A Chat with VIAA (22.10.25)
Rising alt-pop VIAA first cut her teeth singing backup for Anderson Paak, Willow Smith, and Doja Cat before stepping into her own spotlight. With the release of her new single ‘Arson’, we chat with VIAA about all things music below.
OSR: Can you tell us a bit about your journey from Germany to Ohio and then Los Angeles, and how those different environments shaped your musical identity?
VIAA: I absolutely loved living in Germany. I went to school on the military base, so although I was still growing up around a lot of Americans, we lived off base for most of that time and got to travel to other countries like Italy, France, and England often. Plus, our school had enough resources and accessibility to go on field trips ALL the time, so we were exposed to German sports, ballet and opera, museums, food, etc., and we were learning German in school by 2nd grade (even though most German kids and adults already knew English, so it was very easy to communicate with everyone). I felt very welcome and at home there, even though I was a Black American.
Moving to Ohio was quite traumatic if I’m being honest. My mom’s family was from Northern California, and my dad’s from North Carolina, so all I had really experienced of the US was TV and movies (mostly filmed in Los Angeles) and those two states, which had really beautiful, unique, and varied landscapes. When we arrived in OH, it was mostly flat, grey and concrete, plus it was my first experience with racism and extreme patriotism. I couldn’t understand why I was learning so much about how great Ohio and the US was in school, and why it mattered so much to them, as if they were the most important thing in the world. That’s not how I was educated in Germany (even in my American base school). All of a sudden, it mattered to my new peers if I chose to hang out with black kids or white kids, because it would affect how I was perceived to the outside world; it was incredibly confusing for me, especially as a mixed-race person (my mom is white and my dad is black). Thankfully, I made some great, accepting friends and experienced emo/screamo/pop punk music and live performances that shaped my formative years, but I knew OH wouldn’t be where I lived forever.
I chose to move to the place that felt the most familiar to me and that had more open-mindedness and liberal thinking. Moving to LA was a culture shock for sure; very fast paced, even more cultures than I had expected, and very expensive. I resonated with LA because at the time, it was full of weird artists, people that didn’t think you had to act your age, and opportunities if you opened yourself to them. The variety in the geographical landscape was a huge perk too. It’s kind of funny, though; Los Angeles is also its own little bubble – not that accessible to the rest of the country, and you start to feel isolated the longer you’re there. As time went on, things got more and more expensive, sadly, the people got less weird, neighbourhoods got more gentrified, and landscapes more affected by climate change. I’ve since moved to Baltimore, MD, this year (and love it), but LA holds a special place in my heart as it helped raise me into the adult I am now, and I received so many amazing opportunities in music.
OSR: Who were your earliest musical influences, and how do they still resonate in your work?
VIAA: Fefe Dobson, Avril Lavigne, The Dixie Chicks, Selena, Mariah Carey, Sade. I would say Selena, Sade and Mariah influenced my early work, which leaned toward pop, R&B and 80s. Fefe and Avril, and the Dixie Chicks, influence the EP I just released, which leans alt-pop, punk, and a little country.
OSR: You started as a backup singer for artists like Anderson Paak, Willow Smith, and Doja Cat. What lessons from that experience carry into your solo work?
VIAA: Seeing firsthand how hard and consistent you have to be, especially with Anderson Paak, he is constantly working and being open to collaboration. I learned how to be adaptable to schedules and to a lot of different people’s personalities. I also learned that your attitude and how easy-going and fun you are to have around is a huge factor in your sustainability as a touring musician. Yes, being good and professional is important, but being personable and a “good hang” is equally as important. That’s kind of a hard truth for an autistic person like myself.
OSR: ‘Arson’ blends alt-pop, pop-punk, emo, and electronic elements. How do you approach merging such diverse genres in one track?
VIAA: I start making a song with what comes naturally for me to play, which is typically emo/pop guitar or synth chords, and electronic samples. Then I listen to songs from genres I’m trying to pull from, like alt and pop/punk songs and incorporate those as I go along. Finally, I utilize other musicians/producers who are more skilled than me in fine-tuning and/or adding the last elements that can push a song to the finish line with those crucial blending elements, like a lap steel guitar for a country twang, or lo-fi effects for a more punk vibe.
OSR: Walk us through your writing process for ‘Arson’. Did the song start with lyrics, melody, or production?
VIAA: ‘Arson’ started with me experimenting on guitar–I looped a couple of chords I liked, then sang a melody over it, and finally added lyrics. I produced that demo out more in Logic with synth sounds I thought were cool and added the instrumental chorus. The co-producers/musicians (Mori Einsidler and Grey Skiin), added lead guitar, production elements, and live drums. Bartees Strange, who mixed the song, also added some cool production flares in the final process. All of that combined made Arson what you hear now.
OSR: Your music often incorporates tension and release. How do you balance raw emotion with pop sensibility?
VIAA: So many pop songs we know and love have darker themes and are drawn out of unsavory emotions, yet are disguised by major chords or sparkly veils. I love that contrast in pop music-I think it’s really smart and cheeky. I always knew I was going to make pop music, so I challenged myself to write lyrics and melodies with the raw emotion I needed to express and balanced that with instrumentation that would feel somewhat opposite–making it sound interesting and a little more “cool”.
OSR: How do you experiment with vocal delivery to convey both vulnerability and power in a song?
VIAA: I’m still experimenting with this as I grow. So far, I’ve focused less on vocal prowess because I wanted my songs to be easy to sing, and so the lyrics to really shine through. But I think I’d like to experiment more with my vocal range and abilities because there can definitely be both. I want the emotion of the words to shine, but I also deserve to shine and feel powerful as a singer too.
OSR: In your view, what sets alt-pop apart from other genres in terms of emotional storytelling?
VIAA: Alt-pop tends to embody a nostalgia that other genres don’t necessarily. There’s a yearning vulnerability and a suspension between sonic worlds that I find really captivating in alt-pop. If you didn’t grow up in a Midwest city in Ohio, a tiny pocket in upstate New York, or a farm town in Oklahoma, an alt-pop song has the ability to make you feel like you did, and that’s really cool.
OSR: And finally, what do you hope listeners take away from your new EP, Feels Good in the Shade?
VIAA: I hope people can take away that it’s not always going to feel as bad as it might feel right now. I hope people lean into their petty and empowered villain side. We all have that side in us that often gets suppressed. The sooner it comes out, the sooner things balance out, and you can move on from whatever is keeping you stuck or holding you back. It’s never too late to start over, start something new and evolve. The journey from my first self-titled EP to Feels Good in the Shade is proof of that.
Many thanks to VIAA for speaking with us. Find out more about VIAA on her Instagram, TikTok, YouTube, and Spothttps://open.spotify.com/embed/album/6k0Gmzw4RP8M6IQfhk2pp4?utm_source=generator
ify.
