Canadian indie artist Maddisun has been writing and performing since the age of ten, carrying big-star dreams from the mountains of British Columbia to stages that showcase her radiant blend of soulful songwriter-folk, rootsy rock, and vintage textures. Known for electrifying, heart-led performances, her authenticity shines through every lyric, every riff, every breath. Her newest album, The Pages, embraces a refreshingly nostalgic and intentional release strategy. With only Chapter One available for streaming, the full album exists exclusively on physical formats (vinyl, CD, cassette) and as a digital download via Bandcamp, an ode to old souls and true music lovers who value holding music in their hands. As Roots Music Canada observed, “Her performance is driven with rhythm and energy.”
But to understand Maddisun’s work, you have to understand Maddisun herself. She is not simply an artist; she is a force shaped by mountains, music, and a lifetime of movement. Her songs carry the weight of lived experience, the warmth of resilience, and the unmistakable spirit of someone who has crossed continents in search of her voice. Rooted in raw storytelling and fueled by honesty, she performs from a place of truth rather than persona. When she steps into a room, she brings an entire world with her, built from classic rock influences, late-night writing sessions, and the belief that music can heal. Below, Maddisun opens up about her creative evolution, her inspirations, her rituals, and the stories behind The Pages, offering a deeper look at the artist she has become and the one she is becoming next.
Interview by Carly Kutsup. Photos courtesy of Maddisun by Justin Friesen.
Carly Kutsup: How has your songwriting process evolved over the years, and what do you think has influenced that change the most?
Maddisun: I travel a lot, and that has become a very steady theme in my music. I grew up in the mountains, but I am often on the road, and new places and new experiences
have shaped my songwriting so much. Every new place I go to influences me. For example, I used to live in Ireland and then moved back to Canada. I have been all over. I have spent a lot of time in Toronto. I was in Nashville songwriting for this album, and I have also been in New York and LA. I am going back to Dublin and the UK in January for a tour.
Mostly, my experiences and my travels shape my music. When I was in Nashville, I was writing many of the songs for this album, The Pages, and they definitely took on more of a country, southern rock feel. Travel shapes my songwriting, and so does listening to more music, hearing other artists, working with them, and going to their shows. All of that changes how I write. I get inspired by something and suddenly start writing more alternative, or more country, or more rock, depending on what I am feeling at the time.
CK: If you had to choose one specific place or one specific artist that you think has had the biggest influence on your music, what would that be and why?
M: In terms of place, definitely Toronto. It is not necessarily about one specific “Toronto sound,” because there are so many different scenes there. You might think of alternative rock, but there is also a very classic rock, 70s rock and roll scene. That is the scene I tend to spend time with when I am there. That community has really influenced my personal style, and that spills over into my songs as well.
CK: As I was looking through your images, I get a bit of a Stevie Nicks–meets–Fleetwood Mac vibe.
M: Yes, yes. I was just going to say that, because you asked about an artist. Definitely Stevie Nicks. There is also an artist I recently opened for who is starting to take off in her career. Her name is Pearl. I opened for her in Vancouver. The tour was called Let Girls Be Hot, and I was the opener. She is very expressive, a little rock and roll, kind of edgy, very much about “express yourself, be who you want to be.” She does a Lynyrd Skynyrd cover and plays some 70s rock. In terms of newer artists, I am really inspired by her. It was such a cool experience to open for her.
CK: Was there a moment in your life when you really said, “Okay, this is what I want to do for the rest of my life, and I want to pursue it with everything I have”?
M: I feel like I have always known. There have been many defining moments, but ever since I was able to sing and dance and experience music, I have known this is what I want to do. My parents say that when I was about two, I was already performing, very dramatic,very diva, into fashion, ballet, and dance. When I was about 11 or 12, my family’s musical side really influenced me. My family is musical. My dad, my aunts, my grandpa, and some others in my family would get together and go camping. I am from a rural place in BC. We would sing and play songs around the campfire.
There is an art in that which feels lost now, because so much has been replaced with technology and constant access to everything. Back then, there were basically no cell phones, no Wi-Fi, no 3G. We were just out in the woods playing music. That was a huge part of my upbringing. I always knew I wanted to do music. I always had a voice. I could just sing, and singing, dancing, and theatrics always brought me back to myself. Then I was watching CMT one day and Taylor Swift came on. People have their opinions about her and her music, and I would not say I actively listen to her all the time, but that was a defining moment for me. I saw her and thought, “Oh my God, I need to sing, play, write my own songs, and perform them.” I kind of did all those things already, but I did not know how they were supposed to be packaged. Seeing her, I realized, “She is the whole package. She is doing what I want to do.” So I made my dad teach me guitar, and it was grueling.
CK: I completely understand that. I am trying to teach myself, and I keep thinking, “Oh my God, how do I even manage the hand movements and everything else?”
M: Exactly. It is the hand-eye coordination, and the left and right brain working at the same time. It is really tricky. Now that I have it, I have a foundation for playing other instruments. With drums, I have a good sense of rhythm. With dancing and movement on stage, all those early days of pushing through and keeping at it have made me a stronger musician, instrumentalist, and songwriter.
There were many defining moments throughout my life, always knowing I wanted to do this, but I also did other things. I worked different jobs, traveled, and had periods where I was not playing music. When I moved home from Ireland in 2019, I had all this music and thought, “I am going to do an album.” And I did.
CK: On the topic of Taylor Swift and the whole package, with her writing, singing, dancing, and even producing, is producing something you want to do? Have you done it, or is it something you would like to explore more in the future?
M: Yes. Producing can mean many different things. I produce shows. That is one thing I do and am starting to do more often, presenting shows, putting a whole show together, and producing the live experience. I also produce music in the sense of sitting down and working on tracks. I have been doing that a bit with my partner. He and I did most of The Pages together at his studio. In school, I made demos and produced my own music on a smaller scale. The tricky part is time. There are only so many hours in a day. I cannot write the songs, sing them, play them, and also record and fully produce everything. I need to outsource something and save my energy for the things I am best at.
CK: Do you think that when an artist does all of that themselves, they have more control over their music? Taylor Swift went back and re-recorded everything because of issues with her manager. Would you recommend, for someone starting out, that they try to keep as much control as possible over their work?
M: Working with a producer is different from working with a label or a manager. I have worked with a lot of great producers and paid them well, whatever their rate was. Sometimes I struggled to pay it and thought, “Oh no,” but they never owned anything of mine. I paid them for a service, they provided it, and there was no exchange of royalties, because I had hired them to do a job. Up-and-coming artists, myself included when I was starting out, often find it glamorous and exciting to be offered a record deal. My advice would be not to jump on things right away. Try to keep things independent as much as you can. Hiring producers or working with them is never a bad idea. It is good. It is the labels, managers, and some agents who might want to take advantage of you that you need to watch out for. I have been in situations where people tried to do that. At the end of the day, I have always owned everything. I have never given up my rights.
CK: Going back to camping and singing around the campfire, when listeners connect with your songs, whether you are singing live or they are listening to recordings, what do you hope they take away from them?
M: Definitely resilience. I want to reach people who want something more out of life, who want to live passionately, express themselves, and be who they truly are. Through my songs, I want people to feel like they can do that, because I have done that. I am aware that I am fortunate. I grew up where I grew up and had certain opportunities. But to do music, I have still had to fight for it and show up. Being a solo female artist has not always been easy. I have invested a lot of money and a lot of myself, and I work all the time.
I want my music to carry that feeling of resilience, the idea that you can get through hard things and find your best, deepest version of yourself, the version that feels connected to the world and to the people around you. When I used to listen to music as a kid, I would get completely lost in it. I felt overwhelmed with passion and excitement. Those songs where you lose yourself completely, that is what I am talking about.
CK: It is like you get lost in it, or it brings back a certain memory, whether it is happy or sad.
M: Exactly. I want people to get lost in the music, to find themselves in it, and to find strength. My music is “strong woman” music. It speaks to a lot of women, and that means a lot to me, because they are a big part of my audience. I also want people to have fun. I want my music to feel playful and a bit silly, to make people want to shake their hair, dance, and be themselves.
CK: On the subject of resilience, what is a creative challenge you have faced recently, either playing live or in the studio, that has helped you grow as an artist?
M: There have been many moments, but one that stands out is the show I did with Pearl. At the end of the night there was a big lineup of fans, mostly girls. The audience was almost all girls, around 16 to 30, since it was an all-ages show. They were amazing. They came over to my merch table, wanted me to sign things, and bought merch. Later, when I was done chatting and just hanging out at the venue, I watched them continue to follow Pearl around all night. When I left, there were still girls with her, taking photos and videos.
There was a moment outside where I was waiting for my chance to say goodbye and thank her for having me as the opener. It was interesting, because I could see how tuned in she was to the fan experience and the energy of connecting with them. I felt like a fan myself, waiting and feeling a bit nervous, thinking, “Hi, can I talk?”
It was a real learning experience. She seemed so settled and secure in her artistry that she had created her own world with her fans, a kind of cult following, in the best way, similar to the Swifties. I saw that firsthand. For a few days afterward, I had imposter syndrome. I kept thinking, “Why would anyone follow me after shows like that? Why would people want that with me?” But that is exactly what I want. I had to let go of the idea that wanting that level of connection makes you vain or conceited. It is not about ego. Some people are simply born to create communities where others can feel great together, like a family.
I realized it is okay to step into that rock star energy, and not be afraid of it. It does not mean you are saying, “Look at me,” all the time. It means you are stepping into who you are, in the same way Marilyn Monroe or Stevie Nicks step into their power. After that show, I felt more brave, even though there was a period of doubt and questioning. I asked myself who I am, what my message is, and why people would want to follow me around. Eventually, you come back to yourself and find your groove again. You find your sparkle. Experiences like that push you to grow.
CK: Do you think that is why artists sometimes have a stage name and a personal name?
M: Yes. There is that “it factor,” a kind of celebrity energy that you step into. It is almost like a character. You are still yourself, but a more amplified version, very focused on the moment, the fans, and the energy. For me, “Maddy” and “Maddisun” are similar. I do not have a totally separate persona. I am pretty easygoing and relaxed. I treat everyone like a friend, and that makes people feel comfortable around me. That is what I want. At the same time, Pearl inspired me with that rock star side, leaning into it and not being afraid of it. It is not about shouting, “Look at me.” It is about being who you are, like Marilyn Monroe or Stevie Nicks when they step into their power. That is them accessing another version of themselves. That is something I took away from that show. There was a difficult period with imposter syndrome and questioning everything, but eventually you come back out of that and find your groove again.
CK: Looking back on your earlier work, what is something you are proud to see in your growth, and what do you wish you had known then that you know now?
M: Mostly my marketing. When I look back at my debut album or the earlier music I was making, my songwriting has definitely matured. That just happens with time. I look back with love on my first album and my last one. Honestly, the biggest growth is in my marketing, imagery, and branding. I went through a period where I did not know what I was doing. I was trying to make graphics, artwork, Instagram content, and so on. Now when I look back, I think, “That looks very bad,” but we have to go through that transformation.
Now I can see how far I have come. I went through this pink and purple sparkle phase that did not really make sense for who I am. Now I know I am clearly an earth-tone person. I am very 70s, vintage, not retro but soft vintage. There is a Stevie Nicks sort of flowiness, lace and leather, literally “leather and lace.” So, earthy, with a bit of my mountain roots. It took time to develop my personal style. Now it feels like “mountain hippie,” which reflects where I am from and what I know, mixed with vintage 70s, earthy tones, and a little bit of rock star with platform boots and similar things.
CK: Earlier you mentioned you play multiple instruments, you write, you sing, you dance, and you work with your partner to produce. Independent artists wear many hats because they have to. Out of all the hats you wear, creative or promotional, which do you enjoy the most, and which one has actually surprised you?
M: The one that surprised me is how much I enjoy all the admin work. A lot of artists say things like, “I hate sending emails. I do not want to post on social media. I do not want to make videos or do the promotional stuff, newsletters, and all of that.” I actually enjoy that side. It is a bit of pressure because I know I need to do it, but once I sit down and get into it, I like it. There are not many parts of this job where I think, “I cannot do this.” I get up, do it, and get it done.
Touring is hard. I love performing, and that is my main thing. I have performed over 500 shows, and it is my main source of income, my bread and butter, but it is exhausting. Honestly, I would like to do fewer shows. Some shows I do because I need to earn money, not because I have built a big, special, curated performance. I am in such a groove now that I have everything dialed in, so setup, playing, and teardown are easier. The venues I play are beautiful, lovely, and supportive. But it is still a lot.
At the end of the night, if I do not have a roadie, I have to pack everything up. If the venue did not provide food, I have to get myself something to eat. Then I have to drive myself home, because I live in a rural area and play all over the province and into Alberta. Sometimes that means driving home a few hours after a show, and then I still have to post about it. So there are many moving parts. I surprisingly really enjoy the admin because I get to relax, sit at my computer, have my tea, and write emails that are exciting, because I love what I am promoting, which is my own work.
CK: Would you say that gives you more creative control?
M: Yes, for sure. I have a booking agency I am working with now, and they are great. I get to say, “Here is everything I want to say. Use your connections and say it for me.” They take their percentage on the back end of the show, and it is very easy that way. Handling admin and being involved in that side definitely gives me more creative control. In a dream world, I would play fewer shows and earn more per show.
CK: Turning to other artists, which artists or genres have unexpectedly influenced your music, especially ones that might surprise your fans?
M: People are always surprised by this, but electronic music has been a big influence. I grew up going to forest raves, out in the middle of the woods, with big bass speakers, a DJ, lights, camping, and tents. There was dancing and getting totally lost in the music. I really love dancing to electronic music. When I find my groove, I get so lost in it. It feels primal. The music just takes over.
Recently, in Toronto, a DJ friend of mine came through town. The show was sold out, but I messaged him, and he put me on the guest list. I ended up in the VIP area right behind him. His name is Swimming Paul. There were about ten of us in VIP and hundreds of people in the crowd. At one point I thought, “I have to go feel the crowd,” so I left VIP, went out into the middle of the audience, and just immersed myself. It does not necessarily inspire my music stylistically, in the sense that I am not purely making electronic tracks, although I do sometimes. It can help with melody writing more than with chords or instrumental parts. It opens me up physically and emotionally. It makes me more fluid with movement, helps me let go, and helps me feel more free. It also keeps me humble because I am not just in my own little world saying, “I would never go to a rave.” It opens me up to more experiences and more freedom.
CK: What is a fun fact that your fans might not expect?
M: I just auditioned for Family Feud. The producers scouted me, and I put together a whole audition with my family. I think we are going to be on the show. It is funny and totally random. Also, I love to cook.
CK: Let us focus on The Pages. What was the very first spark of inspiration behind it, and how did that idea evolve into the album?
M: The first spark was when I was in Nashville in September 2024. I went down there to write songs. That was a huge part of the trip, and I had never been before. I started writing “The Pages” there. I also wrote “Big Star” and “Your Muse.” I ended up with a collection of songs and thought, “Okay, I want to do an album.” I had different possible titles and ideas. When I came home, I showed my partner Julian “The Pages.” It was not even quite finished. I was not completely sure about it, but I liked the chorus and the feeling. He listened and said, “That is the song.” He told me I had to finish it. So I did, and it became the single. After that, the whole world of the album developed around it.
My music is already very confessional and journal-like, so I leaned into that, into a storybook, journal, renaissance, folklore vibe. Each song is like a page from my journal. The album is very lyric-focused. I included a lyric sheet in the vinyl and CD, so people have something physical and hands-on, a piece of art and a story they are holding. The album is split into two chapters instead of Side A and Side B. On the vinyl and cassette, it is Chapter One and Chapter Two. At first, I had no idea what I wanted the branding, message, or overall feeling of the album to be. Once Julian said, “This is the song,” I realized everything would develop around The Pages.
CK: You mentioned multiple themes surrounding The Pages, such as folklore and storybook elements. What is a theme or message that listeners might overlook on the very first listen?
M: That is a good question. No one has ever asked me that before. I think one theme people might overlook is love. The album has a lot about me, my music, and my journey, but there are quite a few love songs on it as well. I have written love songs before, usually about finding love. I got together with Julian two years ago. We have known each other for about 15 years. We went to school together, and his dad was my music teacher in high school. We reconnected at a gig a couple of years ago after we had both moved away and not seen each other for almost a decade. Then we both ended up back in the same small town.
Songs like “Like a Rock,” “Basil,” and “Open Door” are very much love songs. I do not usually write many of those. One of my jokes on stage is that I do not write love songs because they do not inspire me as much. But with this album, they came out naturally. Love and loss are also themes. I lost someone I dated to suicide. It was a while after we dated, but it impacted me deeply. The song “Open Door” was written while we were together. I felt like they were not letting me in emotionally, and I was giving my heart before they were ready to receive it. I wrote the song as a way to process that.
Later, when I was building the album, I knew that song had to be included. It is the piano ballad on the record. It splits the album and adds something very special. I do not talk about that very often. I have mentioned it in a couple of interviews, but not in depth, because it is personal. I am an open book, but it is still a delicate subject.
CK: You talked about challenges on this album. What song do you think challenged you the most, either creatively or emotionally, and how did you work through that?
M: “Open Door,” for sure, the one I was just talking about. It was very emotional to write because I was going through that situation in real time. I wanted to be with this person. They were not emotionally available, and it was difficult. “Pumpkin Pie” was also challenging in its own way. It is a love song, but really an un-love song. I was dating someone much younger than me. I was 26, he was 20, and emotionally he felt about 12. I was very frustrated. That song helped me work through it, but it was also somewhat self-deprecating and funny.
Then there is the final song on the album, “To Heal.” The first lyric is “Took 17 away from me,” which refers to something traumatic that happened when I was 17 with a guy I was dating. I was very young. I left school early and went to Montreal, and it was quite an intense, difficult experience. Writing that song was healing. I wrote it in Toronto. I started it slowly, and then one night I went out to a show, came home around three in the morning, and sat down in my little apartment and wrote the main hook, the outro of the song. I remember crying a lot, not because I was sad, but because I felt, “This song has evolved from a sad place at the beginning into something where I have worked through it and come back to myself.” The outro is big and expansive, and when it came to me, I thought, “This is it.” I felt healed from that experience, and I felt reaffirmed in my ability to write songs that make me feel deeply. That is what I want my listeners to feel with these more expansive songs. That song was tricky. It took me a while to write the final track for the album, but when I finished, I thought, “This is the song,” and I held onto it very closely.
CK: Do you think some of the songs you have written only reveal their impact, on you or your fans, after they are fully finished, recorded, and you listen back to the final product?
M: Yes, definitely. I was performing “To Heal” before it was officially released. A girl came up to me and said, “I was listening to your song about being 17. I lost my dad when I was 17, and I felt like my whole year and my high school life were taken away from me because I was grieving.” The song is not literally about that, but she found her own meaning in it. She related it to her life in her own way. That is exactly what I want. Once I release a song, it is a release. It is no longer just mine. I want my fans and listeners to interpret the songs and use them as healing tools, or however they need them. Artists write songs, and listeners connect those songs to their own lives. That is what I want.
CK: Do you think that is why artists do not always say exactly what their songs are about, because they want their fans to internalize them in their own way?
M: Yes, that is part of it. Also, talking about yourself all the time is tiring. Sometimes artists think, “They can interpret it. I do not have to explain every detail.”
CK: You mentioned vinyl and cassette tapes. You see more vinyl now, but you do not see many cassette tapes.
M: I love vinyl. There is something about it. It is a whole experience. I printed an inner sleeve that feels like a little book, with pages. I took the photo in a café on my film camera years ago, not realizing it would be used for this. There is a poster and a lyric sheet as well. It feels like holding a piece of art.
CK: That is what I miss about CDs, vinyl, or cassette tapes. People ask me, “You never got rid of your CDs? Everything is digital now.” They do not understand the liner notes, the photos, and the passion artists put into them. As an artist myself, I miss holding an album, opening it for the first time, reading the lyrics, and seeing the thank-you’s. You do not get that with digital music anymore.
M: It is so special. I grew up with CDs, so I still have most of my collection and I am still collecting. Honestly, now I find it easier to use analog. I think it is just a mental shift. I have a CD player in my kitchen that also has a radio. Every morning I wake up, turn on the radio, and listen to music. I listen all the time. I probably have some level of anxiety, because I cannot function without music.
CK: Either that, or the way I see it is, if I am doing something light-hearted, or if I am having a very stressful day, I need to listen to music that makes me happy.
M: Yes. It relaxes you, and you get a little dopamine rush from listening to music.
CK: I can relate. If I am having a very bad day, I listen to NSYNC. It takes me back to a time that feels good, going to concerts and having fun with friends.
M: That is how I feel with Hilary Duff. I have her Metamorphosis CD, and I put it on all the time.
CK: Talking about vinyl, what was it like to hold the final product in your hands for the first time?
M: It was amazing. Playing it at home for the first time felt incredible. The first vinyl I sold actually went to one of my little music therapy students. I have a few special education music therapy students, and he was the first one who got the record. He is about eight or nine, and he was so excited. I released the album on physical copy before I released it digitally. If you wanted to hear the album, you had to buy the physical copy. That was my way of encouraging people to buy physical music. Anyone who bought the album first, in July, was among the first to hear it, and the first way they heard it was through physical media. I love that. I want the first way people listen to my music to be through a physical copy, because it is intentional.
CK: Yes! You have to control the record player. Like you mentioned earlier, it’s an entire experience. To listen, you have to slide the vinyl out of its sleeve, place it on the turntable, lift the tonearm, and gently lower the needle onto the record. It’s a hands-on ritual that slows you down and makes listening intentional, not passive.
That’s what makes your choice so powerful: people aren’t just pressing play; they’re participating. They’re engaging with your music in a way that feels personal, tangible, and rooted in nostalgia. It’s a deliberate act, and it mirrors the heart and authenticity you put into the album itself.
M: Exactly. With Spotify or other streaming platforms, music often becomes background noise. It is very passive. We have all become very focused on convenience and what we can get immediately from our phones. Physical music encourages active listening.
CK: Turning to technology, what is your take on AI producing artists right from the start, artists who are not real people, where AI is making up songs and writing and producing?
M: It is unsettling. We all know Gorillaz, an amazing band. At first, people thought it was a bit strange, wondering, “Who are these people? Are they holograms?” But behind that project, there are real musicians making the music. Now we have situations where the “artist” is not a real person at all. That is creepy. AI systems are being trained on prompts based on other artists, such as “sound like this artist and that artist,” and they are pulling data from those artists’ work. There could be a reality where an AI is making songs in a voice very similar to mine. That is even scarier.
CK: It really is scary where it is heading regarding artists. The bigger question I have is, are we going to be replaced?
M: Yes, that is the fear. I do not think live performance can truly be replaced, but people are going out less. They think, “I have Taylor Swift at home,” or “I have Madison at home.” They do not feel the same need to go to shows. I try not to dwell on being replaced. Personally, I would rather have AI write my emails, not my songs.
CK: Returning to The Pages, if it had a scent, a color palette, and a texture, how would you describe them?
M: I actually created a whole mood board for that. The colors are beige, tan, and light blue, like a soft blue you can see behind me, plus a pastel maroon that is a bit grayish, and other earthy tones. Everything is a bit washed out, with low saturation, almost like a sepia effect. Earth tones, but with a pastel, papery quality. The texture is paper, because it is the stories, the pages. The designer put a paper overlay on all the graphics so that the print has a papery texture on the final product. Materials would be leather and lace, for sure. The scent would be something like amber, a musky, earthy smell with pine and spice. I am going to make air fresheners, because I drive a classic car. One big thing about me is that I drive a 1976 Chevy Chevette, and my Chevette content does well on TikTok. People have been asking me to make car air freshener merch, so I am going to do that, and it will smell like that.
CK: What is the most meaningful reaction you have received to this project so far? I know you mentioned the girl who connected with the “Took 17 away from me” line and your music therapy student, but has there been an even more meaningful reaction?
M: Yes. A big one is people buying the physical copies. After my shows, young girls and young women, teens or even younger, like 11 or 12, come up and ask me to sign their CDs. Then they go home and tell their parents, “We need to buy a CD player,” and they go to the thrift store to find one so they can listen to my album. That is exactly what I wanted, people reconnecting with physical, analog music. I am also in a classic car club. People in the club have bought CDs and cassettes and are listening to them in their classic vehicles now. That is really special.
Another huge moment was my release show in Toronto, which sold out. There were about 100 people at the Cameron House, a legendary venue. My roommate brought pumpkin pie, and we served it. I handed out lyric sheets and posters. It felt like, “These are my people, this is my community.” That night was my version of what Pearl had, my community showing up for me. My photographer, who took the album photos, was there. The artists I played with were so supportive and gave me gifts. Having that many people show up for the album release in Toronto, a city I have been visiting often for the past four years, felt like a big moment and meant a lot to me.
CK: Regarding the physical copies, how would you get people who are so used to digital music to buy them? How would you convince them?
M: It is difficult, but I frame it as a keepsake, something you get to have. The cassettes are very cute, so I often start there and say, “Look how cute it is. You can just have it in your house.” I have also started saying something I think is important for everyone to hear: when you listen to music digitally, you do not own it. You rent it. You subscribe to it. When you buy an album or physical copy, you are not only supporting the artist directly, you also own it. It is yours, instead of rented music, which is basically what streaming is. You do not own any of that. It is all in the digital realm. A physical copy will not disappear from your collection unless it literally burns. It cannot be erased by an algorithm. That is a huge selling point. “This is yours. You own this.”
CK: You mentioned you have music therapy students. Here in the United States, there has been a push to go “back” to just reading, writing, and arithmetic, cutting arts from schools and even demonizing them. What do you say to people who stand behind that and make those decisions?
M: It is hard to even articulate with words, which already says a lot about how powerful and important the arts are. I could convey my feelings about that in a song much more effectively than in a boardroom speech. That is the point. Music and art express emotions and experiences that conversation alone cannot. The people cutting arts programs are often sitting in a boardroom, looking at numbers and budgets, and missing the entire concept of what art is. They might say it is “not doing anything” or “not helping,” but they are not actually trying it themselves or seeing firsthand how impactful it is.
They are not going into classrooms and spaces where kids are making art or playing music and seeing what that does for them. They are just looking for something that can be cut. It becomes about control. They want everything to be by the book, strictly academic, with no room for creativity, spontaneity, or experimentation. It almost feels like going back to the 1800s, calling creative people “witches” or something similar. It is archaic and strange. Historically, art has brought people together. Centuries ago, when life was hard, people would turn to music and performances for relief. People in castles would call in musicians and jesters to sing songs and entertain them, and that helped with their struggles. Art can genuinely uplift and heal people. Removing it is a huge loss.
CK: I feel the same way. I used to teach English on VIPKid, a platform that hired teachers in Canada and the United States to work with children in China and Japan. They were incredibly strict about academics, but they also placed real emphasis on the arts, like music, drawing, and dance. To me, whether it is visual art, painting, music, or any creative discipline, it can actually be more demanding because it requires education, skill, and sustained dedication. I think some people fear the arts for exactly that reason, because they do not have those skills themselves and feel threatened by what they cannot do.
M: Totally. It is similar to other power dynamics. I read a quote recently that said men can only take life away; they cannot create it, and that is part of why they subconsciously fear women. We have the ability to create life. In a way, art is also about creation. People who do not understand or value that sometimes react by trying to control or suppress it, instead of supporting it.
CK: Beyond music and politics, what simple rituals or joys help you recharge and reconnect with yourself?
M: Dancing, for sure. When I go to electronic music shows, they pull me away from everyday worries. I just dance. In the morning, I wake up, put something on, sometimes just the radio, and if a good song comes on, I dance. Yoga and meditation are also big ones. I have a specific meditation I do before shows or before anything I feel nervous about. I visualize a white light above me, like a cloud or a beam, and use box breathing to draw that light in and let it envelop me. It helps me feel like I have more light in me. It helps me lead with my heart and stay warm and open as a person. That is my energy. I am very warm and kind. I also do not like attracting negative energy, so I am careful about that. Meditation helps protect me. Writing also helps, especially writing just to write, not necessarily to create a “great” or “hit” song, but simply to express.
CK: As you look toward the next chapter of your artistic journey, what excites you the most about the music and where this journey is taking you?
M: I am excited because I feel like I have tried everything now. I have put my entire self into my art, fully and consistently. Because of that, I feel like I can be more experimental now, more unusual, in a positive way. I have proved to myself that I can consistently show up in this style and in this way. Now I feel free to make something more experimental.
Also, choosing to release the album mainly as a physical project, and not focusing so heavily on digital numbers, gave me more freedom. I realized, “It is just an album or just a song. It does not have to carry this enormous weight.” It still matters a lot, but it does not have to be the final word. I will make another album, and another, and so on. I have released songs where I thought, “This is a good song. This is going to get noticed.” “Don’t Say No” from my last album really took off. It ended up in H&M, on CBC, and in other places, and I am sure it will keep doing more now that it is out in the world. Now I feel like I can be more experimental if I want. I am thinking of putting out an entire piano ballad album, and maybe later doing some electronic folk music. I am open to where it goes.
CK: Out of everything you have done, what would you say you are most proud of?
M: This album, for sure. Specifically, the way the song “Colors” transitions into “Amber.” “Colors” is more of an instrumental track that flows directly into “Amber.” “Amber” is one of those songs where I thought, “If someone else released this, it would be my favorite song.” It is different when it is your own music. You love it, but you do not usually put it on all the time as if it is your favorite track by someone else. With “Amber,” I feel like if it were someone else’s song, it would be one of my favorites. That is a really cool feeling.
CK: Before we wrap up, is there anything you would like to add or leave your audience with?
M: Thank you for listening and for supporting me. A huge reason I feel like I can make these albums, put out art, and then explore more experimental ideas is because my fans are always there. Even when I do something that does not perform as well or that I feel unsure about, they are there to pick me up and say, “No, we love this. It is you. Do not let the industry get you down.” When I am not getting chosen for festivals, or my stream count is low, they remind me that they care about the music and about me as an artist, not about the numbers. For other artists, I would say, keep going. Find yourself in your songs, but also speak to the wider world. That is why songs are relatable. And buy physical copies.
CK: Any plans for touring in the United States?
M: Not at the moment. Right now, I have just accepted a tour in Ireland and the UK in January, which is coming up very soon. In the meantime, I do livestreams and I have a Patreon. That is actually the best way to support me. My tiers start at five dollars, and that gives access to all of my concerts. I film and record them and upload them as private videos, and I share the links on Patreon. Shows like the one with Pearl and the album release show in Toronto are all there for people to watch.
Maddisun’s message is unmistakable: keep going, stay true, and trust the power in your own voice. Her music lives where vulnerability meets strength, and her story proves that the most meaningful art is created when courage rises above fear. She encourages others to find themselves in their own stories just as she continues to discover herself in hers. With every album, every show, and every connection she builds, she reminds us that authenticity endures far beyond numbers or trends. Her journey is still unfolding, and the chapters ahead promise even more boldness, experimentation, and heart. Page by page, she continues on.
Maddisun’s world is rooted in passion, truth, and a deep love for the craft of music, a devotion that radiates through The Pages and everything she creates. Her willingness to embrace unconventional paths, reconnect with nostalgia, and honor the emotional core of her work makes her one of the most compelling indie artists rising today. Whether listeners drop a needle on her vinyl, stream Chapter One, or catch her electrifying performance live, one truth remains constant: Maddisun writes, performs, and lives with a heart wide open.
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