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The Music of Star Trek: Strange New Worlds

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A behind-the-scenes look at how composer Nami Melumad and main title theme composer Jeff Russo created the music of Star Trek: Strange New Worlds .

Star Trek: Strange New Worlds streams exclusively on Paramount+ in the U.S., U.K., Australia, Latin America, Brazil, South Korea, France, Italy, Germany, Switzerland and Austria. In addition, the series airs on Bell Media’s CTV Sci-Fi Channel and streams on Crave in Canada and on SkyShowtime in the Nordics, the Netherlands, Spain, Portugal and Central and Eastern Europe. Star Trek: Strange New Worlds is distributed by Paramount Global Content Distribution.

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‘Star Trek: Strange New Worlds’ Soundtrack Album Details

Here’s the album track list:

1. Star Trek: Strange New Worlds (Main Title Theme) – Jeff Russo (1:51) 2. Everyone Wants a Piece of the Pike (3:50) 3. Put a T’Pring On It (2:56) 4. Eyes on the Enterprise (4:42) 5. Home is Where the Helm Is (4:16) 6. Space Cadet (1:01) 7. Comet Away With Me (2:36) 8. Romancing the Comet (3:23) 9. M’hanit and Greet (7:00) 10. Since I First Saw the Stars (3:54) 11. A Holding Pattern (4:44) 12. Gorn With the Wind (5:29) 13. The Pike Maneuver (2:03) 14. Gorn But Not Forgotten (3:24) 15. Are You a Vulcan or a Vulcan’t? (2:59) 16. Spock Too Soon (2:03) 17. Chris Crossed (3:43) 18. Looking For Ascension in All the Wrong Places (3:04) 19. Ascent-ial Questions (2:01) 20. T’Pring It On (1:42) 21. Pirates in the Sky (2:54) 22. Will You Be My Vulcantine? (2:45) 23. Won’t You Be My Pirate? (3:38) 24. You’re My Mercury Stone (2:04) 25. Don’t Leave in Uhurry (2:54) 26. When the Hemmer Falls (4:09) 27. No One’s Ever Neutral About Spaghetti (2:53) 28. Throw Plasma from the Train (5:28) 29. Star Trek: Strange New Worlds (End Credits) – Jeff Russo (0:57)

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Soundtrack Information

Star Trek: Strange New Worlds

Lakeshore Records

Release Date: April 28, 2023

Format: Digital

• Star Trek: Strange New Worlds (2022) [TV Series]
• Nami Melumad

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Track Listing

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Star Trek: Strange New Worlds: Subspace Rhapsody Lakeshore Records

Released: August 4, 2023

Format: Digital (32 min)

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Den of Geek

Star Trek: Strange New Worlds “Subspace Rhapsody” Soundtrack and Musical Influences

Here's a list of every song in Star Trek: Strange New World's musical episode "Subspace Rhapsody" and what influenced the soundtrack!

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This Star Trek: Strange New Worlds article contains spoilers.

Star Trek has always had a habit of taking unlikely detours into other genres, whether it was Kirk and Spock dressing like gangsters in the TOS episode “A Piece of the Action” or the powerful Deep Spine Nine period piece “Far Beyond the Stars.” But with its most recent episode, Strange New Worlds takes the franchise in the most unexpected direction.

Directed by Dermott Downs, “ Subspace Rhapsody ” finds the Enterprise crew breaking into song after discovering an anomaly at the edge of the Alpha Quadrant. The episode gives Uhura actor Celia Rose Gooding a chance to show off the pipes that landed them a role in Jagged Little Pill: The Musical on Broadway , and also featured a Klingon hip-hop number that recalls Han Solo’s lowest moment .

As shocking as the episode was for Trekkies, “Subspace Rhapsody” benefited from a steady hand at the helm, thanks to Downs’ previous experience working with musicals. The mind behind the “ Duet ” episode of The Flash , which saw Supergirl and Flash forced to sing to battle the Music Meister, Downs knows how to make normally straight-laced heroes burst into song.

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Although he knew the risks of such a stylistic divergence for Strange New Worlds , Downs told Comicbook.com that he drew from familiar influences. For Pike’s argument with Captain Batel, Downs designed “kind of [a] country duet that goes sideways in front of the whole crew.” The Klingon hip-hop moment came about after shooting a version without dancing but Downs decided that it didn’t work. “You want it to be something outrageous,” he explained, arguing that only an act that filled Klingons with dishonor would “help us propel to this final conquering of the anomaly.”

The most complex of the numbers involved Nurse Chapel’s excitement over a career opportunity, even at the cost of her relationship with Spock, which overtakes her in a crowded mess hall. “There were so many elements and interactive elements to that, that that probably had the most full-blown rehearsals, just so everybody would be prepared on the day and you’re not trusting someone’s going to catch you, and on the day they don’t,” said Downs.

But the most interesting of the numbers featured La’an ‘s heartbreak at seeing Kirk , who does not know about the romance the two shared in an alternate reality. After watching Kirk and Una perform a playful duet, La’an retreats to her room for an intimate song, one that includes insert shots of the life she and Kirk could have had. “I know it probably has a music video feel, but I was going for something much more like Terrence Malick and emotional,” contended Downs, referencing the vulnerability in movies such as Tree of Life and Days of Heaven .

Initially, however, Downs planned to take a bigger approach. “Originally, that breakout moment, we were talking about doing something like  The Sound of Music ,” he revealed. “[B]ut it just became too huge and out of step with the episode and it would’ve been fun to go completely opposite of outer space.”

Of course, “Subspace Rhapsody” ends up delivering much more than a worthwhile musical. It pushes the story forward for several characters, while revealing some interesting backstory for Kirk by bringing back Carol Marcus , who you might know best from The Wrath of Khan . It’s an impressive amount of ground to cover for the Star Trek series, especially when doing it in song and dance!

Star Trek: Strange New Worlds “Subspace Rhapsody” Soundtrack

As space-bound as “Subspace Rhapsody” is, you can enjoy the music here on Earth. On Aug. 4, the “Subspace Rhapsody” official cast recording will be available to purchase, which includes the following tracks:

• Star Trek Strange New Worlds Main Title (Subspace Rhapsody Version)
• Status Report
• Connect to Your Truth
• How Would That Feel
• Private Conversation
• Keeping Secrets
• Keep Us Connected
• Subspace Rhapsody End Credit Medley

You can listen to the full soundtrack of the episode below:

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Joe George | @jageorgeii

Joe George’s writing has appeared at Slate, Polygon, Tor.com, and elsewhere!

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The full announcement from Lakeshore Records, which includes commentary from primary series composer Nami Melumad as well as main title theme composer Jeff Russo.

Lakeshore Records is set to release Star Trek: Strange New Worlds Season 1—Original Series Soundtrack digitally on April 28 with original music by award-winning composer Nami Melumad –she recently won the David Raskin Award for Emerging Talent at this year’s SCL Awards for this score. Emmy Award-winning and Grammy-nominated composer Jeff Russo, known for his definitive scores to several Star Trek series in including Star Trek: Picard and Star Trek: Discovery, created the main title and end credits themes.   Notes Melumad: “Creating the ‘Star Trek: Strange New Worlds’ score has been one of the biggest honors of my life. A captain is nothing without her crew and I’d like to thank the artists, musicians, and friends that made this Season 1 score album possible: Matt Decker, Jeff Kryka, Tracie Turnbull, Natalia Goldstein, Dennis Sands, Brian Vibberts, Vincent Cirlli, Jamie Olivera, Tom Hardisty, Rich Wheeler, Whitney Martin, Gina Zimmeti, Nick Cazares, Lisa Janacu, Booker White and our wonderful orchestra musicians. Also, many thanks to Alex Kurtzman and the Secret Hideout, Paramount+ and Lakeshore records! Happy listening!“   Adds Russo: “Being asked to write the theme for the show that was going to directly precede the original series was such an honor. Tying into the sound of the iconic theme while creating something unique for our new adventure was such a fantastic artistic experience.”

We’ve got an exclusive preview of the soundtrack to share with you today, bringing you “Home is Where the Helm Is” from the closing moments of Strange New Worlds’  premiere episode.

Here’s the full track listing for the digital release:

1. Star Trek: Strange New Worlds (Main Title Theme) – Jeff Russo (1:51) 2. Everyone Wants a Piece of the Pike (3:50) 3. Put a T’Pring On It (2:56) 4. Eyes on the Enterprise (4:42) 5. Home is Where the Helm Is (4:16) 6. Space Cadet (1:01) 7. Comet Away With Me (2:36) 8. Romancing the Comet (3:23) 9. M’hanit and Greet (7:00) 10. Since I First Saw the Stars (3:54) 11. A Holding Pattern (4:44) 12. Gorn With the Wind (5:29) 13. The Pike Maneuver (2:03) 14. Gorn But Not Forgotten (3:24) 15. Are You a Vulcan or a Vulcan’t? (2:59) 16. Spock Too Soon (2:03) 17. Chris Crossed (3:43) 18. Looking For Ascension in All the Wrong Places (3:04) 19. Ascent-ial Questions (2:01) 20. T’Pring It On (1:42) 21. Pirates in the Sky (2:54) 22. Will You Be My Vulcantine? (2:45) 23. Won’t You Be My Pirate? (3:38) 24. You’re My Mercury Stone (2:04) 25. Don’t Leave in Uhurry (2:54) 26. When the Hemmer Falls (4:09) 27. No One’s Ever Neutral About Spaghetti (2:53) 28. Throw Plasma from the Train (5:28) 29. Star Trek: Strange New Worlds (End Credits) – Jeff Russo (0:57)

Lakeshore Records’  Star Trek: Strange New Worlds Season 1 soundtrack can be purchased for streaming through Apple Music, Spotify, and Deezer through this link.

Star Trek: Strange New Worlds Season 2 is in post-production now and will debut June 15 on Paramount+ on Paramount+ in the U.S, the U.K., Australia, Latin America, Brazil, France, Italy, Germany, Switzerland and Austria.

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Every song in strange new worlds' musical episode, ranked worst to best.

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1 Strange New Worlds Musical Scene May Have Damaged Star Trek's Timeline Ahead Of Season 3

A strange new worlds detail you probably missed honors star trek's original captain pike, i want strange new worlds to break star trek canon & save captain pike.

• "Subspace Rhapsody" is Star Trek's first-ever musical episode, featuring nine original songs performed by the talented cast.
• The musical episode showcases the best singers of the cast, with standout performances from Celia Rose Gooding and Christina Chong.
• The episode explores character development and reveals truths through song, delivering huge musical setpieces and phenomenal performances.

WARNING: SPOILERS for Star Trek: Strange New Worlds season 2, episode 9, "Subspace Rhapsody." Star Trek: Strange New Worlds musical episode "Subspace Rhapsody" has nine original songs performed by various members of the cast. Strange New Worlds season 2 has incorporated many different genres into its storytelling, so a musical episode feels like a logical next step. As Star Trek's first-ever musical episode, "Subspace Rhapsody" truly delivers, with huge musical setpieces and phenomenal performances from everyone involved. Most of the characters get a chance to shine, as they reveal truths via song they would never have said out loud.

Star Trek is, of course, not the first franchise to do a musical episode. Strange New Worlds ' musical episode feels most reminiscent of Buffy the Vampire Slayer 's iconic "Once More, With Feeling." That episode also had the characters confess their truth in song, leading to character development and big reveals. "Subspace Rhapsody" showcases the best singers of the cast of Strange New Worlds , giving them big solo numbers to confess their innermost feelings. Celia Rose Gooding as Nyota Uhura and Christina Chong as La'an Noonien-Singh are particular standouts. Here are all 9 songs from "Subspace Rhapsody" ranked from worst to best.

9 Connect to Your Truth

"Connect to Your Truth" is not a bad song, but after the phenomenal opening number, it feels like a bit of a letdown. Rebecca Romijn has a solid voice and Paul Wesley sounds good, too, but the song pales in comparison to some of the ones that come later. "Connect to Your Truth" has a good message, though, that La'an overhears and takes to heart, helping her to eventually confess her feelings for Lt. Kirk. The song also does a lot to further the plot, since thanks to it and her subsequent solo number, La'an learns that the music makes the crew confess their innermost thoughts.

Related: Dermott Downs On Star Trek: Strange New Worlds Musical & Outer Space Whimsy

8 Private Conversation

While "Private Conversation" is an incredibly fun song for Captains Pike and Batel (Melanie Scrofano), it's also the shortest song in Star Trek: Strange New Worlds' musical episode and doesn't quite stand up to some of the later numbers. Still, Anson Mount delivers a wonderful performance, as he looks clearly horrified that he's confessing his secrets via song not only to his girlfriend but also to his entire bridge crew. This song delivers one of the funniest moments in the entire episode as Pike gets down on his knees to profess his feelings only for La'an to abruptly cut off the connection.

7 Keeping Secrets

In a heartfelt moment between Una and La'an, Una sings about her tendency to keep herself closed off and removed from the people around her. She impresses upon La'an that while this approach worked for Una when she was younger, she regrets not opening up and letting people in sooner. "Keeping Secrets" helps push La'an to open up and talk with Lt. Kirk about her experience with his alter ego in "Tomorrow and Tomorrow and Tomorrow." Rebecca Romijn's vocals are lovely and the song is quieter and more contemplative than many of the others.

6 I'm Ready

Nurse Christine Chapel (Jess Bush) gets her big moment in the lounge as she celebrates her recent acceptance into Dr. Roger Korby's fellowship . "I'm Ready" gets everyone involved in the episode's biggest dance number, as Chapel reveals that she's willing to place her career over her relationship with Spock. Spock spends the song standing awkwardly by the door as everyone dances around him, but aside from that, Chapel's big number might be the episode's most fun. Jess Bush seems like she's having a blast, as do most of the others dancing around her, including Uhura, Ortegas (Melissa Navia), and Sam Kirk (Dan Jeannotte).

5 How Would That Feel

La'an's big solo number not only shows off Christina Chong's wonderful voice but also offers more insight into her character. La'an's journey in "Subspace Rhapsody," acts as a perfect coda to "Tomorrow and Tomorrow and Tomorrow," as she finally works up the courage to tell Lt. Kirk the truth about her feelings. "How Would That Feel" offers a rare glimpse into La'an's head and proves to be deeply cathartic for her. Throughout different parts of the song, La'an looks angry and heartbroken and struggles to compose herself after the song ends. Christina Chong clearly puts her entire heart into this performance and truly belts out La'an's feelings.

4 I'm the X

Ethan Peck might be the biggest surprise of "Subspace Rhapsody", as he has a genuinely great singing voice. Spock's answering song to Chapel's celebration is a quieter moment where he shares his feelings with Uhura. Star Trek's Ethan Peck plays this performance wonderfully. Despite the song being an emotional one, he feels more like classic Spock, keeping his facial expressions and movements stoic and composed. It's a truly heartbreaking song that sees Spock begin the journey to fully embracing his Vulcan side, as he sings: "Unending reason must be my true north." Also, the play on "X" and "ex" with the title is a clever addition that feels very Spock.

3 Status Report

The opening number of Star Trek: Strange New Worlds' musical episode is something to behold. Crewmembers at each station deliver their status reports in rhyming musical lines, to hilarious and entertaining effect. The song is improved by the baffled expressions everyone makes as they burst into the song. Anson Mount, in particular, has hilarious facial expressions throughout. "Status Report" is a great first song and does a wonderful job setting up the episode and establishing the tone. Captain Pike's final "But why are we singing?" before the cut to the opening credits (now with choral accompaniment), ends the song on the perfect note.

2 We Are One

"We Are One" delivers on the promise of a grand finale, as everyone gets involved to close out the show. Uhura's clear excitement leading up to this song is infectious, as she leads the crew in the rousing final number to save the day. This song is a celebration of the Enterprise and her crew and underlines one of the foundational themes of Star Trek : "We work better all together. We overcome our obstacles as one." The message may be a bit cheesy, but it doesn't make it any less true. Also, the Dancing Klingon interlude proves to be one of the other most hilarious moments of the episodes as the Klingons joyfully sing: "Your eternal torture is every Klingon's dream."

1 Keep Us Connected

Celia Rose Gooding's Ensign Uhura truly steals the show in "Subspace Rhapsody." Not only does Gooding have an amazing voice, but it's Uhura's intellect, perceptiveness, and ability to connect that help save the day. Uhura's solo number showcases Gooding's powerhouse voice and celebrates an iconic and sometimes underused Star Trek character. The refrain is particularly powerful as Uhura goes from lamenting her time spent alone to reveling in it. "Keep Us Connected" offers a perfect definition for the character of Nyoto Uhura : "My whole life has been 'fix this' and 'save you;' that's what I do. I keep us connected."

With its alternately fun and heartbreaking songs and surprising insightfulness, "Subspace Rhapsody" will undoubtedly go down as an iconic episode not just of Strange New Worlds , but of all of Star Trek. So far in its first two seasons, Star Trek: Strange New Worlds has more than succeeded in its mission to boldly go where no one has gone before. The final lines sung in the episode underline this point and serve as a wonderful shout-out to every ship named Enterprise, as the entire crew belts out: "We're boldly explorational; the crew of the Enterprise!"

Star Trek: Strange New Worlds season 2 streams Thursdays on Paramount+.

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Star Trek: Strange New Worlds (Original Series Soundtrack)

Jeff Russo & Nami Melumad

29 SONGS • 1 HOUR AND 34 MINUTES • APR 28 2023

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Guitarist Jeff Russo is an award-winning film and TV composer, also known for his work as a founding member of the band Tonic. Russo emerged to chart success, nabbing a mainstream rock hit with "If You Could Only See" off Tonic's 1996 debut, Lemon Parade. The group also picked up two Grammy nominations for 2002's Head on Straight. Russo expanded into soundtrack work, scoring film and television productions, including winning an Emmy for his work on FX's acclaimed drama Fargo. He has supplied the music to shows like Star Trek: Discovery, The Umbrella Academy, and Legion. He also scored director Noah Hawley's 2019 film Lucy in the Sky and the 2021 drama Oslo.

Born in 1969, Russo started playing guitar in his teens, inspired by his love of bands like the Beatles, Pink Floyd, and Led Zeppelin. In 1990, he formed the alt-rock outfit Tonic with his childhood friend singer/guitarist Emerson Hart. They broke through with 1996's Lemon Parade, which went platinum, buoyed by the hits "If You Could Only See" and "Open Up Your Eyes." Sugar followed in 1999, spawning the hit "You Wanted More," which was also included on the American Pie soundtrack. With 2002's Head on Straight, Tonic received two Grammy nominations. The group's fifth album, the eponymously titled Tonic, arrived in 2010.

While continuing his work in Tonic, Russo began branching out, writing music for commercials and producing. In 2014, he gained wider recognition winning an Emmy for his score to FX's Golden Globe-winning series Fargo. He has remained a sought-after composer, scoring Starz's Counterpart, starring J.K. Simmons, Neftlix's sci-fi series Altered Carbon, and HBO's Golden Globe- and Emmy-nominated series The Night Of, starring John Turturro and Riz Ahmed. He also picked up a BAFTA nomination for Best Music for Annapurna Interactive's video game What Remains of Edith Finch.

In 2017, Russo scored the Marvel-based FX show Legion. In addition, he supplies the music for the Peabody Award-nominated Star Trek: Discovery and Netflix's The Umbrella Academy, based on the Gerard Way comic book series. Russo has also scored for film, including Mark Wahlberg's 2018 action-thriller Mile 22 and the 2018 Lizzie Borden biographical thriller Lizzie, starring Chloe Sevigny and Kristen Stewart. In 2019, he scored director Noah Hawley's film Lucy in the Sky, starring Natalie Portman. Russo also supplied the soundtrack to the 2021 TV movie Oslo, based on the negotiations surrounding the 1993 Oslo Accords. ~ Matt Collar

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Star Trek: Strange New Worlds (Original Series Soundtrack)

April 28, 2023 29 Songs, 1 hour, 34 minutes ℗ 2022 CBS Studios Inc. Star Trek(TM) and related marks and logos are trademarks of CBS Studios Inc. All rights reserved.

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Strange New Worlds Kicks off Its Musical Episode With a Surprisingly Subversive Song

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The following contains spoilers for Star Trek: Strange New Worlds Season 2, Episode 9, "Subspace Rhapsody," now streaming on Paramount+.

Musical episodes have become a standard for television shows, fueled by the success of Buffy the Vampire Slayer Season 6, Episode 7, "Once More with Feeling." The Star Trek franchise gets onboard with Strange New Worlds Season 2, Episode 6, "Subspace Rhapsody," as a quantum singularity causes the crew to spontaneously break out in choreographed musical numbers. It's hardly an original moment, but it gives fans a breather after the previous episode -- "Under the Cloak of War" -- went very dark. It also gives the characters a chance to sort through their various relationships, which have lately taken a turn for the messy.

Though most of the episode's songs are original, it starts with a telling number: "Anything Goes" by Cole Porter, which Uhura describes as "something from the Great American Songbook." It's used as an obvious harbinger of the zany mayhem to come, but there's a deeper connection that the episode declines to acknowledge. Not only is it a supremely appropriate warm-up for a musical set onboard a starship, but it carries subversiveness that goes far beyond a little singing and dancing.

RELATED: REVIEW: Star Trek: Strange New Worlds Season 2 Episode 9 Pulls Out the Stops for Its Musical

"Anything Goes" Sets the Pace for Strange New Worlds

Porter wrote "Anything Goes" in 1934 as part of a Broadway musical of the same name, which has since become one of the songwriter's signature works. The song itself has been covered by the likes of Frank Sinatra and Ella Fitzgerald (and more recently Tony Bennett and Lady Gaga), while movie fans probably know it best for the opening of Indiana Jones and the Temple of Doom , where Kate Capshaw performs it in Mandarin Chinese. "Subspace Rhapsody" uses it similarly to Indy as a sign of imminent chaos.

Yet the musical for which it was written parallels the episode in more ways than one. Penniless broker Billy Crocker sneaks onboard a transatlantic cruise in hopes of romancing a woman he met at a party, only to learn that she's an heiress unhappily engaged to a British lord. Hilarity ensues as he attempts to win her back: complete with phony identities, induced confessions, and laments over former lovers set to music.

Season 2 of Strange New Worlds feasts on the same kind of ship-bound romantic shenanigans which "Subspace Rhapsody" uses as its centerpiece. Most prominently, the series' designated troubled lovers, Spock and Chapel , both bemoan their respective frustrations in a manner eerily similar to the protagonists in Anything Goes. The episode also adds La'an's complex attraction to Kirk, while Captain Pike is forced to sing-confess his romantic hesitancy around Captain Batel. The episode could swap its tunes for Anything Goes numbers like "I Get a Kick Out of You" or "All Through the Night" without missing a beat.

RELATED: Star Trek: Strange New Worlds' Musical Director Wants to Helm a Western-Themed Episode Next

"Anything Goes" Is a Shockingly Subversive Song

Beyond the passing similarities, however, the title song remains far more subversive than Uhura's "Great American Songbook" suggests. The son of old money, Porter famously defied his family's wishes by becoming a songwriter. He lived an openly gay lifestyle despite his marriage to Linda Lee Thomas and often openly mocked the upper class to which he ostensibly belonged. "Anything Goes" is nothing if not a celebration of sexual promiscuity, as well as a vicious takedown of religious piety. (It's performed in the musical by Reno Sweeney: an ex-evangelist turned nightclub singer.) This is an era when fascist governments openly touted patriarchal values and homophobic laws kept the LGBT community locked in the closet for fear of their lives.

That unfortunate timelessness endures to the present day and gives "Anything Goes" a continuing pertinence despite its era-specific references. (The song targets John D. Rockefeller, Samuel Goldwyn, and the Roosevelts, among others.) The Star Trek franchise retains a similar timelessness, with its benevolent future embracing diversity in all its form. Sex is often an open (if sometimes problematic) subject, and its championing of the LGBTQ community in Star Trek: Discovery and elsewhere has earned it no shortage of condemnation from the same factions that Porter mocked with his song.

All of that goes beyond a simple tune, and while Strange New Worlds has tons of fun with the notion, the most important parts go unspoken. The episode quite literally has its own songs to sing and uses "Anything Goes" as an easy spritzer to kick it all off. But their commonalities run deeper than it appears, which "Subspace Rhapsody" allows to pass unacknowledged. Reno Sweeney would doubtless disapprove.

New episodes of Star Trek: Strange New Worlds stream every Thursday on Paramount+.

• Star Trek: Strange New Worlds (2022)

Music + Concerts | Sarah Kinsley redefines escape on her debut…

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Music + concerts, music + concerts | sarah kinsley redefines escape on her debut album ‘escaper’, the alt-pop artist will play two sold-out shows at the troubadour in los angeles on sept. 20-21 in support of her debut record..

“I was really keen to explore why escape feels so necessary, and how it can be both freeing and harmful at the same time,” Kinsley, the rapidly rising alt-pop sensation, shares from the comfort of her New York City apartment, mentally preparing for her upcoming North American tour, which kicks off on Sept. 15 in Vancouver. “Life demands so much of us, and while making this album, I often found myself wanting to avoid or escape those demands entirely. Yet, this music became a place where all those feelings could exist naturally.”

The alt-pop rising star Sarah Kinsley is set to play two sold-out shows at The Troubadour on Sept. 20-21. (Photo by Dillon Matthew)

This delicate dance between embracing life’s tribulations and the desire to retreat lies at the core of Kinsley’s debut record, “Escaper.” The title itself is a revealing choice, reflecting Kinsley’s fascination with alternate realities, imaginary worlds, and the concept of escape—not just from external pressures, but from emotional pain, failed relationships, and the constraints of self-doubt.

“For me, this entire record is a journey—an odyssey through a lot of grief that’s accumulated over time, and what it takes to come back to yourself and realize that the present moment is still happening. That’s what this album is all about,” she reflects.

Across 12 tracks, Kinsley unpacks deeply personal yet universal themes—old friendships that have faded, the strain between romantic and platonic love, and the vulnerability that comes with loss. But despite the weighty subject matter, there’s a sense of celebration woven throughout the record.

The album’s musicality is also deeply rooted in her past.

Born in Mountain View, California, she moved to Connecticut before her family relocated to Singapore during her early teenage years. Amidst all the upheaval, one constant in her life was classical music. From a young age, Kinsley found solace at the piano, and through countless moves, her dedication to music grew. She joined youth orchestras, immersing herself in the works of Chopin , Debussy, and Ravel—composers who would later influence her own sound.

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“It’s hard to pinpoint exactly where my musical upbringing influenced me because, at this point, it’s so subconscious,” Kinsley says with a laugh. “I’ve been learning music since before I can even remember being human. I started lessons when I was about three or four, so I feel like I understood music before I could express myself through language. I’m deeply moved by Romanticism and certain composers, but on a deeper level, I’m influenced by song structures, by chords and progressions, and the way classical composers make you feel. It’s not just about the lyrics. Classical music has always been about transcending language for me. That abstract quality, the idea that music doesn’t need words to make you feel something, is what fascinates me most.”

Now based in New York, Kinsley’s classical training forms the backbone of “Escaper,” where sweeping orchestral elements meet modern alt-pop production. Teaming up with Grammy Award-winning producer John Congleton , recognized for his work with alt-rock darlings like St. Vincent and Angel Olsen, allowed Kinsley to push beyond her musical comfort zone.

With Congleton’s guidance, she expanded her creative toolkit, experimenting with new sounds, new stories, and treating each track as if it were its own story, like chapters in a larger book. The 24-year-old artist also learned to loosen her grip and step away from the perfectionist role she had taken on since her early days of making music. It wasn’t an easy shift, especially for someone who had always produced and written all of her previous work, but the payoff was worth it.

“At first, it was really challenging because I wasn’t used to collaborating like that. I’d spent so much time working alone, sometimes not seeing anyone for days, just fully immersed in the music. So opening up that process to someone else and going to a studio every day felt strange but also beautiful. In the studio, John would just shout, ‘Let’s try anything,’ and throw ideas at the wall. It was this peaceful, meditative process and the music would reveal itself if we were in the right state of mind. I never feel that way when I work alone. I always feel like I have to know exactly what I’m doing. Watching him work that way, especially since he’s made some of my favorite records, was an incredible experience.”

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And with the rollout of a new record comes a new tour. The 32-date trek will include two sold-out shows at The Troubadour on Sept. 20-21, a venue that holds special meaning for Kinsley.

“Performing in Los Angeles is always one of my highlights on tour,” she shares.

Still, the experience of touring brings its own challenges. “I find it hard being away for so long, but it’s incredible to see people’s faces, to watch their bodies dance and move at the shows.”

After starting her musical journey on social media, Kinsley wasn’t always sure how her music would translate to live audiences. But now, as she visits city after city, she feels a deep sense of gratitude.

“All I wish is for people to be surprised, to be persuaded into another realm of music and feeling. I want them to leave their bodies for a moment and just think about the people they love, their lives, and everything that matters.”

Sarah Kinsley: Escaper Tour – Troubadour

When : 7 p.m. Sept. 20-21

Where : The Troubadour, 9081 N. Santa Monica Blvd, West Hollywood

Tickets : Shows are officially sold out, but tickets are available via secondary sellers.

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