Exploring LORRYNNE’s ‘Self Sabotage’. From isolation to empowerment

"I want listeners to be able to find some peace within themselves. The ultimate goal is to be content with yourself in the moment"
25 March 2024

Hailing from the heart of the Midwest in Kansas City, MO, LORRYNNE invites us into her deeply personal world with her latest track, Self Sabotage, sharing the inspiration behind the song and tracing her journey from isolation to empowerment with authenticity.

With her latest track serving as a testament to her journey, LORRYNNE meticulously refines every aspect of the music with care, revealing a narrative of resilience and dedication that lies beneath the surface of this poignant composition.

At its core, Self Sabotage carries a powerful message of self-acceptance and inner peace, aiming to inspire listeners on their own quest for contentment and fulfillment.

The track stands as the precious fruit of LORRYNNE’s collaboration with talented producer Dorsey Crocker.

A lot of mental and personal growth was needed in order to fully complete the song

Can you share the inspiration behind the theme of ‘achieving self-contentment‘ in your new single Self Sabotage and how your personal experiences influenced its creation?

The inspiration comes straight from my personal experiences with mental health and navigating through my emotions. During the time in which I wrote Self Sabotage, I isolated myself mostly because I didn’t really know what to do. I was always focused on mistakes that I had made or if I wouldn’t be able to control certain situations. I was realizing that life was just passing by after weeks of just bed rotting with no solution in sight so I wrote a song about how I felt and started focusing on improving my mental health.

Self Sabotage took over a year in production and recording. Can you discuss the challenges and rewards of dedicating so much time to perfecting a single track?

The biggest thing to me when it comes to perfecting my craft is showing authenticity while also creating a captivating and eluding hook. Every process is different when you are creating a piece of art,  however for me, Self Sabotage was definitely the most rewarding song I’ve made so far. My producer would send me different variations and nothing was really clicking with me. We started with a more warm and dark ballad and tried more of an upbeat pop vibe before landing on a mixture between the two. I’m definitely happy with the final result and it gets my point across perfectly. A lot of mental and personal growth was needed in order to fully complete the song.

You’ve mentioned working closely with producer Dorsey Crocker to create countless versions of the instrumental for Self Sabotage. How did this collaborative process influence the final sound of the track?

Dorsey is an amazing producer and has done nothing but out-do my expectations. They’ve always filled in the cracks of music when I’m feeling stuck in my writing. An average writing session consists of me throwing out unrealistic hypothetical ideas and vibes that I want in hopes that they understand what I want. I can be very stubborn with my music so we spent a majority of the time rewriting instrumentation for the choruses. Though it was a lengthy process, I think it was one that was needed.

With Self Sabotage addressing mental health and social interactions, what message do you hope listeners take away from the song?

I want listeners to be able to find some peace within themselves. The ultimate goal is to be content with yourself in the moment.

Your musical journey began in Kansas City, MO, with a diverse background in musical theatre, jazz, and classical training. How do these varied influences shape your music today, particularly in your pop sound?

I wouldn’t ever be able to cultivate my sound without those experiences, they made me who I am as an artist and an individual. My voice being influenced the most, I have developed an ability to switch between my tones easily. Self Sabotage has many parts where I’m constantly switching into a breathy mix and a head voice for example.

Opening for Louis Tomlinson on his Faith in the Future tour was a significant milestone. How has this experience impacted your career and visibility in the pop music scene?

Man, I can’t even begin to describe how honored and excited I was to be invited to perform. That performance was actually my first venue outside of community or educational events as well. For me it was a stepping stone for me to put myself out there as a performer. I ended up meeting so many people who connected with my music and were vulnerable enough to share their experiences with Self Sabotage.

With influences ranging from Doja Cat to Billie Eilish, how do you integrate these diverse musical styles into your own unique sound, and how do they inspire your songwriting and performance?

About 2 years ago, my writing was weak – not that the music was bad, but it just wasn’t evolutionary in a sense. Though I don’t know much about their writing processes, I picked up on the confidence that they radiate. I thought to myself, “I can say something like that”, and so I found myself rewriting music and performing on stages.

What hurdles do you encounter during your creative journey, and what strategies do you employ to navigate through them?

I can’t write music that I can’t feel, so prompted songwriting gives me some difficulty. Usually when this is the case I just insert myself. I think, “what would I do if I was in this situation?” Also writing out multiple versions till you create something good also works.

Tell me about your last gig – what did you play, how did it feel, etc

My last gig was at Leilapalooza music festival. It was the end of my friends and I’s summer tour. Since then I’ve also done some private events.

What transformations do you hope to witness within the music industry?

Sometimes I feel the industry is quick to jump on things that are trending or hot, but then they never tend to have substantial longevity. Artists work so hard on their crafts, so it’s disappointing to see all the work being slept on.

©FM

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