Hi! With another JUNO nomination for Producer of the Year, how does it feel to be recognized for your work at this level?
A: Hello! It’s always an honour and a pleasant surprise. I joke about this a lot, but I am quite serious when I say that I live the majority of my life working in a dark basement and I don’t get out much so when a lovely acknowledgement of my work comes through, it is much appreciated.
As the first woman to win the JUNO for Recording Engineer of the Year, how do you see the industry evolving for women?
A: In some respects, I have seen some change occur in the last few years. A lot of important discussions are happening. I am noticing a greater effort to create initiatives that amplify women’s work in the technical fields. I am also seeing more women being hired as producers and engineers. We are nowhere near parity yet, but I think there has been a move towards the right direction and it has been nice to see.
You’ve worked with artists across genres—how do you adapt your production approach while maintaining your unique sonic signature?
A: I try not to work in the same genre back-to-back. I also try to curate each project to reflect each unique individual. I usually accomplish this by having a period before we even work together of getting to know each other. Knowing an artist’s goals, influences and visions really helps me align with their vision and musical language. From there, I start to curate a sonic signature that is unique to that artist. Sometimes it’s a combination of finding the right sonic pallet, the right group of musicians, anachronistically working our way through the recording process or exploring the lines in between genres. I think changing the process up to suit the flow and needs of an artist is integral and I always like to explore those spaces in between…that is where you find all the exciting gems. All that being said, it’s important to remain in your gut and heart throughout the process otherwise it becomes a cerebral mess. The guts and hearts are where the good stuff lives. I like to feel my way through the storytelling and not overthink it too much. There is time for analysis after it’s out there.
“Ghost” and “Should We” earned you a JUNO nod—what drew you to these songs, and what was your creative process?
A: Both songs came together differently. With “Ghost”, Sebastian called me and asked if he could play a draft of a song he wanted me to co-produce with him and Justin Meli. He brought the stems in and then we re-arranged and produced the song to its completion from there. The song had a very quick deadline. I think we put a day or so of production into it at my place and then we spent a few days sending additional instrument stems to each other to add those final touches. After that, I put in a few days of mixing before we had to master for release! It came together very quickly! When Sebastian first brought the song to me, I could instantly feel the depth of emotion and power in it. It is also a haunting song. We really wanted the production to reflect the story Sebastian was telling and I am very happy with how the finished version sounds!
With “Should We”, that song was written during a week of co-writing with Emi when she was visiting from Montreal. The demo was pretty fleshed out by the end of our writing session but when she decided she wanted to release it, she came back to Toronto to record the final vocals. From there I finished up the production and mixed it. This song was all about lust, walking that fine edge and primal desire. I remember not wanting to overthink the process of it too much. We just kind of wrote it very quickly after talking for a while and the production process followed a similar trajectory. The bulk of it happened as it was written.
You’re a songwriter, producer, engineer, and multi-instrumentalist—how do you balance all these roles in a single project?
A: There is some overlap between these roles. I see them all as different extensions of my creative and technical voice. They all are symbiotic in that they feed each other. I’m usually playing most of the instruments on the things I produce. I’m usually the one plugging in the mics, choosing the preamps, compressors and effects we’re recording through and pressing record which is the engineering side. As a producer, I am creatively curating and informing these decisions throughout the process and as a songwriter, a lot of the time, I’m producing the track while we write. It’s a constant loop of creativity and I love that it’s self-contained. There is no one or thing holding me back from being able to finish a song or record from the spark of the idea to the final mix. So to answer your question, I think they balance themselves! They’re all necessarily players that help bring a song to the finish line!
What’s one piece of advice you’d give to emerging producers and engineers looking to make their mark in the industry?
A: Work on projects you love and are passionate about. Work with nice people. Honour your creativity and your voice. Trust your intuition. Work hard but fill the well by living your life too. Enjoy life!
From children’s TV to major commercial syncs, your work spans so many areas—what excites you most about these opportunities?
A: I think I like the challenge of doing something new and unexpected. It keeps things fresh for me. TV and commercial projects usually have very fast turnarounds. They have taught me to trust my first instinct and run with it. Those are the pieces that have always landed for me. I also love being able to work with the visual medium. I find it incredibly inspiring. It is also my way of remaining connected to another thing I am very passionate about that I had to take a hiatus from (and that I majored in in University)—Filmmaking!
You’ve collaborated with iconic artists like The Weeknd and Serena Ryder—what’s one standout lesson you’ve learned from working with them?
A: Every artist I have ever worked with has taught me so much. With Serena and The Weeknd, I was hired to be in their live bands. Before I started playing for other artists, I had my own projects so that was my primary perspective. When I became a musician for hire, aside from improving my chops as a multi-instrumentalist, I learned the very valuable lesson of how to best support an artist as a side person. That lesson and knowledge has been transferable to working with artists in the studio. It was in these settings that I really learned how to support artists to get the best out of them. Another amazing thing I witnessed is the importance of connecting with your audience. The artists I’ve worked with are able to shift the energy in the room and engage everyone in it. It is in this live setting that you can truly witness the power that music has. Many of them also taught me to never compromise on your art. They are visionaries who saw their path clearly and worked towards the honest manifestation of their visions. That is a powerful thing to witness when it’s happening. The artists I have worked with are not only incredible performers and creative forces but they are great people and I feel grateful to have had the chance to work with them. That’s the beauty of what I get to do everyday…I am constantly learning from my friends and collaborators.
Having directed music videos for major artists, how does visual storytelling influence your approach to music production?
A: It is extremely integral to my process. I am a very visual person. I can’t write a song without the scene playing in my head. I can’t write a scene without the music playing in my head. There is a powerful force that comes into existence when sounds and visions are combined. Oftentimes in the creative process, I’ll either put on films to establish a vibe or aesthetic in the studio or I’ll ask the artist if they have any concepts or visual references for their music. I like to keep that on tap so I can be further pulled into the narratives that are being created. My favourite productions are the ones that possess a cinematic flare.
What’s next for you in 2025? Any exciting projects or collaborations that fans should keep an eye out for?
A: I am very excited to be working on or releasing new music with Aysanabee, Emi Jeen, Miesha and the Spanks, Jessica Sevier, Alexandra Sieti, Jessica Pearson and the East Wind, Kaeley Jade and others!
Listening to songs so you don’t have to! Just kidding :D, you totally should. Music blogger by day, nurse by night
