Deanna Faye

I can’t quite recall how I found out about Toronto-based songwriter Deanna Faye, but I’m glad I did. Over the summer, she released her first single, a shimmering folk-pop ballad called “Electric Blue” and followed that up last month with the gorgeous “Reassure,” a song that further introduced listeners to her dynamic and unique vocal stylings. Today, she’s sharing her first collection of new music, a four-song EP called Good To You, which showcases her diversity as a songwriter and her dexterous ability to translate raw emotions into riveting, intimate narratives. Her first offering of studio recordings is also well-refined, benefitting from the production and engineering skills of Gavin Whelehan and her own keen instincts.

We recently caught up with Deanna to chat about her background, the songs on Good To You, and more:

Tell us a little bit about your background playing music. What were some of your early experiences playing music while growing up in Northern Ontario?

My first experiences playing music and singing were in my home - we always had instruments around - an old piano that my Mom still has, my Dad's acoustic guitar and accordion. I was drawn to music from as far back as I can remember. I would sing in my family's church and at school. I remember auditioning to sing for The Lion King play at school and getting the part of Simba. At the time, I didn't understand why because Simba was a boy - I think my voice suited the depth of Simba's voice. I think the first song I performed with my guitar for a larger audience was 'First Day of My Life' by Bright Eyes in front of my elementary school. I always liked melancholic songs.

What brought you to Toronto and how long have you lived there?

I originally moved to Toronto for love, to live with a partner of mine (now ex), to receive hospital treatment for an eating disorder, and to eventually look for work. I've lived in Toronto for almost 6 years now.

You’ve mentioned on social media that you took a break from songwriting and performing, but resumed last year.  How would you compare these different phases of your journey as a songwriter? How do you think you’ve changed as a songwriter since you began writing again? 

For me, it was essential that I took time off from songwriting to focus on re-building my health and strength at the time. I think that pauses are a normal part of the creative process. There was actually a breakthrough moment when I very suddenly began writing songs again. One night after a particularly difficult week, I came home and sat in front of a keyboard with my guitar and an entire song came out of me. I recorded it onto my phone right then and there. It was a very important moment for me. I think when I was a younger songwriter, my songs were a little more forced as I didn't yet understand the importance of pausing. I think having that pause enabled me to process my experiences and the processing phase plays a large role in songwriting or any artistic process. I think my songwriting comes from a place of deeper understanding as a result of that.

What was the process of re-discovering yourself as a musician and songwriter like? How did you approach it? Was it slow or were you able to feel comfortable again quickly?

Rediscovering myself as a musician and songwriter has been like coming home for me. Music was my first love and still is. It was more like coming back to who I am. I think this process took a few years even if it was happening under the surface. I had a few months off of work in 2019 due to having back surgery, and during that time I couldn't do much. This was pre-COVID, but it was a bit like being locked down because I could barely move around or walk. I listened to music during this time, especially when I started to be able to walk again. I'd walk around my neighborhood to regain strength in my legs and back and would listen to music the whole time. I started dancing again, too. This played a big part in inspiring me to eventually pick up the guitar and slowly start writing again. In the last two years, I became more comfortable sharing my music again and I'm happy I did it. I was pretty stoked with the response I've gotten so far.

I love your singing voice - it’s very emotive and quite unique. Were you one of those artists that had to find their singing voice or did it come naturally to you?

Thank you so much. I think for me it was a mix of both finding my voice and having it come naturally to me. I have always been singing since I was very small. I grew up singing a wide variety of music but especially R&B, oldies and older music from the 60s, 70s, and 80s. I think I experienced some difficulty accepting my voice. It's unique, but it's also been called weird, and I guess not everyone will like it. I like experimenting with vocal styles and melodies.

You’ve shared some of the hardships that you’ve experienced in your life, including the unexpected passing of your father and your battle with anorexia. How do you think these experiences have altered your perspective as a musician and shaped you in terms of your songwriting? 

I had a difficult childhood and complicated family, and struggled with my health throughout my life. I think that these experiences shaped how I view the world and ultimately how I write songs. I tend to look at things from a psychological lens and mental health is important to me as a result. Some of my songwriting comes from a place of pain or things I find difficult to talk about and it can be healing in that regard.

How’d the songs on this EP come together? What’s your songwriting process like?

When I was deciding which songs to include on the record, I had a pretty good collection of potential songs to choose from. Some of it is a process of elimination - if two songs sound too similar for example. My songwriting process is mostly intuitive. Although I know some music theory, when I write I like to experiment and see where the song takes me. I think because this was my first EP I wasn't as experienced in putting the songs together. I kind of just went with what felt right at the time.

The EP has a very sharp and full sound. What was the recording process like? How were you able to achieve that in the studio?

Thank you! The songs were mostly recorded in Gavin Whelehan's studio as well as the drums in Revolution Recording. The clarinet player, Juan Gabriel Olivares, also recorded his parts for 'Good to You' in his home. The fullness of the recording was mostly Gavin's expertise - he's a super talented producer and I was lucky to have connected with him on this EP. I'm still in the process of improving my recording and producing skills!

“Sunday Best,” the first track on the EP, sounds very wistful and nostalgic. What was the inspiration behind that track?

"Sunday Best" was inspired by a longing for past relationships. I think that's where that nostalgic feeling comes from. It's not about one person specifically but rather a combination of different people I have loved. I think it's about connections in love and how they can be transitory. In the end of the song, I decided that "I have to love myself either way" regardless of who I'm in a relationship with or not.

The lead single “Reassure” seems to reflect on evolving feelings of love throughout the course of a relationship. What types of experiences informed this track? 

"Reassure" is an interesting track because it could be interpreted in different ways. It's again not about a specific situation but about my collected experiences in relationships over the last few years. I'd been reading a lot about attachment theory in psychology. This song touches on attachment, needs, boundaries and desires in relationships and how these are always changing and shifting. It's about respecting others but also about respecting our own needs and boundaries. It could also be seen as the evolution of one relationship, I guess. I kind of left that up for interpretation.

I like how you were able to work in a little trumpet in on “Good To You.” How did you decide to add some brass to that song?

I knew I wanted to have clarinet on 'Good to You.' I really like the arrangement on Andy Shauf's songs and was inspired by his heavy use of the clarinet in a lot of his songs. The addition of brass was actually Gavin Whelehan's idea and I agreed to it. It sounded great together.

The last track, “Baby Velveteen,” really stands out, as it’s a bit brighter and more upbeat than the other three tracks. Tell us a little bit about that song and why you decided to include it on the EP?

I included 'Baby Velveteen' because I wanted to have a song that was a bit more upbeat and maybe something you could dance to. Baby Velveteen is a character that I've written a couple different songs about. She's a star that is hurt by the entertainment industry. I had been thinking about this concept because I'd watched a movie called "Nobody Knows I'm Here". It's about a boy whose singing voice was stolen from him and a more conventionally attractive boy lip-syncs for him instead. It made me think of Britney Spears, the controversy surrounding her legal conservatorship and how music stars can be taken for granted or even dehumanized. Even though it's a brighter song the subject matter is a bit dark.

Who are some Toronto based bands/artists in your local scene that you’d recommend to our readers? 

Toronto based artists I recommend: Anything by Andy Shauf, Jennifer Castle, Blood Ceremony and Volur. Also check out Jordan Paul!

What’s next for you?

I have the next album in the works now. I want to make these songs quite a bit darker and more ambient and post-rock inspired. We'll see where the songwriting takes it. Thank you so much for interviewing me, Tom.

Stream Good To You below!

The EP is also available on Spotify and you can purchase it via Bandcamp. Keep up with Deanna Faye by liking her on Facebook and following her on Instagram. Check out her website, where you can sign up for her mailing list!