Sarah Kinsley: “Experimentation, curiosity, and a need for the unknown has really defined me”

From classical prodigy to pop innovator, Sarah Kinsley has delivered a debut album that captures fleeting moments in time.

Words: Stephen Ackroyd.

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There’s a peculiar alchemy that occurs when classical training meets pop sensibility. It’s a delicate balance that many attempt, but few truly master. Sarah Kinsley, however, seems to have stumbled upon the philosopher’s stone of this musical transmutation, turning base elements into pure gold with her debut album, ‘Escaper’.

“I plan to lie in a very lush park for a few hours and trade some clothing at my local vintage shop,” Kinsley announces, outlining her plans for the day. It’s not the typical schedule you’d expect from an artist whose debut album is on the horizon. But then again, Sarah Kinsley is far from typical.

The serene approach to what could be a nerve-wracking time speaks volumes about her artistic ethos. ‘Escaper’ is the culmination of a lifetime steeped in music. But for Kinsley, music isn’t just about the end product – it’s a way of life, a lens through which she views the world.

“Music has always been a part of my life for as long as I can remember,” Kinsley reflects. “I was a pianist at four years old. The idea that I could create music was very foreign to me for a few years. I loved to compose classical music, which is how it began: waltzes, piano concertos. My voice became really apparent to me in high school and I began to sing, I began to write and dream. But it wasn’t until I began to produce my own music that I understood that making music was what I had to do.”

This journey from classical prodigy to multi-faceted artist has been marked by a constant thirst for knowledge and experimentation. Kinsley’s formal music education at Columbia University played a crucial role in shaping her artistic vision, but not necessarily in the ways one might expect.

“You know this is such a tough one to figure out,” she muses when asked about the impact of her studies. “The greatest thing about studying music in college was the community. I had really wonderful professors; I still think about them now: David Adamcyk, Seth Cluett. The work that was happening, the indie scene that was bubbling at school, the shows people were putting on in basements. All of that was very informative to me, very necessary for my sort of understanding of what music can be.”

But it wasn’t just the curriculum that left its mark. “I learned a lot of theory in school, a lot of very specifically Western music history,” Kinsley continues. “It was useful in that I understood the throughline of one side of music. But the true value of my experience came from learning the newer frontier, the edge of how people were trying to make sense of music, how music should be created, why music had to be formulated in one specific way. That was life-changing for me. That quality of experimentation, curiosity, and a need for the unknown has really defined me since leaving school.”

“I loved to compose classical music, which is how it began: waltzes, piano concertos”

Sarah Kinsley

This spirit of exploration is evident in ‘Escaper’, an album that marries Kinsley’s classical background with her love for contemporary pop. Produced in collaboration with Grammy Award-winning producer John Congleton, known for his work with artists like Angel Olsen and St. Vincent, the album represents a significant leap for Kinsley.

“‘Escaper’ is my attempt to capture the fleeting moments,” she explains. “Shimmering, brief moments in time that live with us eternally. The idea of escape is a really powerful one for me – where we go, who we become. It’s the true realisation of integrity, this sort of, who am I when I am with no one? This idea sparked a lot of the songwriting on the album and the conceptualisation of its soundscape. There was no greater thing to encapsulate this entire record.”

The decision to work with Congleton came about through a serendipitous realisation. “It was a really beautiful coincidence, getting on the path that led me to working with John,” Kinsley recalls. “I had been a massive, massive fan of some of his work without even knowing it. I loved – still love – Angel Olsen’s record, ‘All Mirrors’. Probably a top ten of mine. I loved St. Vincent. My manager had me make a list of my favourite albums solely based on production. Turns out he had produced almost half of them.”

The collaboration proved to be a transformative experience for Kinsley, who had previously self-produced much of her work. “This first experience of really collaborating with another person was challenging for me. But also truly one of the best, most rewarding experiences,” she says. “I’ve always been a very self-conscious, over-aware perfectionist. John has this quality of real peacefulness that was very cool to witness. In a lot of ways I felt he understood my writing and how to speak it into existence via song.”

This creative synergy resulted in an album that pushes Kinsley’s boundaries while staying true to her artistic vision. One standout track, ‘Knights’, exemplifies this balance. “There’s a very intense tempo change, a real shift from a more centred piano ballad into something huge and massive and fast,” Kinsley explains. Warpaints Stella Mozgawa played drums the track. “We basically just had to ask her to throw a lot of paint – no pun intended – at the wall and experiment with how to accomplish this shift,” she adds. “The final result of it is one of my favourite parts of the entire album.”

But ‘Escaper’ is more than just a collection of songs – it’s a journey. “It’s really meant to be a story, a narrative that invites you in and holds you and asks you to feel and ponder for about forty minutes,” Kinsley emphasises. “I want people to feel alive, aware of their luckiness and beauty, when they hear it.”

This desire to connect deeply with her audience extends to Kinsley’s live performances. She’s about to embark on an extensive tour across North America, the UK, and Europe, including sold-out shows at venues like Webster Hall in New York and Heaven in London. The prospect is both exhilarating and daunting.

“Honestly, I’m not sure how to do it just yet,” Kinsley admits when asked about preparing for such a long stint on the road. “The longest I’ve been on the road is for about three weeks. I’m grateful for my band. I just love them with all of my heart. They’re so talented and funny and it just feels cosmic to know each other and that they want to play the music with me. It’s very easy to want to be in their company. But otherwise, I think it’s about keeping oneself healthy, sane, and focused. It hasn’t been easy figuring out how to sustain myself and my voice on the road.”

Despite the challenges, Kinsley’s enthusiasm for live performance is palpable. “I love playing live. It’s what’s at the end of the tunnel vision within album making: to give people a true live show that leaves them changed and connected. I have to remember that vision when touring feels difficult.”

This commitment to her craft was evident even in her recent supporting slot for Mitski at the iconic Ryman Auditorium. “It was a really incredible night at the Ryman. I can’t tell you how overwhelmed and ecstatic I was the entire time,” Kinsley gushes. “Mitski was really kind; her entire crew and team was kind. One of our guitars broke down literally fifteen minutes before the show, I kid you not. And her guitar tech just opened it up completely, soldered some bits here and there, and with maybe two to five minutes left before we played, everything was okay.”

As she prepares to take ‘Escaper’ on the road, Kinsley is particularly excited about revisiting some cities and exploring new ones. “Honestly I’m so excited to go back to Los Angeles and Atlanta. I can’t wait to go back to Germany – Cologne was one of the best shows I’ve ever played. London. New York. There are a lot of shows on the UK/Europe side in cities I’ve never been to: Dublin, Glasgow, Prague.”

But for now, in the calm before the storm of album release and touring, Kinsley is savouring the moment. “Genuinely just living tenderly. Soaking up summer sweetness,” she says of her current state of mind. “I feel a lot happier these days, so I’m savouring it.”

With ‘Escaper’, Kinsley has crafted a debut album that not only showcases her immense talent but also creates her own unique world. But more than that, she carries an invitation – an invitation to escape, to explore, to feel deeply and truly. The only question is: are we ready to escape with her? ■

Taken from the September 2024 issue of Dork.