Q&A: SHOOP Finds Freedom in Fun on “blessing in disguise!”
INTERVIEW
INTERVIEW
☆ BY SHEVON GREENE ☆
SHOOP’S NEW SINGLE “BLESSING IN DISGUISE!” IS THE PERFECT BALANCE—of 90s alt-pop nostalgia and LA indie flair. Born from a jam session with his friends, it’s layered with raw guitar riffs and carried by vocals that just make you want to get up and move.
The Pennsylvania-born, Los Angeles-based artist has spent the past couple of years shaping the sound of others, including writing and producing for ROLE MODEL, Dijon, Syd, Lucky Daye and more, while drumming for the alt-pop band Junior Varsity. Now, as he makes his way into his own spotlight, he aims to bring a sense of creative freedom to his solo work. “blessing in disguise!” leads to his debut EP, out later this year; a project that reminds listeners that not every song needs to take itself too seriously to be a hit.
We sat down with SHOOP to talk about the making of “blessing in disguise!,” his journey from producer to artist, and what listeners can expect next. Keep reading for more.
LUNA: I love how “blessing in disguise!” is such a fun mix of pop, funk, R&B and rock. I could definitely pick up on that, especially in the instrumentals. How did that blend come together, and at what point did you know the track was ready to be the next single?
SHOOP: This one, like most of the recent songs, has been finished for about six or seven months. It was just about figuring out what I wanted to highlight. Funny enough, it came together in a really unexpected way—not something I planned, especially with those horn-sounding guitars. The whole song started kind of as a joke between me and two good friends, Paul Dally and Jonah Shy. Paul always brings this classic touch to anything we make; there’s always some 70s or 80s energy there. I’ve tried leaning into that [The Velvet Underground] vibe, but it doesn’t feel authentic to me. This song, though, always felt like a single. It’s high energy, mixing a lot of 90s and 2000s elements, and it just happened naturally.
LUNA: I love hearing the backstory of that and how it came together with your friends. It makes total sense as a single; it’s so catchy and something anyone could dance to. You’ve been behind the scenes writing and producing for artists like ROLE MODEL, Dijon, Syd and Lucky Daye. What does it feel like now that the music is your own, and how different is the process?
SHOOP: Thanks for saying that. It feels weird—good, but new. It’s something I’ve had to adjust to. I always wanted to be an artist, but I’ve mostly been behind the scenes helping others shape their vision. When you’re working with another artist, your job is to serve their ideas and stay out of the way. So this project has been my outlet—a way to blow off steam. If I had a session that didn’t go great, I’d write a “joke song” after just for fun, to reignite that spark. It feels nice to have people interested in a new artist right now because it’s not easy. I’m just excited to be making music that’s mine and singing my own songs for the first time.
LUNA: Totally. I’ve talked to a lot of artists who start as producers or writers and then want to explore their own sound. I love that transition. It’s so cool to see someone step into the spotlight with their own voice. You use a lot of live instrumentation and cite 90s pop and alt influences, so how much of “blessing in disguise!” was built in the studio versus a live jam or instinct?
SHOOP: Funny enough, this song’s one of the few that came entirely from a jam session. The group vocals you hear were from the first take we recorded. Same with most of the instrumental. We were just hanging out, not planning to write. We’d written together before, but this time they said, “Why don’t we do one for you?” I thought it was a waste of their time, but it just worked. I’d never normally go for that guitar tone or preset because I’d overthink it, but being in that judgment-free space made it possible. I didn’t have a concept or tempo or anything; I didn’t even want to write that day. But I’m so happy it happened that way.
LUNA: That’s the best kind of songwriting; when it comes from a spontaneous, unexpected place. As for the video, I love the mansion setting and the grainy, rough-cut vibe. How did you want to visually represent the song’s mood?
SHOOP: With this one, I wanted something that felt more intentional but still natural—something that matched the song’s feeling. The idea actually came from this old Rolling Stones video from the 70s for “Little Red Rooster.” It’s this weird black-and-white haunted house performance where the camera’s just on Mick Jagger’s face the whole time. We tried recreating that during a light test, and it looked so bad—I looked insane—but one of those stills became the cover photo. We ended up shooting in this gothic mansion we found for rent and used a super low-res VHS camera to keep it gritty. I’ve never been great at doing the mysterious, serious thing—it just feels like I’m playing a character. So we kept all the moments where I was cracking up or breaking character. It felt more honest, and that became part of the charm.
LUNA: That’s awesome. I love that even the failed idea became part of the project in another way. When you listen back to the song now, what do you feel most proud of, whether it’s a lyric, guitar part, or production detail?
SHOOP: This one took forever to get the production right, or “done,” really, because songs are never truly done. The first version didn’t even have drums; it was pitched up and sounded like Alvin and the Chipmunks. I’m proud of how it finally came together, especially the guitars. That post-chorus riff, the one that opens the song, still feels like one of my best ideas. It sets the tone right away, and the silence after it throws people off just enough to make them lean in. When I first played it for my team, they thought something was wrong with the track, but I was like, “No, that’s exactly how it should be.”
LUNA: That’s such a great detail. That silence really does make you stop and listen. With the single out now and your EP dropping soon, how do you think “blessing in disguise!” sets the tone for what’s to come? What should listeners expect?
SHOOP: There are only two unreleased songs left on the EP. One’s actually pretty vulnerable, about missing my hometown in Pennsylvania, and the other’s more of a Strokes-type track that came together in a day. Overall, “blessing in disguise!” sets the tone because it’s not meant to be taken too seriously. The whole project is about fun and authenticity—zero pretentiousness. I think there’s a difference between taking your art seriously and being overly serious about it. These songs came from me needing to blow off steam after tough sessions or days. “blessing in disguise!” captures that; it’s fun, upbeat, but not shallow. It just feels good.
LUNA: Totally. It’s the kind of song you want to dance to or blast on a drive with friends. It’s just fun in the best way.
SHOOP: Yeah, exactly. Even though half the lyrics were made up on the spot. That first verse? Completely improvised. I was mumbling nonsense, and we ended up keeping it because it sounded so raw and weirdly perfect. You can hear all the pops and room noise in the take. It added to the song’s charm.
LUNA: I love that, it makes it feel even more unique and real. When did you know you wanted to stop just writing for others and build out your own voice?
SHOOP: Probably around the end of last summer. I’d been in LA for a couple years, and I started to feel stuck; not because of bad sessions, but because I kept working with artists who didn’t know what they wanted. I’d ask, “What kind of sound do you want today?” and they’d say, “I don’t know, what do you think?” I’d leave those sessions thinking, “If I ever do my own project, I know exactly what I won’t do.” I learned a lot from those experiences, but I realized I needed something that felt personal again.
LUNA: That makes so much sense; you took what frustrated you and turned it into motivation to create something of your own. I love that. What was the creative timeline for the EP like? Did writing the singles shape the rest of it, or did the EP come together later?
SHOOP: It kind of happened naturally. I didn’t set out to make an EP; I just made a batch of songs, then narrowed them down to six that felt cohesive. At some point, I looked at them and thought, “Oh, cool, that’s an EP.”
LUNA: Sometimes it really works out that way. As you step out as a solo artist, how are you thinking about your live shows? Are you leaning toward stripped-down sets or a full band setup?
SHOOP: Playing these songs acoustically would be a nightmare. I’d get laughed off stage (laughs). The goal is more of a pop-meets-Pinegrove setup. Maybe a three-piece band: me on vocals and guitar, bass, and drums. We might add a fourth member if we find the right fit. I want the shows to feel alive, not overproduced. Ideally no tracks, though that might not be realistic. I want it to feel like it could be a solo act or a band—something in between.
LUNA: I love that; that middle ground always feels so dynamic. Are there any features or co-writers on the EP, or is this era purely you?
SHOOP: No features this time. Hopefully on the next one. About half the EP is just me, songs like “CAPRIS” and “Perfect.” “blessing in disguise!” and “honey” were written with my friends Jonah Shy and Paul Dally. Paul’s amazing; we worked on his last album together, including that “Moonlit Breakers” track with Dijon. He’s one of my favorite collaborators. I also worked with Annika Bennett on “honey”— she’s ridiculously talented. And my friend Coco Love from Montreal helped with “YOUR PLACE.” Everyone involved is so good that it’s just cool they wanted to be part of it.
LUNA: That’s awesome. I love that balance between collaboration and showing who you are as an artist. Final question: if you had to sum up this next chapter—the EP, the singles—in one word or image, what would it be?
SHOOP: Unserious.
LUNA: I love that. I was thinking “fun” too, but unserious fits perfectly (laughs).
SHOOP: Fun—F-U-N, fun.
