Q&A: dacelynn Embraces Every Version of Herself on Debut EP ‘nine lives’
INTERVIEW
INTERVIEW
☆ BY SHEVON GREENE ☆
Photo by Lane Buoen
AT JUST 21, TEXAS-RAISED AND LA-BASED SINGER-SONGWRITER DACELYNN — has already lived a plethora of musical lives. Since her viral breakout single at 15 with “80’s makeout session,” she’s become an expert in turning her own personal moments into tracks that resonate with her audience. Now, she’s entering a new chapter with her debut EP nine lives (out December 5 via Nettwerk), a project that documents her journey across the nuances of love, loss, self-discovery and growth.
The EP captures snapshots of who she’s been over the last few years, shifting between the intimacies of indie folk and edgy pop textures. With tracks like “russian doll,” “dog eat dog,” and her newest singles “porcelain” and “moat,” dacelynn references sonic inspirations like Adrianne Lenker and Slow Pulp. Each track truly feels like a different version of herself, showcasing vulnerability, self-reflection, and even hints of empowerment.
More than anything, nine lives is dacelynn’s personal journey through honesty in her songwriting. They’re songs that process heartbreak, self-sabotage and healing in real time, offering fans a mirror for their own experiences.
We sat down with dacelynn to talk about the making of nine lives, the growth it represents, and the lessons she’s carrying forward. Read below for more.
Photo by Lane Buoen
LUNA: “moat” is such a powerful metaphor, digging trenches around yourself to avoid being seen. When did you first realize self-sabotage was a theme you wanted to write into a song?
DACELYNN: After I got out of a relationship recently, I realized it was a reoccurring pattern in my life. I didn’t feel deserving of love and vulnerability, so I kept people at arm’s length. I’d think, “I’m doing you a service, because if you really knew me, you’d be disappointed.” Writing was a way to figure myself out a little.
LUNA: That’s real, and self-sabotage isn’t talked about in music as much as it’s actually experienced, so listeners will relate.
DACELYNN: Yeah, I hope so. A lot of music I listen to is from the other side, like anxiously attached; “don’t leave me, I’m clinging to you.” But you don’t hear as much about pushing people away.
LUNA: It’s refreshing to hear that perspective. You described the relationship behind “moat” as push and pull. How did writing about it help you process that moment?
DACELYNN: Within the relationship, I felt like a monster for not being able to meet them where they were. When someone is so sure of their love for you, it makes you even more flighty. Writing the song made me dig deeper and realize I’m not cruel, I just don’t love myself enough yet to accept love from others. It gave me more grace for the situation.
LUNA: That’s such an important message. You don’t really take it seriously until you go through it.
DACELYNN: Exactly.
LUNA: The line, “I built a moat around my mind just to protect you,” feels pretty personal. Do you ever hesitate to share something that vulnerable?
DACELYNN: Oh, a thousand percent. I’m only beginning to be vulnerable in my music. My song “russian doll” was the first time I really opened up, and it was never supposed to come out. At first, I’m writing just for me to cope. But sometimes I realize it could be beneficial for others too. It’s scary to think about how family might interpret it, though. My dad has this playlist called “Lawn Mowing Mix,” which is just all my songs. At some point he’s gonna hear me sing about things he probably doesn’t want to hear (laughs).
LUNA: That’s such a dad thing. A lawn mowing playlist of your songs is hilarious.
DACELYNN: Right? The best editorial playlist you could be on.
LUNA: Shifting into the EP—you’ve said each track on nine lives represents a different version of yourself. How did you build that timeline of growth through music?
DACELYNN: I’ve been working on this EP forever. Some songs are from two years ago. Being early in my career, it’s taken a while to find my footing, sound, and collaborators. Each song feels like a different version of me because so much time passed between recording them. I’d go back and forth from Texas to LA, and every year I felt like a different person. Moving from Texas to LA especially changed me. I’ve had to figure out who dacelynn is, what she wants to say.
LUNA: Seeing that growth across the EP is beautiful, and listeners will appreciate that journey. I also love the title nine lives. What made you land on it?
DACELYNN: After writing “russian doll” and doing a lot of therapy, I started viewing myself in fragmented pieces—younger me, present me, future me. Zooming out, it felt like I’d lived nine lives just during this project. Over the course of my life too, I’ve been ever-changing. That’s how the title stuck.
LUNA: Which song feels the most vulnerable to you, and which feels the most empowering?
DACELYNN: The most vulnerable is definitely “russian doll.” I poured my heart into it and never thought anyone would hear it. It forced me to confront parts of myself I hadn’t faced. The most empowering might be “monsoon.” It’s me toying with the idea of letting someone in—that maybe I could commit, maybe I could accept love. That gave me hope.
LUNA: That glimmer of hope comes through. Sonically, your songs balance delicate acoustic textures with darker edges. Who or what influences that balance for you right now?
DACELYNN: Adrianne Lenker, Lomelda, Daffo, Slow Pulp. I was listening to all of them while working on the EP. Huge influences, lyrically and sonically.
Photo by Lane Buoen
LUNA: Amazing list. You’ve also said music is your main way of processing trauma and heavy emotions. How do you know when a song is ready to be shared?
DACELYNN: I’m not too precious about it. I’ll write a song, post a clip on my guitar, and see how people respond. That’s what happened with “russian doll.” At first, I didn’t want to show anyone, but I was proud of the lyrics. I posted it, and the response was overwhelming—thousands of comments, even from artists I look up to. It was the most validating moment, realizing people wanted to hear my most honest thoughts.
LUNA: That vulnerability is beautiful, and people really connect with it. Growing up in Texas versus time in LA, do you feel those places shaped your writing differently?
DACELYNN: For sure. In Texas, I was in a writing rut—not inspired, depressed, not in the right environment. In LA, I’d be writing nonstop, surrounded by like-minded people chasing their dreams. It’s super inspiring.
LUNA: You first made waves as a teenager with “80’s makeout session.” How does it feel now, years later, to release your first full project?
DACELYNN: It’s insane. That song was just a hobby, but now I’m signed, living in LA, and releasing a full body of work. It’s been a slow drip of releases, so I’m just really excited to finally share this project.
LUNA: What do you hope people walk away with after hearing nine lives front to back?
DACELYNN: I hope they resonate in some way, attach their own experiences, or just find a song they love. It’s a diverse tracklist—indie folk, edgier pop—so I think there’s something for everyone.
LUNA: Has there been a fan response that made you feel that connection most clearly?
DACELYNN: I’ve gotten DMs that made me cry; people saying my songs helped them through their darkest moments, made them feel seen. I’ve been that listener with other artists, so to be on the other side now is incredible.
LUNA: How do you imagine bringing these songs to life in a live setting?
DACELYNN: I just want to play with a band, with my friends, and keep it organic. No bells and whistles—just me, the music, and the people who need to hear it.
