Inside 'nine lives' with dacelynn
By the time dacelynn turned 21, she had already cycled through more eras than some artists see in a decade. The Texas-raised, LA-based singer and songwriter first surfaced online at 15 with “80’s makeout session,” a lo-fi daydream that quietly racked up tens of millions of streams and introduced her as someone who could make big feelings feel soft and close-up. With her debut EP, nine lives, she finally zooms out, reflecting on all the different selves she’s grown through.
Written over the last few years, nine lives unfolds like a scrapbook you can listen to. Each track catches her at a different point in the story, whether she is pulling herself apart on “russian doll,” writing through the ache of long-term friendships on “porcelain,” or letting sharp, twangy guitars carry the confessions of “moat” and “dog eat dog.” The songs drift between hushed, indie folk ideas and a rougher, indie pop edge, but the throughline is her voice: tender, clear, and often direct.
And the EP’s title fits. To her, these songs really do feel like separate lives. But overall, nine lives is still a project about being seen. For dacelynn, that starts with telling the truth, even when it is uncomfortable. And for some listeners, it might even sound like finally hearing your own messier thoughts reflected back at you.
You have said it felt like you lived “nine lives” while making this project. When you listen back now, is there a version of yourself that you hear most clearly on the EP, and why?
dacelynn: There are truly so many iterations of myself within this project. I think I always felt like a debut EP had to be super cohesive and decisive in its identity, and because of that, I put a lot of pressure on myself when I first started making music. But through the process, I realized being able to make something that documents what it sounded like to figure out my sound and what I want to say with my music feels way more authentic. The difference between the tracks, and the genre hopping, and just the overall shifts in tone and style are my favorite parts. I love all of these songs and what they stood for when I created them, and I love what I’ve learned from them in the process. I’ve gained a much better idea of how and what I prefer to create while making the EP, and it feels really special to have all those versions of me in it.
These songs were written over a couple of years as you bounced between Texas and Los Angeles. How did those two places shape the way you wrote and the way you heard yourself?
dacelynn: Los Angeles brought a lot of creativity and inspiration that I lacked in Texas. I think the traveling and change of scenery was very necessary to my writing. Texas felt mundane, and California felt new and exciting. The move gave me the push that I needed to finish the project. It also gave me a newfound appreciation for my life back home, and helped me find beauty in a place I never thought I could.
“russian doll” started as a poem and then a stripped-back guitar demo before it took off online. What do you remember about the moment you decided to share that clip, and how did the response change your relationship to the song?
dacelynn: I was really scared initially. I didn’t know what to expect by sharing the demo, but I did not anticipate the response it got. I have never been so unfiltered in a song, and that vulnerability terrified me, but it resonated with people in a way I never could’ve predicted. I couldn’t believe so many people liked and related to a song that bared so much of my soul. I did not plan on ever releasing the song, but after thousands of comments asking me to, I no longer feared it. I am always self-conscious about my ability as a songwriter and vocalist, but the response it got made me embrace the flaws in my music. The things I didn’t like about the clip are the same things that attracted more people to it. “russian doll” pushed my boundaries and opened me up to a whole new world of songwriting. I am so proud of this song, and I’ll cherish the kind words and messages I got forever.
A lot of nine lives sits in that space where the lyrics cut pretty deep, but the production feels warm and inviting. How intentional is that contrast for you, and from your perspective, is there a song on the EP that best represents that balance?
dacelynn: The contrast wasn’t so intentional, but I think that I gravitate towards music that, when passively listening, you won't notice the weight of the words. In a similar way that when you retell a heavy story, you might fluff it up with comedy to make it feel lighter and easier for the person receiving it. Some of these songs would feel too sad without banjo and harmonica! I think “moat” is a good example of this; it still feels light and upbeat, but when you take a second listen, you might catch some of the lyrics of hopelessness in the song.
You worked on this EP with collaborators like Devon Again, Sophie Truax, runnner, and others. Was there a specific moment or session that unlocked something new for you creatively or personally?
dacelynn: I learned so so much from each of these people, and am so grateful for all of their contributions towards nine lives, but one moment in particular stands out! In the making of “moat” with Noah, he challenged the way I was used to tracking vocals. I was used to tracking over the span of hours, over and over, until I got the perfect take. Noah had me sing the song one time through, and that was the take we used. Initially, I winced at the take and noted all the ways it could be better, but after listening enough times, I started to understand the charm of an unpolished vocal. I left the session feeling way more confident in my ability. I had so much fun creating with each of these people, and it was so inspiring to watch the way that they worked!
You have talked about wanting listeners to feel seen when they press play. Has there been a message or moment with a fan that made you realize these songs were landing in the way you hoped?
dacelynn: Absolutely! When I was putting together the visualizer for “russian doll,” I asked if listeners would be willing to write a letter to their past, present, or future self, and if they’d be open to sharing it with me to compile in the video. I received 150 handwritten letters. I read each of them, and I cried for them. I cried for their pain in their past, and I cried for their hope towards the future. It was such an intimate view into each of these people’s lives. I got so many messages thanking me for the song and thanking me for helping them feel less alone. I was happy to feel less alone too.
This EP gathers all these past versions of you into one place. Looking ahead, what feels exciting or unknown about the next “life” you want to explore musically, whether on stage or in the studio?
dacelynn: I am super excited to make the transition into playing shows! I’ve grown up a very fearful and anxious person, and to play shows regularly would mean I’ve gotten past all of the fear and embraced the best part of making music. I’m excited to see what this next year has in store!
