When I first saw Shana Sarett she was a vision of big blonde hair doing interpretive dances on stage looking like a vision from a dream. I loved how much detail and care was put into her live performances, she just had this energy that was so contagious. I talked to her about her music journey and how she stays motivated.
Give me your origin story, your musical journey so far?
Shana: I grew up in San Francisco. I started doing musical theater growing up. And then, in San Francisco, there's an arts high school. And to get in, you have to audition with a classical singing piece. So I took up classical singing because I was like, "I want to get into the program." And I did. And then I went to the school, and it's a classical voice program. So I started doing opera. And yeah, so I did that for four years, and then I went to college for it. Yeah, and I was doing a full-on opera degree.
Wait. Do you have a favorite opera?
Shana: It changes. And honestly, I haven't been listening to opera too much lately, but La Boheme.
I love the connection between opera and what you do now.
Shana: I think it honestly informs a lot of my practice and my performance now.
Because of the drama?
Shana: Yeah, exactly. Because opera is like the highest drama. Almost camp. It really is because when you see an opera singer up close, the makeup is crazy. You have to be so over the top because you're performing in these huge houses, and you have to perform in the back of the room. And I love that it's larger than life.
So take me through that to where you are now.
Shana: Right before I finished the opera degree, I was like, "You know what? I don't think I want to be an opera singer. Hmm, interesting." And yeah, I was still in Conservatory, but I was like, "I'm going to change my major." And then my voice teacher passed away, and she was a very big part of my singing journey because she was this incredible diva. She was the first woman to perform nude at the Met.
What?
Shana: So cool. Her name was Carol Neblett. Shout out to a real one. Yeah. And she kind of really took me under her wing. So, when she passed away, I was kind of like, "Okay, I'm taking a step back from music altogether," which I had never done before. I ended up getting a degree. I still got the music degree, but not the vocal performance degree I was going for. I also got a degree in women's studies. So I was like, "Yeah. This is also something I'm passionate about. Let's do that." Then, I took a step back from it and moved back to SF for about six months. I was like, there's really nothing creative happening there at the time in 2018, but I was working at a vintage store and was just 20 or 21.
Then I was like, "Hmm, a lot of my friends seem to be moving to LA. Maybe I should try that." Then I was like, "I'm going to be a stylist. I'm going to be a photographer." And then I was like, "There's something missing." And so I started writing music and singing again and kind of bringing that practice back into my life. And then I learned how to DJ. And then I was like, "Okay, now I need to do music full-time. This is clearly what I need to do."
I feel like being stylist, photographer, DJ, musician, you have to do all of the things now anyways. I bet that helps.
Shana: Exactly. Because when you're an independent artist, I am my whole team right now. So it's really like you got to be able to do it all.
I feel like there's such a good community in LA, especially for women doing indie pop right now. Can you kind of tell me about that community and how you all kind of support each other because I think that's really beautiful.
Shana: It's awesome. I was actually talking with my friend Andrea about this. We were talking about how cool it is when female artists put each other on and help each other out because it doesn't always happen. But when you find the right group of people in the right niche, and they really support you and fuck with what you're doing, it's really special. So, yeah, that show was really cool.
LA has this reputation for fake people who are going to step on you or whatever. But honestly, most of the people that I've worked with have been really cool and supportive and wanting to uplift other artists.
The vibe at those shows, for me, is just so much better. I don't know. It feels like a safe vibe.
Shana: Well, I was looking back recently, and I was like, "Most of the lineups I've been on have been either really femme-centric or all women," which is dope. My whole band, I mean, I perform with dancers. I've performed with men before, and it just feels so much better to have a stage full of girls.
I do like how you bring a very theatrical style. I think artists think that they can only do theatrical performances at a certain level. But you can do them at any stage in your career. So, can you tell me how you visualize your performances, how you bring those elements to the stage, and what your vision is for that?
Shana: That was kind of the way I first conceptualized the show. We've been doing this for a little under two years. Four of my best friends from college are contemporary dancers and I've always just loved what they do, really admired it. I think it's beautiful the way that they interpret music really inspires me. I think for a while, I was like, "I don't know how to perform my music. I don't know how to put a band together. This is pop music. I don't need someone just like playing guitar and a drummer." I was really intimidated to get a band together. And then I was like, "What if I just played tracks and had the dancers? What could happen?" And that's kind of how it started. And I asked them if they wanted to choreograph the pieces. And our first show was at Honey's. Have you been there?
Mm-hmm.
Shana: There's that tiny stage where people like to do karaoke or whatever. That was our first stage ever. Three dancers, me, three dancers, on that little stage, somehow we completely hit overcapacity. You couldn't move in there. It was just me. There was no one else playing. It was my first show ever. My ex-boyfriend was running sound. It was so much fun. And I was like, "Oh, yeah. No, I want to do that for the rest of my life." Now, I consider the dancers to be such a crucial part of my live shows because, yeah, like I said earlier, I love the drama and the performance aspect. I don't want it to feel too theatrical like you're going to see a Broadway show or anything. But I like that it's like a visual piece as well as an auditory experience.
It's more memorable. I do not like people who think they are too cool to have a good time. Why would I care about your music if it doesn't look like you like your music?
Shana: Exactly. And that was also part of why I did it this way. I was like, "I don't think I've ever seen anything like this on this level because I'm not Lady Gaga." People don't expect to go to a small indie venue and see that type of performance. But like you said, I think it's memorable because you're going to go home and be like, "Oh, yeah, that girl with the blonde curly hair who had the modern dancers on stage the whole time. That was interesting."
Tell me about your song, Love Me More. Can you give me the story behind it, the inspiration?
Shana: So Love Me More is about I was in a polyamorous relationship. If I'm going to spill the full tea about what this song is about, I was in a polyamorous relationship for a year. A year, girl. A year with a man. And he had two girlfriends. And I was just always left wondering, "Do you love me more?" Because he would give me all these mixed signals, and it was torturing me. And it drove me crazy. And no, it really did. My mental health that year was just tanked because I was just so anxious and just sitting around being like, "What is the truth here?" I was really uncomfortable. And so from discomfort can come great art.
I feel like all relationships can be healthy, but that doesn't mean they're always healthy. I'm not here to hate on any poly relationships. I just think every relationship can be unhealthy, but that can be really difficult. I feel like if it works, that's great. But oh my gosh, I feel like it's difficult.
Shana: It's like a relationship on X-Games mode. You kind of have to turn off a lot of parts of your emotional self to make it work. I'm an emotional person, and that just did not work for me.
So tell me about your new song!
Shana: So it's about the same person, but this one really has nothing to do with the poly aspect. It's just about dating. I think this is something that most people can relate to, dating someone who's very self-involved makes it seem like they're empathetic and really care about you, but it's in the end just about themselves. It's about dating man babies. So, there are two parts of the song that repeat a lot. One of them is, "What about, what about, what about me?" And it's kind of a double meaning where that's kind of I'm saying, "Well, what about me? Because you only care about you." But from his perspective, he's saying, "What about me?" The second part that repeats is, "Baby, it's always about you." So yeah, it's about dating a narcissist.
Which I feel like is like a common LA experience.
Shana: Well, it's hard out here! We really got to learn the hard way. And so many people front like they have their shit together emotionally, and they just really don't.
What has been, to you, one of the biggest challenges in your music career?
Shana: That's a good question. I think what's been coming up for me lately is just from living in LA and the circles I'm in. I'm often in the room with people who are doing things at the highest level. I'm very inspired by them, and I've met all those people and been in the rooms and at the parties, but I'm not there yet, which can be kind of frustrating and give me imposter syndrome, I think. But then I look back and I'm like, you know what? All those girlies that are at that level have been at it for about ten years.
Exactly.
Shana: I guess I'm kind of just starting, and it's weird to be in the room but not have my foot in the door in that actual real way yet. And then I'm just like, girl, just be patient and keep your head down and make your shit. I'm cognizant, like very aware, to never try to take advantage of those connections or friendships because those are just real friendships and because those are just the people I'm around. But it is interesting sometimes, like, all my friends are at the VMAs today. And I'm like, well, I am in my apartment. I was at the Honda dealership this morning, and now I'm eating a bagel. Fine.
I think a lot of it is a consistency, and a lot of it is kind of a waiting game more than people think. There is no overnight success.
Shana: I think there's this notion now that TikTok-- if you make one TikTok and blow up, it'll change your life, and then you're going to be the next Lady Gaga. And that happens for, like-- it's the same as winning the lottery.
I have a thing that it's the worst thing that could happen to you is a TikTok blowing up, because I think the people whose TikToks slowly grow to where they are are better off than the, my TikTok blew up and now I'm going to have this double-edged sword of viral fame.
Shana: I know that a lot of the people who gain that overnight viral fame, they're not ready for it, and they don't know how to perform, actually, or like go on tour or like any of the skills that you actually need to have a sustainable music career. So I think you're right. It is a double-edged sword.
What kind of keeps you motivated? This is a tough industry. What keeps you going?
Shana: That's a really good question. I think it's so fun. I truly can't see myself doing anything else. I'm really lucky, but I also worked really hard to be at a place where music is my full-time job. I DJ full-time. I don't have a day job, but I like that. I like being freelance. And it's been cool to meld the DJing now with the live performing and see them both as my career. But it does get discouraging sometimes. And it's also hard to gauge sometimes what direction to take it in and what's going to actually help versus just optics. Of course, you get discouraged. But at the end of the day, this is going to sound corny, but music is what pulls me through and what makes me want to keep going. So even when I'm going through a hard time in life, shit happens to all of us. But planning a music video, recording a new song, and getting stuff done with my music career is what keeps me looking forward to life, basically.
I think so few people emphasize that they have fun doing this. And if you're not having a good time doing this, then what are you doing? Because if you're not having a good time now, when are you going to have a good time?
Shana: Exactly. You shouldn't be trying to have a music career if you can picture yourself doing anything else.
And my last question, which I feel like you've touched on a little bit, but what would be your best advice to the young girlies who do want to do music?
Shana: I would just say don't try to follow trends or fall into something that you think is going to work. Just be true to what you actually want to do and be true to yourself. I've tried to go into the studio and be like, "I'm going to make a song that's just like this artist." But then it just comes out in-- sorry, my cat toy is just chirping off on its own. My cat's over there. Yeah. Just let your own voice come through in everything you do. And that's why people are going to connect to your music. Because if you are being authentic while writing it, that's what people can tell. People can tell. And that's when people will have their own emotional response to it because you're being real, and it allows them to have a real connection to it.
Emily Treadgold
