When it comes to capturing the essence of heartbreak, no one has mastered the art quite like London born, LA based Lila Drew. Lending her vocals, which are filled longing and captivating in tone, and emotive pen to the track whilst the hum of angelic violins strings ring out, the song stands as one sure to have you cast back to your own experience with the trails of the heart, and maybe even shedding a tear.
“This song is really special to me,” explain’s Lila. “I wrote it when I was experiencing really horrible anxiety and wanted to express that tension and that push and pull sonically in ‘Crystal Ball’. Lyrically, it came from a place of deep frustration with myself. I hated the ways in which I approached all kinds of relationships in my life. I felt like I was doing it wrong, but was unable to adjust myself. It’s one of my most personal and sincere songs, so releasing it is nerve-racking for sure. I’ve come to terms with it, though. I think I’m a pretty introverted person on the inside, so a part of me (of course) wants to just keep the song on my computer forever — I think I’d be content with that too. But, it’s important to me that ‘Crystal Ball’ has a life of its own, and I’m really excited for people to hear it.”
Upon the release of “Crystal Ball”, the songstress took some time to chat to Wonderland about what sparked her interest in music and how she approaches the art of songwriting. Head below to enjoy our interview with Lila Drew.
Hey Lila, how are you, how has this past year been for you?
Hi! I’m good! It’s crazy to look back on this past year. This time last year, I had just started my first year of college, was working on tons of new music, not to mention living away from home for the first time. It was a year of new challenges and growth, both personally and musically. I’m now in my second year of school, and so much has changed; my music is all done and I’m such a different person. I’ve really stepped out of my comfort zone in a lot of ways.
With everything that happened last year, was your creativity affected?
First, I think it’s important to acknowledge that I was in a very privileged position during the pandemic. I was able to live at home with my family, and I was safe and healthy throughout much of it, so I’m very grateful for that. From a musical standpoint, when the pandemic hit, I had been working on new music pretty much every day for about six months. So the change was pretty stark. I do think that the pandemic was really helpful for the music, though. It gave me the opportunity to reflect upon the music I’d made and think about it critically — it all changed for the better because of that time. I also taught myself how to play the guitar during covid, so a lot of new music came from that.
How did you first get into music, what sparked the interest?
I grew up surrounded by music — not by singing or instrument playing, but my dad constantly played music in the house. He played everything from J Dilla to Lou Reed. I really credit him for endowing me with this incredible musical encyclopedia. I think first and foremost, I’m a fan of music, so my total obsession with listening to music translated into me singing, playing instruments, and writing songs. It’s super cliche, but music has always been everything to me. It was my first love, so I guess I had to chase it.
Where are you from? Do you think your area or hometown impacted your sound?
I was born in London but moved to Los Angeles when I was pretty young. I think growing up in LA affected my music so much just based on the sheer fact that LA is such a music-heavy city. All of my friends had such broad music taste, and everyone around me emphasised creativity from a young age. I think it’s part of the fabric of the city. I also love west coast music. Laurel Canyon! Those are the foundations of singer-songwriter music, and they’re so close to me.
What do you want people to take away from your sound?
I hope people can hear the discrepancies and imperfections that are all left purposefully in the music. That’s the most important takeaway — that the music feels close to the listener’s ear.
Who are your inspirations?
Right now? Fiona Apple, The 1975, The 10-minute version of “All Too Well”, and the Before trilogy.
You’re starting a new chapter, what does this entail for you?
I’m just so content with the music I’ve made for this new chapter. I love listening to it and for the first time can listen without critiquing it. That’s been such a special feeling and one I wasn’t sure I would find. The most important thing now is just writing more music!
What are you most excited for? What’s next for you?
At the moment, I’m excited for my finals to be over! No, I’m so excited for Adele’s new album this week, to release more of my new music, to play my first shows, and to keep making more music.
And now you’ve just dropped your new single “Crystal Ball”, talk us through your mindset approaching the single?
This song is really special to me! I wrote it when I was experiencing really horrible anxiety and wanted to express that tension and that push and pull sonically in Crystal Ball. Lyrically, it came from a place of deep frustration with myself. I hated the ways in which I approached all kinds of relationships in my life. I felt like I was doing it wrong, but was unable to adjust myself. It’s one of my most personal and sincere songs, so releasing it is nerve-racking for sure. I’ve come to terms with it, though. I think I’m a pretty introverted person on the inside, so a part of me (of course) wants to just keep the song on my computer forever — I think I’d be content with that too. But, it’s important to me that ‘Crystal Ball’ has a life of its own, and I’m really excited for people to hear it.
When writing this song, what inspired you? What made you tap into this particular topic?
I wanted to be a bit more candid in my writing. I felt like I was overdramatising a lot, and wanted to simplify things. That sentiment was really inspiring throughout the lyrical approach for ‘Crystal Ball’. Sonically, I was really inspired by harmony techniques that I feel like I hear a lot of in indie music. Like the ways that Radiohead does their backgrounds. Or Bon Iver. These really spastic, spontaneous feeling harmonies and ad-libs are there to create warmth and texture rather than just to be impressive.
