A Deeper Listen
By KEXP
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Image by KEXP
Category: Music Interviews
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Subscribers: 75
Reviews: 1
Episodes: 484
Jenna
Oct 26, 2019
Very informative and expansive discussions on music, life as a musician, and Seattle.
Description
On A Deeper Listen, host Emily Fox and other storytellers from KEXP talk with artists about the stories behind their songs and the experiences that inform their work. Through each conversation, we uncover the humanity behind the music, allowing us to hear it in a whole new way.
| Episode | Date |
|---|---|
|
How a Coma Allowed Meatbodies to Finish Their Latest Album
|
Apr 23, 2024 |
|
Salt Cathedral Contemplates Screen Addiction, Climate Change, and Our Children’s Future
|
Apr 16, 2024 |
|
Hurray for the Riff Raff: “Grief is not a punishment, it’s an act of love”
|
Apr 09, 2024 |
|
Introducing: A Deeper Listen
|
Apr 05, 2024 |
|
Trans Musicales Highlights
|
Apr 04, 2024 |
|
Eurosonic Festival Highlights
|
Apr 02, 2024 |
|
Artists Reclaiming Their Masters
|
Mar 28, 2024 |
|
First to Last: John Vanderslice
|
Mar 26, 2024 |
|
Best Of: Bam Bam’s Tina Bell, The Unsung Goddess of Grunge
|
Mar 21, 2024 |
|
Best Of: Mastering Behind the Console
|
Mar 19, 2024 |
|
Best Of: Behind the Console: From Prince to PhD
|
Mar 14, 2024 |
|
Totem Star Youth Recording Studio
|
Mar 12, 2024 |
|
Toussaint Morrison Reflects on MN Police Killings in Album
|
Mar 07, 2024 |
|
Brittany Davis Raises Her Voice on ‘Image Issues’
|
Mar 05, 2024 |
|
Best Of: Ella Vos on Postpartum Depression
|
Feb 29, 2024 |
|
Charley Pride – The First Black Country Singer to Sign to a Major Label
|
Feb 27, 2024 |
|
Making An Album After A Near Death Experience
|
Feb 23, 2024 |
|
BIPOC Punk
|
Feb 20, 2024 |
|
Hazel Scott's Extraordinary Career
|
Feb 15, 2024 |
|
Mali Obomsawin Explores Intimacy Under Colonialism on New Album
|
Feb 13, 2024 |
|
Sofia Kourtesis on Maternal Love and the Neuroscientist Who Inspired Her Latest Album
|
Feb 08, 2024 |
|
A Review of The Smile’s ‘Wall of Eyes’
|
Feb 06, 2024 |
|
SPRINTS on Catholic Guilt, Sexism, and ADHD
|
Feb 01, 2024 |
|
Palestine Amplified Part 4: Joy as an Act of Resistance
|
Jan 30, 2024 |
|
Palestine Amplified Part 3: The Role of the Artist
|
Jan 26, 2024 |
|
Palestine Amplified Part 2: Music as a Tool of Liberation
|
Jan 23, 2024 |
|
Palestine Amplified Part 1: Connecting Our Struggles
|
Jan 18, 2024 |
|
Making It Work as an Indie Musician
|
Jan 16, 2024 |
|
Why Coming Back From Tour Is So Hard
|
Jan 11, 2024 |
|
Best of: Shellfish Diver by Day, Rock Drummer by Night
|
Jan 09, 2024 |
|
Best Of: Why Less Than 5% of Producers Are Women
|
Jan 04, 2024 |
|
NNAMDÏ's Musical DNA
|
Jan 02, 2024 |
|
How A Floor Translates Music Through Vibrations
|
Dec 28, 2023 |
|
KEXP’s Top Played Albums of 2023
|
Dec 26, 2023 |
|
2023 in Latin Music
|
Dec 21, 2023 |
|
A Reflection on Travel, Mortality, and Life Through billy woods
|
Dec 19, 2023 |
|
Grails: Portland Psych Rockers Ride Again
|
Dec 14, 2023 |
|
Malummí on 'The Universe is Black'
|
Dec 12, 2023 |
|
Black Musicians in the PNW Reclaiming Rock & Roll
|
Dec 07, 2023 |
|
Magic AL Finds Joy and 'Good Grief' on Debut Album
|
Dec 05, 2023 |
|
Andre 3000’s Ambient Flute Record and Finding Solace in 2023
|
Nov 30, 2023 |
|
Live Music’s Accessibility Problem
|
Nov 28, 2023 |
|
Sudan Tapes Archive: Preserving Memory
|
Nov 23, 2023 |
|
The Halluci Nation’s Wrestling-Inspired EP
|
Nov 21, 2023 |
|
Duff McKagan Talks Addiction, Recovery, and New Solo Album
|
Nov 16, 2023 |
|
The Beatles' Last New Song
|
Nov 14, 2023 |
|
Meet KEXP’s New Music Director
|
Nov 09, 2023 |
|
SXSW Sydney Performers on Fair Pay
|
Nov 07, 2023 |
|
Heatmiser on Old Portland and Their Compilation Record
|
Nov 02, 2023 |
|
The Memoir of Sonic Youth’s Thurston Moore
|
Oct 31, 2023 |
|
Armand Hammer Embrace the Chaos on ‘We Buy Diabetic Test Strips’
|
Oct 26, 2023 |
|
Jenn Champion’s Saddest Record Yet
|
Oct 24, 2023 |
|
Bainbridge Island Wind Harp
|
Oct 19, 2023 |
|
Explore KEXP Podcasts!
|
Oct 19, 2023 |
|
Elisapie Shares Memories on Covers Album Sung in Inuktitut
|
Oct 17, 2023 |
|
Gregg Deal of Dead Pioneers on Being a "Bad Indian"
|
Oct 12, 2023 |
|
Jeremy Dutcher Preserves Indigenous Language & Stories on 'Motewolonuwok'
|
Oct 10, 2023 |
|
Lessons in Healing From a Coast Salish Punk
|
Oct 09, 2023 |
|
No-No Boy's Music Is a Lesson in Asian American History
|
Oct 05, 2023 |
|
Five Songs Reshaping Alternative Latin Music
|
Oct 03, 2023 |
|
Highlights From Australia’s BIGSOUND Music Showcase
|
Sep 28, 2023 |
|
Explosions in the Sky Isn’t Breaking Up
|
Sep 26, 2023 |
|
Why Vagabon Made an Upbeat Album in Mourning
|
Sep 21, 2023 |
|
Corinne Bailey Rae on the Expansive Inspirations of 'Black Rainbows'
|
Sep 19, 2023 |
|
Julie Byrne Navigates Grief with 'The Greater Wings'
|
Sep 14, 2023 |
|
Genesis Owusu Embraces Outsider Identity
|
Sep 12, 2023 |
|
Seattle’s Early R&B and Rock History
|
Sep 07, 2023 |
|
KEXP’s Top Played Songs of Summer
|
Sep 04, 2023 |
|
Melvins Influence & 40 Year Career
|
Aug 31, 2023 |
|
Who Is She Ascend to the Heavens with ‘Goddess Energy’
|
Aug 29, 2023 |
|
Brad’s Final Album and the Late Shawn Smith
|
Aug 24, 2023 |
|
Shamir's Sonic and Mental Health Journey
|
Aug 22, 2023 |
|
Cool Schmool: An Interview with Bratmobile
|
Aug 17, 2023 |
|
Arlo Parks Talks Lyricism and Burnout
|
Aug 15, 2023 |
|
Is A.I. Music a Threat to Artists?
|
Aug 10, 2023 |
|
Mudhoney’s Steve Turner on His New Grunge Memoir
|
Aug 08, 2023 |
|
Studios of Seattle and Tacoma
|
Aug 03, 2023 |
|
John Goodmanson on Producing in Seattle
|
Aug 01, 2023 |
|
Mix and Match: Linda From Work
|
Jul 27, 2023 |
|
Memories in the Key of Alicia
|
Jul 25, 2023 |
|
LP Giobbi on "Femme House" and Building a More Equitable Industry
|
Jul 20, 2023 |
|
Danielle Ponder: From Public Defender to Full-Time Musician
|
Jul 18, 2023 |
|
Protmartyr's Formal Growth in Detroit
|
Jul 13, 2023 |
|
Nabihah Iqbal Creates Space to Dream
|
Jul 11, 2023 |
|
Seattle’s Summer Music Festival Guide
|
Jul 06, 2023 |
|
Janelle Monáe’s 'Age of Pleasure' Review
|
Jul 04, 2023 |
|
Brandy Clark on New Album & Being Gay in Country Music
|
Jun 29, 2023 |
|
Sigur Rós 'ÁTTA' Review
|
Jun 27, 2023 |
|
K.Flay on Touring and Making Music After Hearing Loss
|
Jun 22, 2023 |
|
A Reflection on Erykah Badu
|
Jun 20, 2023 |
|
Apparently: Sounds of the Unborn
|
Jun 18, 2023 |
|
Apparently: billy woods on His ‘A Is For Anarchist’ Children’s Book
|
Jun 18, 2023 |
|
The Story of Zamrock and W.I.T.C.H
|
Jun 15, 2023 |
|
Everything But the Girl Reflects on 40+ Year Career
|
Jun 13, 2023 |
|
What Little Richard Deserved
|
Jun 08, 2023 |
|
Day Job: DJ Yaddy, Teacher Miss Yas
|
Jun 06, 2023 |
|
Mix & Match: Racoma
|
Jun 01, 2023 |
|
Asian Man Records' Mike Park on Nearly 30 Years of Ska and Independence
|
May 30, 2023 |
|
How a Religious Cult Inspired Draag’s Album
|
May 25, 2023 |
|
Karl Blau Leaves Washington and Starts New Band with War on Drugs Members
|
May 23, 2023 |
|
Habibi's Rahill Reflects on Iranian Heritage and Family in Debut Album
|
May 18, 2023 |
|
Kassa Overall on Mental Health and Seattle Cutting Washington Middle School’s Band
|
May 16, 2023 |
|
Durand Jones Dedicates Album to Rural South
|
May 11, 2023 |
|
Y La Bamba on 'Lucha' and Embracing Their Full Identity
|
May 09, 2023 |
|
Blondshell on Toxic Relationships and the Catharsis of Songwriting
|
May 04, 2023 |
|
Will A.I. Change Radio?
|
May 02, 2023 |
|
Lonnie Holley Reflects on The Alabama Industrial School for Negro Children
|
Apr 27, 2023 |
|
The Legacy of Schoolhouse Rock
|
Apr 25, 2023 |
|
Adi Oasis on Gun Violence, Black Resilience, and Female Empowerment
|
Apr 20, 2023 |
|
Macklemore on Addiction & Recovery
|
Apr 18, 2023 |
|
The Garages— The Top-Selling Seattle Band You Didn’t Know Of
|
Apr 13, 2023 |
|
Sigur Rós’ Jónsi on His Seattle Art Exhibit and Making Perfume
|
Apr 11, 2023 |
|
Cyborgs Helped Miss Grit Explore Their Identity
|
Apr 06, 2023 |
|
Treefort Music Fest Highlights
|
Apr 04, 2023 |
|
Music Doesn't Matter
|
Apr 01, 2023 |
|
Women in the Touring Industry
|
Mar 30, 2023 |
|
Grace Love’s “Work in Protest”
|
Mar 28, 2023 |
|
Living Singles: Local Edition
|
Mar 23, 2023 |
|
Living Singles with Pacific Notions’ Alex Ruder
|
Mar 21, 2023 |
|
Listeners Stories: How Music Brings Us Together
|
Mar 16, 2023 |
|
Chromatics’ Adam Miller on Old Seattle
|
Mar 14, 2023 |
|
Trans Musicales Highlights
|
Mar 09, 2023 |
|
The McFerrin Family Legacy of Joy
|
Mar 07, 2023 |
|
The Raincoats' Gina Birch on Debut Solo Album
|
Mar 02, 2023 |
|
Stranger in the Punk House: A Look at Black Punks
|
Feb 28, 2023 |
|
The Women of London’s 1970’s Punk Scene
|
Feb 23, 2023 |
|
Don Letts on The Clash, Punk & Reggae
|
Feb 21, 2023 |
|
Black Belt Eagle Scout Comes Home
|
Feb 16, 2023 |
|
250
|
Feb 14, 2023 |
|
Eurosonic Highlights
|
Feb 09, 2023 |
|
Lil Yachty’s Psych Rock Album Isn’t Surprising
|
Feb 07, 2023 |
|
The Arcs Remember Richard Swift
|
Feb 02, 2023 |
|
Who Is She Enters (And Exits) The Hockey Rink
|
Jan 31, 2023 |
|
50 Years of Hip-Hop: Coming February 1
|
Jan 27, 2023 |
|
Hammock on Choosing to 'Love in the Void'
|
Jan 26, 2023 |
|
The Best Latin American Music of 2022
|
Jan 24, 2023 |
|
The Story of Jim Thorpe
|
Jan 19, 2023 |
|
The Smile at KEXP
|
Jan 17, 2023 |
|
Travis Thompson on 'Reservation Dogs' and Indigenous Representation
|
Jan 12, 2023 |
|
Seattle’s Music Scene, Past and Present
|
Jan 10, 2023 |
|
Mix & Match: Deep Sea Diver
|
Jan 05, 2023 |
|
Mix & Match: Mt. Fog
|
Jan 03, 2023 |
|
Living Singles with Sharlese Metcalf: Nuovo Testamento, RISK RISK and Teenage Daycare
|
Dec 29, 2022 |
|
KEXP's Top Played Albums of 2022
|
Dec 27, 2022 |
|
A Very Merry Christmas Edition of Living Singles
|
Dec 22, 2022 |
|
Hip Hop: “The World's Most Strangest, Most Dangerous Occupation”
|
Dec 20, 2022 |
|
Living Singles with Dusty Henry: Thundercat, MIKE and Coco & Clair Clair
|
Dec 15, 2022 |
|
Cellist Lori Goldston on Her Career from Nirvana to Now
|
Dec 13, 2022 |
|
Living Singles: The Songs That Got Emily Fox Through Maternity Leave
|
Dec 08, 2022 |
|
KEXP DJs on Their Favorite Albums of 2022
|
Dec 06, 2022 |
|
Living Singles with Roddy Nikpour: Eluvium, Hammock, and The Album Leaf
|
Dec 01, 2022 |
|
Day Job: Pike Place Fish Thrower
|
Nov 29, 2022 |
|
Living Singles with Tia Ho: Hello Mary, Blondshell, and Julien Chang
|
Nov 24, 2022 |
|
Independent Music Meets Pro Wrestling
|
Nov 22, 2022 |
|
Living Singles with Leah Capindo: Blood Orange, Fousheé, and Thee Sacred Souls
|
Nov 17, 2022 |
|
Maral Creates Transcendent Club Music from Iranian Samples
|
Nov 16, 2022 |
|
Remembering Mimi Parker
|
Nov 15, 2022 |
|
Living Singles with Martin Douglas: Almond Joy, Bella and the Bizarre, and billy woods
|
Nov 10, 2022 |
|
Rocky Votolato on Grief
|
Nov 09, 2022 |
|
The Iranian Protest Song Connecting a Revolution
|
Nov 08, 2022 |
|
Living Singles with Jasmine Albertson: K4, Chanel Beads, and Weyes Blood
|
Nov 03, 2022 |
|
The Black Angels’ Alex Maas on the Psychedelic Rock Community
|
Nov 01, 2022 |
|
Living Singles with Syd Gladu
|
Oct 27, 2022 |
|
Toro y Moi Finds Himself in 'Mahal'
|
Oct 25, 2022 |
|
Living Singles with DJ Evie
|
Oct 20, 2022 |
|
Sleater-Kinney’s Corin Tucker Gets Her Tracks Covered
|
Oct 18, 2022 |
|
Living Singles with Albina Cabrera
|
Oct 13, 2022 |
|
Seattle DJs Remember Nirvana’s 'Nevermind'
|
Oct 11, 2022 |
|
Living Singles with Alaia D’Alessandro
|
Oct 06, 2022 |
|
The Psychedelic Soul of Nada Rosa
|
Oct 04, 2022 |
|
Living Singles with Rachel Stevens
|
Sep 29, 2022 |
|
Autumnal Tunes of 2022
|
Sep 27, 2022 |
|
Doris Anahí Paves a Path in 'Mija'
|
Sep 22, 2022 |
|
Built to Spill’s Doug Martsch Talks Fandom with His Biggest Fan
|
Sep 20, 2022 |
|
Living Singles with Isabel Khalili
|
Sep 15, 2022 |
|
Santigold Strikes Gold — Again
|
Sep 13, 2022 |
|
Music Heals: Mental Health
|
Sep 08, 2022 |
|
Wake Up, Win Butler: A Roundtable
|
Sep 06, 2022 |
|
Living Singles with Janice Headley
|
Sep 01, 2022 |
|
Break It Like Beckmann
|
Aug 30, 2022 |
|
Living Singles with Jasmine Albertson
|
Aug 25, 2022 |
|
Apparently: Sharon Van Etten Addresses Parent’s Guilt
|
Aug 23, 2022 |
|
How Lace Cadence Discovered Burna Boy in a Swedish Club and Never Looked Back
|
Aug 18, 2022 |
|
Sylvan Esso Trusts the Process (or, Randy and Sandy Get Weird)
|
Aug 16, 2022 |
|
The Beytable (Beyoncé Roundtable)
|
Aug 11, 2022 |
|
Fred again.. in Actual Life
|
Aug 09, 2022 |
|
Break It: Morgan Chosnyk and Eva Walker
|
Aug 04, 2022 |
|
Of Montreal Paints with Sound on 'Freewave Lucifer'
|
Aug 02, 2022 |
|
Break It: Greg Vandy & John Gilbreath
|
Jul 28, 2022 |
|
ODESZA Comes Home
|
Jul 26, 2022 |
|
Break It: Marco Collins & John Richards
|
Jul 21, 2022 |
|
Yard Act Gets Cheeky with Elton John
|
Jul 19, 2022 |
|
Miki Ratsula Rewrites Love Songs for All Genders
|
Jul 14, 2022 |
|
Top Songs of 2022 (So Far)
|
Jul 12, 2022 |
|
Killer Mike on “Run” and the Politics of Being Black
|
Jul 07, 2022 |
|
Artists & Their Abortions
|
Jul 05, 2022 |
|
Zola Jesus on Healing the Music Industry
|
Jun 30, 2022 |
|
MUNA on Queer Representation
|
Jun 28, 2022 |
|
Bartees Strange on Farm To Table: “I Can’t Fix the World But I Can Fix Me”
|
Jun 23, 2022 |
|
The Sonics of Black Spirituality
|
Jun 21, 2022 |
|
Nabil Ayers’ “Life in the Sunshine”
|
Jun 16, 2022 |
|
Pomplamoose on the Business of Being Full Time Musicians
|
Jun 14, 2022 |
|
Poliça Turns Traumas Into Healing Songs
|
Jun 09, 2022 |
|
Fantastic Negrito’s Ancestral Love Story
|
Jun 07, 2022 |
|
Introducing "The Runcast with John Richards"
|
Jun 06, 2022 |
|
Apparently: Parallels of a Grandmother and Grandchild
|
Jun 02, 2022 |
|
Emmy The Great Embraces Biracial Heritage Through Music and Motherhood
|
May 31, 2022 |
|
Apparently: La Luz’ Shana Cleveland’s Fight to Stay in Music After Motherhood and Cancer Diagnosis
|
May 26, 2022 |
|
Allen Stone on the American Song Contest
|
May 24, 2022 |
|
Chris Bathgate’s Musical Journey From Living in a Forest to Working for Tech Startup
|
May 19, 2022 |
|
Lavender Country on Making Gay Country Music
|
May 17, 2022 |
|
Tennyson Writes Album After New Hearing Condition
|
May 12, 2022 |
|
Hollis’ Love Letter to Seattle
|
May 10, 2022 |
|
Charlotte Adigéry & Bolis Pupul on Wokeness, Racism and #Metoo
|
May 05, 2022 |
|
The Head and the Heart on Going to Band Therapy and New Album
|
May 03, 2022 |
|
Hatchie on Self-Acceptance and Working a Day Job to Save for Tour
|
Apr 28, 2022 |
|
Maren Morris on Motherhood, Death and Diversity in Country Music
|
Apr 26, 2022 |
|
Destroyer’s Evolution of Sound
|
Apr 21, 2022 |
|
Lucius Dances Through The Darkness
|
Apr 19, 2022 |
|
Kae Tempest on the Power of Lyricism
|
Apr 14, 2022 |
|
Orville Peck Releases 'Bronco' After Almost Quitting Music
|
Apr 12, 2022 |
|
Apparently: Lowland Hum “Quiet Music” to Colicky Baby
|
Apr 07, 2022 |
|
Apparently: Middle Kids on What It Takes to Tour With Toddler
|
Apr 05, 2022 |
|
Fresh off the Spaceship: The Story of the Black Constellation
|
Apr 01, 2022 |
|
Apparently: Parenting Advice from Inuk Throat Singer Tanya Tagaq
|
Mar 31, 2022 |
|
Apparently: Swimming Upstream
|
Mar 29, 2022 |
|
Brittany Davis Addresses Blindness on Debut EP
|
Mar 24, 2022 |
|
From Homeless to Starting Band of Horses
|
Mar 22, 2022 |
|
Creating Music and Community at a Liquor Store Day Job
|
Mar 17, 2022 |
|
Ukraine’s DakhaBrakha: “It’s not a conflict, it’s just war.”
|
Mar 15, 2022 |
|
Video Game Music in Seattle
|
Mar 10, 2022 |
|
Superchunk’s Laura Ballance: “My Hearing Problems Have Ruined My Life As A Musician”
|
Mar 08, 2022 |
|
Jen Malone: Behind the Music of Euphoria, Atlanta & Yellowjackets
|
Mar 03, 2022 |
|
The Story of White Town's 1997 hit, "Your Woman"
|
Mar 01, 2022 |
|
Remembering Mark Lanegan
|
Feb 24, 2022 |
|
Beach House Album Review: 'Once Twice Melody'
|
Feb 24, 2022 |
|
Ben Gibbard on Honoring Yoko Ono's Legacy
|
Feb 22, 2022 |
|
From Broadway to a Vermont Farm: Anaïs Mitchell Returns Home for Solo Record
|
Feb 17, 2022 |
|
Animal Collective Talks Experimentation and Need for Connection
|
Feb 15, 2022 |
|
Riot Grrrl Energy on an Island off Maine
|
Feb 10, 2022 |
|
How J Dilla Reinvented Rhythm
|
Feb 08, 2022 |
|
How Musicians are Utilizing Discord
|
Feb 03, 2022 |
|
Rediscovering Seattle’s Funk Scene
|
Feb 01, 2022 |
|
Gabriels on Being Whoever You Want To Be
|
Jan 27, 2022 |
|
Roe v Wade & Music
|
Jan 25, 2022 |
|
Cat Power Talks Covers Album, Mental Health and Motherhood
|
Jan 20, 2022 |
|
Bonobo Finds Musical Inspiration From Samples and Synths
|
Jan 18, 2022 |
|
Remembering Dr. Martin Luther King Jr.’s Legacy
|
Jan 13, 2022 |
|
Best Of: Chong The Nomad Finds Beats at Her Day Job
|
Jan 11, 2022 |
|
Best Of: Vashon Island's Creative Community
|
Jan 06, 2022 |
|
Ketamine Music Therapy
|
Jan 04, 2022 |
|
KEXP's Top Albums of 2021: Staff Picks
|
Dec 30, 2021 |
|
KEXP's Top Albums of 2021: Heavy Rotation
|
Dec 28, 2021 |
|
“No Standards” Christmas Songs
|
Dec 23, 2021 |
|
Discover Music Every Day
|
Dec 22, 2021 |
|
Where's My Vinyl?
|
Dec 21, 2021 |
|
Rise of LA Underground Hip Hop
|
Dec 16, 2021 |
|
How Sobriety and Mental Health Issues Shaped Acid Tongue’s New Album
|
Dec 14, 2021 |
|
The Numbers Behind "Spotify Wrapped"
|
Dec 09, 2021 |
|
The Crocodile Opens in New, Larger Space
|
Dec 07, 2021 |
|
David Bowie’s Long-Lost Album, 'Toy'
|
Dec 02, 2021 |
|
Getting Silly with Wet Leg
|
Nov 30, 2021 |
|
Snotty Nose Rez Kids on Hope and Change
|
Nov 25, 2021 |
|
Preserving an Indigenous Language Through Music
|
Nov 23, 2021 |
|
They Might Be Giants' Playful 40-Year Career
|
Nov 18, 2021 |
|
Live on KEXP with José González
|
Nov 17, 2021 |
|
Damon Albarn's Iceland-Inspired Solo Album
|
Nov 16, 2021 |
|
The War on Drugs on "Certain Optimism" of New Album
|
Nov 11, 2021 |
|
Mudhoney’s Bassist on Being a Nurse During COVID
|
Nov 09, 2021 |
|
Tori Amos on Synesthesia and Her New Album
|
Nov 04, 2021 |
|
Behind the Console: Playing With Sound
|
Nov 02, 2021 |
|
Behind the Console: Monitoring Sound (And Emotions) On Stage
|
Oct 28, 2021 |
|
Behind the Console: Career Change
|
Oct 26, 2021 |
|
Behind the Console: From Prince to PhD
|
Oct 21, 2021 |
|
Behind the Console: 'It's a Really Steep Uphill Climb'
|
Oct 19, 2021 |
|
Noah Gundersen on Leaving Seattle
|
Oct 14, 2021 |
|
Indigenous Music and Representation on the Screen
|
Oct 11, 2021 |
|
Heart’s Ann Wilson on Her Long Career
|
Oct 07, 2021 |
|
Apparently: Ezra Furman's Journey as a Trans Mom
|
Oct 05, 2021 |
|
Apparently: Ella Vos on Postpartum Depression
|
Sep 30, 2021 |
|
Apparently: J’Von on Being the Dad He Never Had
|
Sep 28, 2021 |
|
Songs About Seattle
|
Sep 23, 2021 |
|
Adia Victoria Reclaims the South’s Whitewashed History
|
Sep 21, 2021 |
|
The Many Jobs of Bruce Leroy
|
Sep 16, 2021 |
|
Making a Living Off Youtube and Spotify Playlists
|
Sep 14, 2021 |
|
Inspiration from a Left-Handed, Upside-Down Playing Guitarist
|
Sep 09, 2021 |
|
Music of New Orleans
|
Sep 07, 2021 |
|
RESPECT: An Introduction to Aretha Franklin
|
Sep 02, 2021 |
|
Uncovering the 'Summer of Soul'
|
Aug 31, 2021 |
|
Hiatus Kaiyote: “Somewhere between catchy and likable and a bit obscure”
|
Aug 26, 2021 |
|
Investigating the Unsolved Murder of Mac Dre
|
Aug 24, 2021 |
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Neko Case’s Connection to Nature
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Aug 19, 2021 |
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Jungle on New Record: “Why Weren’t We Like This Before?”
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Aug 17, 2021 |
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Prince’s Long-Lost Album Is Still Relevant
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Aug 12, 2021 |
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Filipino Hip Hop 206: DJ Nasty Nes
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Aug 10, 2021 |
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Filipino Hip Hop 206: Massive Monkees
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Aug 05, 2021 |
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Filipino Hip Hop 206: isangmahal
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Aug 03, 2021 |
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Filipino Hip Hop 206
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Jul 29, 2021 |
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Black & Asian Solidarity
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Jul 27, 2021 |
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Amythyst Kiah Breaks Free of “Shut Up and Sing” Policy
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Jul 22, 2021 |
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Prom Queen Covers Britney Spears
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Jul 20, 2021 |
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The Mystery of SAULT
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Jul 15, 2021 |
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The Marías’ Cinematic Debut
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Jul 13, 2021 |
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Ambar Lucid's Psychedelic Inspiration
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Jul 08, 2021 |
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Garbage’s Shirley Manson on Sexism, Racism and New Album
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Jul 06, 2021 |
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How The True Loves Drummer’s Acupuncture Job Informs His Music
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Jul 01, 2021 |
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Making an Album with Artificial Intelligence
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Jun 29, 2021 |
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Mustafa on Preserving Loved Ones Through His Music
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Jun 24, 2021 |
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Kassa Overall and His Middle School Band Teacher Discuss Lasting Lessons
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Jun 22, 2021 |
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How Indie Labels and Venues Are Reacting to NFTs
|
Jun 17, 2021 |
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Left At London Explores Mental Health on Genre-Shifting Album
|
Jun 15, 2021 |
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Apparently: Baby on Tour
|
Jun 10, 2021 |
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Apparently: Navigating a Toxic Music Industry as a Mother
|
Jun 08, 2021 |
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Apparently: JusMoni’s Letter to Her Son
|
Jun 03, 2021 |
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How New Zealand’s Music Scene Got Stronger During COVID-19
|
Jun 01, 2021 |
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Heart’s Nancy Wilson on First Solo Album
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May 27, 2021 |
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Marvin Gaye’s 'What’s Going On' Resonates 50 Years Later
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May 25, 2021 |
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St. Vincent Goes 70s
|
May 20, 2021 |
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Grief & Loss of Gang of Four Guitarist, Andy Gill
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May 18, 2021 |
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Musicians Respond to Racism Against Asian Americans
|
May 13, 2021 |
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Can’t Stop Won’t Stop: A Hip Hop History
|
May 11, 2021 |
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[Unedited] Can’t Stop Won’t Stop: A Hip Hop History
|
May 11, 2021 |
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Seattle’s Long Lost Punk Record
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May 06, 2021 |
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London Grammar Reacts to Industry Misogyny in New Album
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May 04, 2021 |
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Tune-Yards on Appropriation vs. Inspiration
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Apr 29, 2021 |
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What I Played When the Verdict Came Down
|
Apr 27, 2021 |
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Sharon Van Etten Breaks Down Anniversary Cover Album, 'epic Ten'
|
Apr 22, 2021 |
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Japanese Breakfast on New Memoir, 'Crying in H Mart'
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Apr 20, 2021 |
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We'll Be Back Next Week!
|
Apr 12, 2021 |
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How 'Big Music' Is Hurting the Industry
|
Apr 08, 2021 |
|
Brandi Carlile's Memoir
|
Apr 06, 2021 |
|
Spotify and Streaming Transparency
|
Apr 01, 2021 |
|
KEXP's Top Played Songs of Women’s History Month
|
Mar 30, 2021 |
|
Seattle’s Smiley, Singing Bus Driver
|
Mar 25, 2021 |
|
One Year of Bandcamp Fridays
|
Mar 23, 2021 |
|
SoundCloud’s New “Fan-Powered Royalties”
|
Mar 18, 2021 |
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How NFTs are Making Musicians Millions
|
Mar 16, 2021 |
|
Apparently: Touring, Fatherhood & Recovery
|
Mar 11, 2021 |
|
Apparently: Dad in Drag
|
Mar 09, 2021 |
|
Apparently: Grace Love Goes Solo
|
Mar 04, 2021 |
|
Tina Bell: Unsung Goddess of Grunge
|
Mar 02, 2021 |
|
Adrian Younge Revises Black History
|
Feb 26, 2021 |
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Kuti Family Continues Afrobeat Tradition
|
Feb 25, 2021 |
|
Black History Is Now 'In Our Headphones'
|
Feb 23, 2021 |
|
TV Priest Reflects on Society in 'Uppers'
|
Feb 18, 2021 |
|
Langhorne Slim on Writing After Recovery
|
Feb 16, 2021 |
|
Why Fugees' 'The Score' Matters
|
Feb 11, 2021 |
|
Pussy Riot's New Protest Song
|
Feb 09, 2021 |
|
Music’s Copyright Gold Rush
|
Feb 04, 2021 |
|
How Brexit Could Impact Music
|
Feb 02, 2021 |
|
The Avalanches Find Inspiration in Interstellar Love
|
Jan 28, 2021 |
|
Selling Horses to Get By: a Rural Musician Perspective
|
Jan 26, 2021 |
|
Rap Lyrics in Court: “A Dangerous Precedent”
|
Jan 21, 2021 |
|
Venues Look to Build a More Equitable Future
|
Jan 19, 2021 |
|
Hip Hop 206: Vitamin D
|
Jan 14, 2021 |
|
Hip Hop 206: Legacy of the Unexpected
|
Jan 12, 2021 |
|
Hip Hop 206: Emerald Street Boys
|
Jan 07, 2021 |
|
How the 90s Changed Hip Hop
|
Jan 05, 2021 |
|
Music Deaths 2020: Deeper Cuts
|
Dec 31, 2020 |
|
KEXP's Favorite Songs of 2020
|
Dec 29, 2020 |
|
Reflecting on Race, Identity and Music in 2020
|
Dec 24, 2020 |
|
Calexico Christmas
|
Dec 22, 2020 |
|
Bartees Strange Synthesizes Genres and Reclaims Space
|
Dec 17, 2020 |
|
Sigur Rós Goes Medieval
|
Dec 15, 2020 |
|
Better Off Staying Independent
|
Dec 10, 2020 |
|
Pearl Jam's Stone Gossard on New Side Project, Painted Shield
|
Dec 08, 2020 |
|
One Label's Mission to Support Artists' Mental Health
|
Dec 03, 2020 |
|
Magic Spells and Musical Healing With Nailah Hunter
|
Dec 01, 2020 |
|
Dirty Projectors on Their “Mosaic” of New Releases
|
Nov 26, 2020 |
|
Alice in Chains' 30-Year Career
|
Nov 24, 2020 |
|
Marie Davidson on Divesting from Perfectionism
|
Nov 19, 2020 |
|
Study Finds Ways to Prevent COVID-19 Spread at Concerts
|
Nov 17, 2020 |
|
SassyBlack on Creating a Better Future for Artists
|
Nov 12, 2020 |
|
Marshall Law Band on Underscoring the Seattle Protests
|
Nov 10, 2020 |
|
Sa-Roc Reflects on Self-Love and Her New Album
|
Nov 05, 2020 |
|
War on Women Make This 'Wonderful Hell' Worth Living In
|
Nov 03, 2020 |
|
Laura Veirs' Songs Predicted Her Divorce
|
Oct 29, 2020 |
|
Polaris Prize Winner Backxwash Finds Comfort in Horrorcore
|
Oct 27, 2020 |
|
How to Write a Song With Jeff Tweedy
|
Oct 23, 2020 |
|
Kevin Morby's 'Sundowner' Puts Midwest Twilight Into Sound
|
Oct 22, 2020 |
|
The Fight to Keep Music Live
|
Oct 20, 2020 |
|
Deep Sea Diver's Journey of Healing and Empathy on 'Impossible Weight'
|
Oct 16, 2020 |
|
Bob Mould’s 'Blue Hearts’ Beats With Protest
|
Oct 15, 2020 |
|
The Cheater's Guide to Spotify
|
Oct 13, 2020 |
|
Fleet Foxes on the Significance of Nature in 'Shore'
|
Oct 08, 2020 |
|
Matthew James-Wilson on "What It’s Like to Be Black in Indie Music"
|
Oct 06, 2020 |
|
Sylvan Esso’s Love for Radio DJs and Dancing
|
Oct 01, 2020 |
|
Aluna on Dance Music's Black Origins
|
Sep 29, 2020 |
|
Jessica Hopper on Misogyny in Music
|
Sep 22, 2020 |
|
Preventing Sexual Abuse After the Fall of Burger Records
|
Sep 17, 2020 |
|
Making Music Spaces Safer
|
Sep 15, 2020 |
|
Blimes and Gab on Being Authentically Themselves
|
Sep 10, 2020 |
|
Josiah Johnson Goes Solo After Head and the Heart and Battle With Addiction
|
Sep 08, 2020 |
|
How One Lebanese Band Reacted to the Beirut Explosion
|
Sep 03, 2020 |
|
The Big Life of Little Richard
|
Sep 01, 2020 |
|
Aminé's Love-Hate Relationship With Portland and Its “Backdoor Racism”
|
Aug 27, 2020 |
|
USPS Is "the Last Lifeline" for Musicians
|
Aug 25, 2020 |
|
How to Pull Off a Massive Socially Distant Concert
|
Aug 20, 2020 |
|
Music Venues Reopen in England
|
Aug 18, 2020 |
|
Phil Elverum on Breaking Nostalgia and Defying Streaming Services
|
Aug 13, 2020 |
|
ODESZA on New Collaborative Project, BRONSON
|
Aug 11, 2020 |
|
Fontaines D.C. on the Stories Behind 'A Hero’s Death'
|
Aug 06, 2020 |
|
How Taylor Swift Ended Up in KEXP’s Heavy Rotation
|
Aug 04, 2020 |
|
Carla Sariñana on Burger Records and Sexism in the Music Industry
|
Jul 30, 2020 |
|
The Biography of Chris Cornell
|
Jul 28, 2020 |
|
Minneapolis’ History of Segregation in Music
|
Jul 23, 2020 |
|
The Lawsuit Over "Lady A"
|
Jul 21, 2020 |
|
Billboard Bans Bundling
|
Jul 17, 2020 |
|
Building Black Wealth
|
Jul 16, 2020 |
|
Martha Reeves on Motown and Going into Politics
|
Jul 14, 2020 |
|
Music Venues Ask for Help Amid COVID-19
|
Jul 09, 2020 |
|
Aisha Fukushima on The Pandemic and “RAPtivism”
|
Jul 07, 2020 |
|
Khruangbin’s Musical Fusion Aims to Unite
|
Jul 02, 2020 |
|
Living Authentically: Reflecting on Jackie Shane's Legacy
|
Jun 30, 2020 |
|
Gordi on Exploring Queer Identity on Her New Album
|
Jun 26, 2020 |
|
Dua Saleh on Queer Black Love and Sister Rosetta Tharpe
|
Jun 25, 2020 |
|
Seattle’s CHOP Fuses Protest With Art
|
Jun 23, 2020 |
|
I Self Devine on Collective Trauma and Community Organizing
|
Jun 19, 2020 |
|
Nikkita Oliver on Letting the Vision Lead the Movement
|
Jun 18, 2020 |
|
Toki Wright on Minneapolis, Racism and Music
|
Jun 16, 2020 |
|
The Grammys Scrap Term “Urban”
|
Jun 11, 2020 |
|
Celebrating Black Lives Through Music and Protest
|
Jun 09, 2020 |
|
Larry Mizell, Jr. on the Music of Resistance
|
Jun 05, 2020 |
|
Joy Division's Legacy
|
May 28, 2020 |
|
Seattle Musicians Remember Filmmaker Lynn Shelton
|
May 26, 2020 |
|
Moses Sumney and Jonah Mutono on Inhabiting the Space Between
|
May 21, 2020 |
|
Thao & The Get Down Stay Down’s New Album Addresses Vietnamese Heritage and the Trauma of War
|
May 19, 2020 |
|
Allen Stone on 'Building Balance’ and COVID-19
|
May 14, 2020 |
|
From Nirvana to Dina Martina: Memories of Seattle’s Re-bar
|
May 12, 2020 |
|
Parisalexa on Body Positivity, the Music Biz and Being Genuine
|
May 08, 2020 |
|
Rufus Wainwright on Postponing His New Album
|
May 07, 2020 |
|
Preventing Copyright Cases in Music
|
May 05, 2020 |
|
Damien Jurado on the Mystery of Songwriting
|
May 01, 2020 |
|
Ben Gibbard, Deep Sea Diver and Seattle Opera Tenor on Getting Creative During COVID
|
Apr 30, 2020 |
|
Laura Marling on Her New Album, ‘Song For Our Daughter'
|
Apr 28, 2020 |
|
Lido Pimienta on How Racism, Beauty Pageants and National Identity Influenced Her New Album
|
Apr 23, 2020 |
|
Radiohead’s Ed O’Brien on His First Solo Album
|
Apr 21, 2020 |
|
A Cosmic Journey with Shabazz Palaces
|
Apr 17, 2020 |
|
Waxahatchee on the Clarity and Challenges of Sobriety
|
Apr 16, 2020 |
|
Thundercat on Mourning, Loss and Humor
|
Apr 14, 2020 |
|
Northwest Classics: The Postal Service
|
Apr 09, 2020 |
|
Music Venues at Risk of Permanent Closure Amid COVID-19
|
Apr 07, 2020 |
|
M. Ward on Migration Stories
|
Apr 03, 2020 |
|
Taking Music and Art Online Amid COVID-19
|
Mar 31, 2020 |
|
Musicians & Their Day Jobs
|
Mar 24, 2020 |
|
Bikini Kill on Riot Grrrl Movement, Remembering Richard Swift
|
Mar 17, 2020 |
|
COVID-19 Is Impacting Venues and Musicians
|
Mar 13, 2020 |
|
Women’s Day: Soccer Mommy, Phantogram, Best Coast, Paid Family Leave and Music
|
Mar 10, 2020 |
|
LGBTQ Music and the South, Jamila Woods on the Artists Who Inspired Her Album
|
Mar 03, 2020 |
|
Northwest Classics: Heart and Soundgarden
|
Feb 25, 2020 |
|
Cancer and Music
|
Feb 18, 2020 |
|
Climate Change and Music
|
Feb 11, 2020 |
|
Josiah Johnson, Poliça, Guayaba and Non-compete Clauses
|
Feb 04, 2020 |
|
Michael Kiwanuka on race, music, and 'Big Little Lies,' Gender & controversy at the GRAMMYs and CMT
|
Jan 28, 2020 |
|
Nissim Black on faith and hip-hop, how The Sonics helped invent grunge and punk in the ‘60s
|
Jan 21, 2020 |
|
FKA twigs, Jimi Hendrix’s legacy, songs from Iran
|
Jan 14, 2020 |
|
KEXP's favorite songs of 2019
|
Dec 31, 2019 |
|
Jewish composers behind top Christmas songs, best non-traditional Christmas tunes and Christmas covers
|
Dec 24, 2019 |
|
Angel Olsen, ‘Switched on Pop’ and cover songs
|
Dec 17, 2019 |
|
The dark side of K-Pop, SYML on overnight pop stardom, Madame Gandhi on the power of femininity
|
Dec 10, 2019 |
|
“We breathe in melancholy and we breathe out joy” – Highlights from Iceland Airwaves 2019
|
Dec 03, 2019 |
|
Brittany Howard, Thunderpussy, Mary Lambert and Hollis Wong-Wear on channeling their experiences through music
|
Nov 26, 2019 |
|
Death and Music
|
Nov 19, 2019 |
|
Iceland’s DIY music scene
|
Nov 12, 2019 |
|
“No Music for ICE,” why only 2% of music producers are women, industry fallout of Lil Peep’s death
|
Nov 05, 2019 |
|
The mysterious disappearance of musician Jim Sullivan, Rudy Willingham talks samples
|
Oct 29, 2019 |
|
Vagabon, Kim Gordon and Jónsi
|
Oct 22, 2019 |
|
Behind the music of Indigenous Peoples’ Day
|
Oct 15, 2019 |
|
Kurt Cobain's House, Wilco's new album, Octo Octa on nature and gender
|
Oct 08, 2019 |
|
The New Pornographers, musicians’ day jobs, music & wrongful imprisonment
|
Oct 01, 2019 |
|
Australia invests in music, why musicians love Nashville, Vivian Girls and Chastity Belt talk new albums
|
Sep 24, 2019 |
|
Music Heals: Mental Health; A Tribe Called Red on Murdered and Missing Indigenous Women and music
|
Sep 17, 2019 |
|
Highwomen, Bon Iver and music venues at risk
|
Sep 10, 2019 |
|
Jeff Tweedy, Noah Gundersen, Jay Som, and Black Belt Eagle Scout talk new music; From “Presidents” to Pre-Schoolers
|
Sep 03, 2019 |
|
ODESZA, The Head and the Heart, Imogen Heap, AURORA and iLe
|
Aug 27, 2019 |
|
Carrie Brownstein of Sleater-Kinney, Portishead, issues with international artists touring in the USA
|
Aug 20, 2019 |
|
Love, Loss and Copyright
|
Aug 13, 2019 |
|
How “Old Town Road” breaks the mold; Cherry Glazerr and John Van Deusen on Songwriting
|
Aug 06, 2019 |
|
Of Monsters and Men, Art & Immigration, LA vs. Seattle
|
Jul 30, 2019 |
|
Cover songs, Seattle grunge and using art to influence rap
|
Jul 23, 2019 |
|
Streaming impacts song lengths and billboard charts, is LA or Seattle better for musicians
|
Jul 16, 2019 |
|
Ben Gibbard, Amanda Knox, Rep. Pramila Jayapal, Imij
|
Jul 09, 2019 |
|
Drag Queens & Gay Cowboys
|
Jul 09, 2019 |
|
Sound & Vision Trailer
|
Jul 01, 2019 |