Main Stage, 8:40 p.m.
Since making her debut in 2010, K.Flay has spun fearlessly detailed lyrics that show the bright and dark of the world in her head. For her second full-length Every Where Is Some Where, the L.A.-based alt-pop/hip-hop artist pushed deeper into introspection while adding an element of political commentary. The result is her most deliberate and dynamic work yet, a thrillingly vital album that channels the frenzy and anxieties of today’s world.
The follow-up to her 2016 EP Crush Me — whose lead single “Blood in the Cut” hit the top 5 on Alternative radio — Every Where Is Some Where amps up its defiant spirit with a densely textured yet gritty sound. “After Life as a Dog I was listening to so much late-’90s/early-’00s rock,” says K.Flay, aka Kristine Flaherty, referring to her 2014 full-length debut. “I was absorbing the energy of people like Karen O, Shirley Manson, and Emily Haines and feeling totally inspired by it, so there’s lots more live guitar, bass, and drums on this record.” Working with producers like Mike Elizondo (Twenty One Pilots, Fiona Apple, Regina Spektor, Skylar Grey) and Tommy English (BØRNS, Andrew McMahon in the Wilderness, Ladyhawke), K.Flay deftly infused the album with the same raw intensity she’s revealed in touring with such artists as Passion Pit, Icona Pop, Awolnation, and Theophilus London.
An inimitable lyricist who names novelist Marilynne Robinson among her inspirations, K.Flay also brought a literary sensibility to the making of Every Where Is Some Where. The album’s title, for instance, aims to “capture the flexibility of meaning, the way we fashion our own narratives,” according to Flaherty. “As a songwriter, that’s my main enterprise — looking at the events in my life and engaging in a constant framing and reframing of those events,” she says. “Experience is subjective. We get to decide what’s devastating, what’s beautiful, and what we do next. In the books of our lives, we are both protagonist and narrator. And narrators have incredible power.”