Q: Welcome back, Sketches of Carol! It’s fantastic to have you with us again. Since our last conversation, a lot has happened in your musical journey. To kick things off, could you share some highlights or pivotal moments that have shaped your artistic path since our last interview?
A: Hi! Thank you so much for having me back and for sharing my new single.
It’s been a great experience sharing my debut EP in 2024 and while being a mom and working both freelance and employed has slowed my artistic workflow, it has allowed me to appreciate the beautiful moments of music making so much more. I have since been able to build up a live set with German viola player and sound artist Paulina Sofie Kiss. I have really enjoyed my artistic exchange with her and finding ways of letting my heavily vocal-based music flow within the sparse setting of just voice and viola.
Bringing my music to live audiences is really where I feel that my work matters. Seeing people moved, thoughtful or excited after performances is so valuable to me as a point of starting conversation and exchange with listeners. A particular highlight has been a performance at RZM Festival in a light-flooded serene wood near Barcelona, Spain last summer. The atmosphere was so welcoming and gentle while bringing together some of Europe’s finest up and coming artists. And just last week, I got to collaborate with Brooklyn-based experimental violinist Carolin Pool for hell:wach Festival in Hannover, Germany; a great opportunity to infuse some longer improvised sections and interplay into my pieces.
Q: Can you describe the musical style of Sketches of Carol in three words?
A: Ethereal, evocative, cathartic
Q: How do you stay connected with your fans, and what role do they play in shaping your musical journey?
A: I find, the best way to connect with fans is still after live performances. Hearing what people have taken away from the gig, which moments moved them or raise questions, is very interesting to me. And I enjoy hearing what brought people to the concert and what moves them in their current life. While these conversations might not directly impact on a piece of music, they very much motivate me to keep doing what I do best and to stay resilient in the rather hostile financial climate for independent artists these days.
Q: You have just released your new single, “PEOPLE I DON’T KNOW”. Is there a story behind it?
A: The song was inspired by my experience attending the funeral of a young woman I had met only once. Being somewhat removed from the personal grief, I found myself observing the day from a unique perspective—more as a witness than a close mourner. It was one of those rare, communal moments in life where people of all ages came together, from her great-grandmother to her university peers, and there was this overwhelming mix of tragedy, tenderness, and quiet connection.
The song loosely mirrors that day. The first half walks through the early awkwardness when everyone gathered at the pub before the service; people gently trying to figure out each other’s connection to the person who had passed. There were moments of lightness, even humour, as we tried to make sense of it all. Then the second half carries us into the church, where the atmosphere shifted to a candlelit hush, accompanied by the sound of the choir. It was a generationally binding and profoundly human experience.
Q: What is your favorite verse from the song and why?
A: I love the verse that leads up to the canon in the middle of the song:
Don’t hold back my friend
Echo our cry
Cradle in our round mother
Darkness we defy
It carries the quiet yet powerful encouragement to let go and release one’s pain, something that we do not easily allow ourselves in our daily lives. It is a reassurance that being genuine and true to our feelings will not be met with hostility, but with the strength of a community that can hold us even in our darkest moments. There is an incredible defiance in unity that we need so much, especially in the current divide and crisis our world faces. The community of that day clearly carried that subtle power, just as the people do who show up to open the local foodbank every week and the ones who march for piece and equality at Westminster every month. They all are honoured in that verse.
Q: Can you walk us through the creative process of producing this song?
A: The creative process for PEOPLE I DON’T KNOW began quite instinctively. By no means had I set out to write a song about the day of that funeral, but, taking part in a songwriting course, I was given an exercise that asked to find an image that would spark the idea for a song. My gaze fell upon the funeral programme, which had a picture of the young woman from when she was a child. She had angel wings drawn around her and had fallen asleep while writing a poem, an image that beautifully symbolises the innocence and spirit of a child. It makes me feel tearful whenever I look at it.
The image opened the floodgates for me and all the stored emotion from that day came pouring out, with the vocal line and lyrics being composed in an hour.
As with my previous work, I started by layering my voice, using it as the primary instrument. But this time, the structure was more defined. There are verses and a recurring melody, more so than in my previous release, MESSENGERS. I then brought in the exceptional cellist Stephanie Tress from Solem Quartet, who came over to my flat, listened to the vocal line and improvised in response to what she heard. Her beautiful cello part only enters after the canon at the midpoint of the song, which I think brings a discreet element of surprise and really echoes the emotion of the vocal line without overwhelming it.
The track was produced and mixed by the brilliant Gonçalo Abrantes, who I’ve worked with many times before. A vocalist and songwriter himself, he has a subtle intuition in his production; he really understands how to create space around the voice and let the emotion come through.
Q: What has been the most memorable concert or performance for Sketches of Carol so far?
A: RZM Festival was definitely a game-changing experience in the making of Sketches of Carol as it was the debut of my live set with Paulina. It felt like a great honour, as the team who runs the festival, all of whom are video and film artists in their own right, had especially reached out to book us. The performance pushed us to get the live set up and running and allowed us to launch it in front of such a well-wishing, appreciative audience. I was very thankful for that opportunity, and it has set us up to book some more European touring for the coming year.
Q: Reflecting on your body of work, each song holding its unique significance, could you share a particular track that stands out to you personally? What makes that specific tune special, and why does it hold a place of pride in your musical journey?
A: It is quite hard to pick a ‘favourite’ song when each piece is so personal and yet they are all distinctly different. I reckon, I am most proud of an unreleased song called ‘Weil uns’re Augen sie nicht sehn’ because it is openly politically challenging while seeking to offer emotional catharsis. My music is always strongly emotively, but I really pushed myself out of my comfort zone here in points of directness. I am proud of that, because it takes a lot of courage and energy to perform this song, but it is the kind of work I have always aspired to make. I deeply admire artists such as Nina Simone or Beyonce, who have created art that uncompromisingly challenges inequality and injustice while inviting people to stand united. I hope my work can contribute somewhat to that essential fight.
Q: Exploring the diverse creative processes within the music industry is always fascinating. Could you provide insight into Sketches of Carol’s unique approach to crafting music? From the initial spark of an idea to the finished song, how do you navigate the creative journey and bring its musical concepts to life?
A: For me, the creative process is very intuitive. Inspiration often comes to me through an emotional response to something I have experienced or encountered; this release being the theme of shared grief for example. I then channel that feeling into improvisation. It’s in these unfiltered moments that I feel most authentic as a musician.
I will then revisit the improvisations – which can exist as streams of consciousness – to understand what I would like to develop further. Once the core idea has been formed, I start to build a wider picture of how I’d like the soundscape to be overall. It’s essential to add only elements that serve the story or emotional core of the song, rather than focusing purely on aesthetics. This helps me stay true to its original feel and narrative.
Each of my songs also feature a key instrument to accompany my voice, so figuring out what is fitting for that particular piece is crucial to its development and how it evolves with that chosen musician’s involvement.
In terms of production, I continue my long-standing collaboration with producer Gonçalo Abrantes. Working with Gon is a true pleasure. His deep technical expertise and intuitive approach create a space where ideas can evolve naturally. He takes the time to truly listen before contributing, which ensures that my original artistic vision remains intact throughout the process. Gon consistently brings fresh tools, techniques, or production ideas to the table—elements that add unexpected depth and texture to the track, often becoming key features of the final sound. His experience as a vocalist also gives him a remarkable sensitivity when it comes to vocal mixing and production, always enhancing the emotion and clarity of the performance.
Q: As we wrap up our conversation, looking ahead, what aspirations or dreams do you have and what message would you like to share with your fans as they continue to accompany you on this musical journey?
A: My plan for the coming couple of years is to introduce my projects to festivals across Europe; bridging classical, experimental, cinematic and avant-garde pop worlds. Producing an album is also on the list of aspirations. Speaking of dreams, I would love to have my music featured in films.
To fans of my music, I’d like to extend a heartfelt thanks for the support and encouragement. You are brilliant and what makes grassroots music live on. I look forward to meeting some of you out there on the festival greens, so do come and have a chat.
