“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.
