — what can listeners expect from the next chapter of Pretty Little Saturday?

My debut album, Long Overdue, hasn’t been fully released yet — Tangerine is the second of two singles I’ve shared so far.

Since this is all new to me, I wanted to take some time to release a few singles first and really learn the ropes of putting music out independently. It’s been a great way to understand the process and connect with listeners along the way.

I’m planning to release a few more singles throughout the year, with Long Overdue set to arrive in full in early 2026.

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Photography @jared.kinley

You’ve just dropped ‘Heart Attack’ — can you take us inside the moment you knew this was the right song to mark your return?

After record two, I was searching for a new way to approach songs, a new tone, a fresh sound. ‘Heart Attack’ was one of those songs that just jumped out at me immediately. It felt like a new chapter had begun, the page turned.

‘Heart Attack’ feels both propulsive and vulnerable. How did you find that perfect balance between emotional storytelling and infectious energy?

I think I’m sort of obsessed with duality at the moment. I love blending the opposite spectrums of reality. This song is sort of a good example of that. I wanted the lyrics to feel vulnerable, but the song is this sort of driving force that counteracts with the melodies.

You worked closely with Taylor Johnson again on this track. What is it about your creative partnership that brings out your best work? 

When you get to make music with one of your best friends in the world, it creates an environment of encouragement and honesty where we can be real with each other. There’s no reading between the lines. He’s also an evil genius of sorts, Taylor. He is single handily the best musician I have ever been blessed to encounter in this life.

Cian Riordan’s mix gives the song a big, cinematic feel. How important was that mix in shaping the final sound? 

After we finished the track, I went on a deep dive search for a mixer. I was listening to all kinds of records; searching for this exact sound I was after. Cian’s name kept popping up as the mixer for a lot of the records I was listening to. He’s the perfect balance of this sort of 70’s saturation, whilst keeping the song sounding current with the times. I couldn’t have asked for a better mix. Cian is a legend.

HELLO STRANGER has been such a pivotal record for you. How did the experience of making that album influence this new chapter?

I poured my soul into ‘Hello Stranger.’ It was not an easy record for me to write. I was going through an identity crisis at the time and felt like I was in a constant fight with myself and the person who I wanted to be for the world. Once I came out the other side of that record, I wanted to create from a different perspective, I hate to this say this but I wanted to have fun again making records… And fun we did have again.

You’ve been named one of SXSW’s “Best 15 Acts” and sold out shows across the globe — how has the growing audience changed the way you approach live performance? 

The live show is everything to me. I write the songs based on how I am going to perform it live. The more the audience has grown, the more energy I feel like is being put into these songs and live shows. The songs have grown and changed as the crowds have grown and changed. It’s a beautiful ride to be a part of.

The HELLO STRANGER tour has been high energy. What’s been your favorite live moment so far this year? 

It has to be playing the SWR3 festival in Baden-Baden. It was a pretty surreal moment to sell that venue out to that size of crowd. I’m a kid from a small town in Oklahoma. It warmed my heart to look up to that crowd with my best friends behind me. It’s a moment I will never forget. Mom & Dad, I am really living my dream!!

This upcoming run includes both Europe and West Coast US shows — what can fans expect from the setlist and overall vibe of these gigs?

Sweat, tears and electricity.

With over 50 million streams and counting, what excites you most about where Thunder Jackson is headed next? 

The possibilities of the sound of Thunder Jackson are infinite. I want to continue to create and challenge the listener, with something fresh and something different. I’m about to start writing record three… prepare for a wild ride.