Q&A: Katie Tupper Runs Toward Clarity on “Right Hand Man” and Her Debut Album ‘Greyhound’
INTERVIEW
INTERVIEW
☆ BY SHEVON GREENE ☆
Photo by Nathan Lau
FEW VOICES CAPTURE DUALITY LIKE KATIE TUPPER’S—warm, soulful, and unhurried, her music combines the best of her different worlds. Born in Saskatchewan and now based in Toronto, Tupper blends the openness of her prairie roots with the pulse of city life, resulting in a sound that’s somewhere between soul, indie, and alternative R&B. After millions of streams and a JUNO Award nomination, she’s arriving at her next chapter with Greyhound, her debut full-length album out January 21 via Arts & Crafts.
Her latest single, “Right Hand Man,” out today, is a funkier, rhythm-driven track that focuses on dependency and self-preservation. It’s built on breakbeat drums and silky vocals and bridges her prairie roots with a bold and modern groove.
We sat down with Tupper to talk about the making of “Right Hand Man,” the push-and-pull that defines Greyhound, and how she’s finding freedom in the chase. Keep reading for more.
Photo by Nathan Lau
LUNA: “Right Hand Man” definitely feels funkier than your other singles. What sparked that shift in sound, and how did it feel to lean into a more rhythm-driven groove this time?
TUPPER: I think the whole album process helped shape that. I wrote everything except one song with my friends and collaborators Felix Fox and Justice Der. Most sessions started with me coming in with a rough direction, and the three of us would build from there. Felix had this breakbeat from drummer Luke Titus that he chopped up and showed me, and it just fit perfectly. I’d been wanting something live that people could dance to, leaning into that UK garage and breakbeat culture. It’s definitely a new sound for me, so I’m curious to see how people respond. I haven’t put out an album yet, so there aren’t many expectations, but this one feels fresh and fun, and I love that balance between the driving beat and the chill vocals on top.
LUNA: I love that. It’s distinct from your past music but still feels so you. And honestly, who doesn’t love a song people can dance to? The track explores dependency, being someone’s one and only, and the patterns we bring into relationships. Was there something specific that inspired it? Maybe a moment, a pattern, or a feeling you wanted to unpack?
TUPPER: While writing the album, I was processing a past relationship. Not every song was written during it, but those feelings were still surfacing. It’s hard to write about something when you’re in it; it takes space and hindsight. This song came from realizing how boundaries can blur when someone becomes dependent on you, and you let it happen. I’ve been lucky to have really healthy, independent relationships, so when I ended up in one that wasn’t, it hit me hard. I didn’t recognize the codependency until I was in the middle of it. It was short-lived but had a big impact because it was so different from what I was used to.
LUNA: It’s the worst when you realize that in hindsight, but at least it led to something meaningful creatively. And you’re right, it’s so hard to write when you’re still living it.
TUPPER: Exactly. When I started this album, I made a conscious decision not to write from a reactive place. I wanted to give things time to breathe, to make sure the emotions were real and not fleeting. If I’m going to put something out there forever, I want to be confident that it represents something true to me; not just a passing reaction.
LUNA: That’s such a thoughtful approach. Some artists lean into immediacy, which works for them, but that kind of reflection really shows in your music. On Greyhound, you blend drum and bass, analog synths, steel pedal, and folk-inspired elements. How did you land on that hybrid sound, and when did it click that this was the identity of the record?
TUPPER: Working with Justice [Der] and Felix [Fox] was huge in unlocking that sound. Before that, I’d been doing sessions for about a year and a half—fun sessions, but nothing felt like a full project. When we started working together, it finally clicked. I’ve known both of them for years; Felix has played live with me a ton. They’re my favorite producers and instrumentalists. I’ve always loved neo-soul and want my sound to live in that alt-R&B space, but they pushed me to explore new corners of it. The folk and bluegrass touches came naturally too. So much of the record is about my relationships and coming of age in Saskatchewan, so those roots had to be part of it.
LUNA: I love how that fusion makes your sound so distinct. Speaking of Saskatchewan, you’ve talked about your prairie roots alongside your current world. How do those two places meet in your songwriting now?
TUPPER: I wanted to build a world that merges them. Growing up in Saskatchewan, I didn’t listen to anything like the music I make now, so it was fun to make those two motifs collide—the prairie landscape and this new sound I’ve grown into. And yeah, I’m nipping at Chappell Roan’s heels—I’m trying to be the next most famous person to mention Saskatchewan (laughs)!
LUNA: I think you’ll get there! I’m from Minnesota, so I get the prairie thing. We share that same kind of small-town energy.
TUPPER: Exactly. Anyone who grew up in a small town or near rural areas knows the feeling—farmers everywhere, everyone obsessed with sports, not a lot of fashion or music scenes unless you create them yourself. You really have to seek out inspiration. It’s universal, that experience of realizing there’s a whole world outside your bubble and figuring out how to reach it.
LUNA: Totally. Okay, switching gears; how did working with Justice and Felix change your role in the studio compared to before?
TUPPER: It made everything more playful and free. Before, I was doing one-off sessions, hoping for a connection or a single to come out of it. It got repetitive. With them, it wasn’t about chasing hits; it was about chasing excitement. Felix is so anti-formula; he just wants things to feel good and fresh. If it sounded cool, great. If not, we’d grab a beer and move on. That no-pressure environment was so liberating. A lot of what you hear on the record came straight from those demo sessions where we were just vibing and having fun.
LUNA: That kind of creative freedom really shows. So, the album title Greyhound comes from this metaphor of chasing something unreachable while also being unreachable yourself. How did that idea come together, and which songs capture it most?
TUPPER: The metaphor came after the songs were written. When I looked at the batch we had, I noticed that theme of chase kept reappearing. Greyhounds race after decoys they can never catch—it’s designed that way. I realized I’d done that in relationships too, chasing things I couldn’t reach or playing the role of something unreachable myself. “Disappear” really embodies that, with the line “The more you try to love me, the more I disappear.” It’s about feeling suffocated by someone’s love when it’s misplaced. “Right Hand Man” fits that too, as does “Jeans,” even though it came earlier. That tension, wanting closeness but also distance, runs through all of it.
Photo by Nathan Lau
LUNA: I love that theme. It’s such a nuanced take on relationships, and not something you see explored in that gray area very often.
TUPPER: Exactly. I wanted to highlight that complexity. I love dramatic, one-sided breakup songs as much as anyone, but life is rarely that black-and-white. Most of the time, both people are at fault in some way. I wanted to capture that balance; the humanity of it all.
LUNA: That makes so much sense. So, with “Right Hand Man” out now and Greyhound coming in January, what are you most excited and nervous about?
TUPPER: I’m definitely nervous about “Right Hand Man.” It’s a new sound for me. “Disappear” too, because it’s so personal. It’s probably the most honest song I’ve written, and it touches on something I’ve avoided talking about publicly. But I’m also really excited. I’ve been writing and performing nonstop, and it feels like a new chapter. I’ve met so many new listeners over the past few years, and I can’t wait for them to hear this side of me. Still—yeah, I’m nervous every day. I want people to love it.
LUNA: I’m sure they will. The music’s incredible. When you bring Greyhound to life live, what will those shows look like?
TUPPER: If everything goes to plan, I’ll have Felix and Justice on the road with me. We’re aiming for a full-band setup for the headline shows—something that feels intimate but still sweaty and fun. I want the shows to reflect how the songs were made: organic and full of musicality. Visually, I’m bringing in more energy and emotion too; less soft and pastel, more passionate and dynamic.
LUNA: That sounds amazing. Outside of music, you’ve mentioned your interest in visual art, architecture, and design. How do those passions weave into Greyhound?
TUPPER: Definitely through the visuals and fashion around the rollout. I wanted to blend prairie elements with more contemporary, streetwear-inspired aesthetics. For the album art, I worked with an incredible artist in Lisbon who embossed a sheet of metal with the album title. It’s going to be the vinyl artwork too, with a hidden Greyhound poster inside. I love that balance of warmth and coolness; soft prairie tones against cold chrome metal. It mirrors the album perfectly. And I love collaborating with women across different mediums—female designers, stylists, photographers—they’re brilliant. It’s been a dream working with them.
LUNA: I love that cross-disciplinary collaboration. Last question: looking beyond the album, what’s next for you, either as an artist or personally?
TUPPER: Honestly, my head’s still deep in album mode. I’m just excited to plan more shows. I played my last one in September, and I already miss it. Performing live recharges me. I also want to fall more in love with playing instruments again, not just singing. And this winter, I’m focusing on spending time with friends, hunkering down, and surviving the Canadian cold.
