Then she lays out her intention with Hold the Girl: “I’m trying to infiltrate therapy into pop music.” The specificity is slightly lessened by the fact that the hooks are universal.” “But I’ve tried to do this thing where I try to make the hook as easy to understand as possible so that it's still a good pop song. “So much with this record, I’m like, ‘Is anyone going to get what I’m talking about?’” she tells me. While crafting the album, Sawayama worried that a general audience wouldn’t understand the subjects she broaches in her songs. What makes you happy? What are your values? I think this record overall is about finding out what those boundaries are.” “I think when you spend your whole life trying to make other people happy, whether it's your parents or school or this societal notion of what’s good you genuinely forget what you want to do. “The idea of, where do I start and where begin is something that I’ve only really truly learned recently,” Sawayama reflects. She clarifies that her experience of being gaslit into “not believing in own truth” is tied to her identity as a Japanese British immigrant who is both femme and queer. garage and club beats, required the now 32-year-old singer-songwriter to confront the self-denial that came from “growing up without boundaries” and thus “receiving a distorted view of reality.” The project, which veers from the bright 2000s acoustic pop (think Avril Lavigne and Kelly Clarkson) to feverish U.K. Though it seems simple, reclaiming the happiness that comes from colorful writing instruments seems like one way Sawayama is getting back in touch with her “inner child,” a psychological concept that she explores on her new album, Hold the Girl, out September 16. “Now I can buy all the pens,” she recalls triumphantly a few weeks later on a call with me from the London office of her label Dirty Hit.
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