KATHLEEN is a vocalist and songwriter from Colorado whose music provides a gateway into re-discovering the importance of our relationship with the world around us while simultaneously exploring the complexities of the human spirit.

Raised primarily in the Colorado Rocky Mountains, she was taught from an early age to notice patterns and personalities in the natural world around her. Her mother was a park ranger in many of the United States’ largest national parks before going back to school to become a Physician’s Assistant. Kathleen’s father is a Pediatrician and together, her parents run a solo pediatric practice. Her younger sister is currently studying evolutionary biology, and Kathleen worked as a florist for seven years growing up, learning the intricacies flowers and plants. To Kathleen, nature is the ultimate artist.

As a musician, her voice is haunting and strong, but also exudes a crucial vulnerability that reminds listeners that one can be an effective communicator while still being soft and human. In fact, it is Kathleen’s unique ability to walk these two lines—of strength and softness, of conflicting narratives and trains of thought—that make her songs even more accessible, particularly in such difficult times defined by extremes.

So when Kathleen began writing songs as early as age seven, all of this background, this scientific mode of thinking and searching for patterns shaped how she sculpts a song and the art that surrounds it.

1. Could you describe your music?

No haha.

But I like big songs, I like big builds, I like big feelings. I like contrast and sincerity.

2. What made you want to be a singer in the first place? Or was there some kind of larger role where singing and songwriting was just the medium?

Singing has always been almost involuntary. Most of the time forget I’m even doing it, it’s like talking or thinking. My teachers in elementary school would always have to ask me to stop singing cause we were taking a test or something but I didn’t even notice I was doing it. I do it when I’m nervous, I think it calms me down.

Writing is where I concentrate most. I love stories more than anything. I love ironies and complexities and patterns. I think I like patterns the most. Like exploring the ways the futurist manifesto written in 1909 reflects the tech age we’re living in and learning from it. Or how the mint plant in my kitchen window needs to be cut back or it will grow too spindly and thin and its leaves will be small and tasteless. But if you cut it back, it becomes thick and strong and learns posture towards the sun. It’s like a pattern of humility or something. And writing is my favorite way of explore those patterns.

3. Do you find you’re most motivated by heartbreak or love? If not that, what?

It’s definitely the most primal and powerful feeling to write from! Maybe why there’s such an excess of love songs compared to other kinds of songs in the world. It’s a trusty foundation to lay other thoughts onto.

But I also find motivation in whatever else is in front of me. Random conversations you hear at a gas station in Utah, or a story some kid I babysat told me about his bus ride home. A lot of dreams, I have batshit crazy dreams. It just depends, I guess.

4. There’s also an awareness of the world integral to your music, like in “The Longest Year.” How did that come about?

With “The Longest Year,” I was sitting at my keyboard noodling on a chord progression and scrolling through Instagram. It was before he’d even made it to the primaries but the news was already buzzing with Trump—MAGA red everywhere in my feed. There were a few posts about it and then right below it, a post about how much of the Great Barrier Reef had been officially pronounced dead. The dissonance and surreality of the two events struck me so hard. It took me almost two years to finish the song, during which so many other events unfolded. Shootings, refugees, more ecological crisis, etc. all peppered in between pictures of my friend’s new dog or ads for a food delivery services to help you with your very busy life. I couldn’t wrap my mind around the strange chaos at the heart of it all, and still can’t. The only thing I could make sense of is that all of us are exhausted.

5. What are your influences?

Really all over the place. When iTunes started to be a thing, I remember I would scroll down and switch the flag to show the charts in other countries, then I’d go back to the US store and see if I could find the songs there to buy. Watched a lot of VH1 top 20 every morning before the bus, my MP3 player was my best friend. I was really into weird blogs and sought out friends with just as strange of taste. But the big influences are usually The Killers, Joni Mitchell, Nina Simone, Bob Dylan, Lou Reed, Fiona Apple, Frank Ocean, Kate Bush, Radiohead, and the poets, Frank O’Hara, Charles Bukowski, Leonard Cohen, Allen Ginsberg, C.D. Write, Eduardo C Corral. Recently really into Mary Oliver, can’t wait to get deep into Rilke.

Music like Kathleen’s helps us remember that we are complex, conflicted, flawed, wonderful, powerful creatures -- and through her voice, instrumentals, and words, Kathleen generously provides a soundtrack that’s fitting for those revelations. Her first EP, out this spring, explores love and the fall of love in the time of potential apocalypse.

For more information, please contact Reid Kutrow or Carla Sacks, 212.741.1000 at Sacks & Co.