Unapologetic alt-rock trailblazer Kami Kehoe is bringing visceral experimentation and powerful vulnerability to the rock scene, ranking high among the genre’s current wave of “genreless” pioneers. With the release of her highly-anticipated EP KANDY back in July, Kehoe firmly established herself as a force to be reckoned with. Incorporating a multitude of musical influences, ranging from hip-hop to shoegaze to nu-metal, Kehoe wrote KANDY to work through the aftermath of a devastating breakup. The result was Kehoe’s most impassioned body of work yet, with the record including five tracks that explore guilt, betrayal, love and letting go.
After pouring her heart and soul into KANDY, Kehoe doesn’t plan on slowing down any time soon. Through October and November, the “DIE 4 U” singer will hit the road alongside P.O.D., Daughtry and Seether, making their way throughout the U.S. this fall. Following her recent headlining show in Las Vegas in August, as well as her unrelenting Louder Than Life performance, Kehoe will bring her signature onstage energy on tour alongside some of rock’s biggest names over the next several months.
While Kehoe made her professional musical debut in 2022, the singer, drummer and producer has been working in the industry since she was six years old. Over the years, Kehoe has never shied away from experimentation, incorporating everything from pop, folk, rock, and R&B into her musicality. While her 2023 debut LP Drama Queen found the singer combining catchy pop hooks with a rockstar identity, Kehoe embraced the alt-rock genre completely on REVIVED the following year. Through hard-hitting tracks like “SLEEP WHEN I’M DEAD” and “SOMETHING IN THE WATER,” Kehoe carved her own space in the rock scene through her lyrical honesty and refreshing sonic brutality.
Ahead of the release of KANDY, listeners waited in great anticipation to hear the next chapter of Kehoe’s musical journey. The album was highly praised for its deeply bittersweet songwriting and painful truths to be found within, making it one of the singer’s most intricate and personal projects to date.
Through her entire musical journey, not only has Kehoe boldly embraced genre-defying exploration and undying honesty, but she has done so all while advocating for other women in the industry. One of the scene’s strongest up-and-coming female artists, Kehoe is paving the path for other women in alternative music spaces while delivering heavy tracks which explore relationships, mental health and perseverance.
Ahead of her upcoming tour dates supporting Seether, Kehoe sat down with Melodic Magazine to discuss the catharsis she found within KANDY, music’s current rock renaissance and even a recent sign from the universe involving Joan Jett.
Louder Than Life was over the weekend, and I’m sure it was very crazy for you. How was your performance? How did it go for you this weekend?
It was incredible. It was just out of this world, the biggest crowd I ever performed in front of. It was unreal. And my favorite thing to do is perform and write music, but man, it was just like, I didn’t know what to expect. I kind of went to the festival being like, ‘I don’t care if I perform in front of three people or 300 people. It doesn’t really matter. I’m just here to kill it regardless and have fun.’ And I remember the band before me went on and then I was back in my trailer and I peeked my head out and it was just a sea of people. And I was like, ‘Oh my God, I’ve never played for that many people.’ But it was awesome. My band was great. Everything went really smoothly. Sound check was awesome. It did rain, which was scary because everyone was scared our set times were going to get pushed back. My set time did get pushed back, but it was still a nice time. I wasn’t mad. It was awesome.
I’m glad to hear that! When comparing a festival show to just a normal concert, is there a different way that you prepare for it? Or is it kind of the same for every show for you?
I think it’s the same. I’ve been doing music my whole life and I’ve been performing my whole life. I was in a band with my sisters growing up. So my dad has always told me, ‘It doesn’t matter if there’s three people in the crowd or there’s 3,000 people in the crowd, you play like there’s 3,000 people always.’ Obviously when you do stage work, you can’t talk to nobody, you know what I mean? So you’ve got to read the room. But I think every show I go into I just tell myself I’m going to go up there and be myself and try to connect with at least one person in the crowd. So I kind of just go into the same mindset. I get nervous every single time before I go on too, I don’t think that’s ever going to change.
I was speaking with your PR before the interview, and she told me this story about you, Louder Than Life and Joan Jett. I was wondering if you’d be able to talk about that a little bit, because I thought that was such a cool story!
Oh my God, this is crazy. This happened twice. So after the show, I had my meet and greet, which was fucking awesome. [There was a] super long line. I’m like, ‘All these people are here to see me?’ I was blown away. But after that, I did press, and I went to this room to do all these interviews and stuff. This one girl I did an interview with, there was music playing in the background the whole time in a different room, but you could still kind of hear it. And we started talking about Joan Jett, and all of a sudden Joan Jett starts playing. And I was like, ‘What?’ And she goes, ‘That was crazy.’ And then the next interview we were talking about Mötley Crüe, and “Girls, Girls, Girls” starts playing. Literally the lady was like, ‘I just got chills.’ And I was like, ‘I don’t know what’s happening. This shit is crazy.’ But it was this super weird, spiritual shit that was just awesome.
Talk about a sign from the universe!
I just felt like I was supposed to be there in that moment. It was just really reassuring, and it just felt really, really dope.
I love that. Going off of that, you had Louder Than Life this last weekend, and then you’re going to have some really cool tour dates supporting Seether, Daughtry and P.O.D., which is such a cool lineup. How does it feel for you to have the chance to open for all these really iconic artists?
So dope. They’re just legendary, so it just feels like a very full-circle moment for me, because I grew up listening to rock music and listening to them and making rock music. Everything is starting to feel unreal. The more real things get, it starts to feel more unreal. I love going out with these with these guys because they’re legendary. So it just feels like there’s a new generation of rock coming in. And it feels really awesome to feel like I’m a part of that new wave. I feel like it’s like they’re passing the torch to me, in the most not cocky way ever to say that (laughs). It feels very, very dope. And I just feel honored to be on the same stage with them, really.
I like that you mentioned a new generation, because I really do feel like there’s this strong new wave of rock. Not that it ever left necessarily, but it’s really coming back in a whole new way. How is this new generation maybe different from the years past? How would you describe this current movement right now?
I think the difference with our generation is it feels like there’s no boundaries, which I love. I feel like the new wave of rock feels genreless. I feel my music has no boundaries, and I don’t feel like I’m in a box when it comes to making rock. I feel like it is rock music, but it has pieces of pop and R&B and stuff like that. Maybe the rebelliousness is always going to say the same. That’s why I’ve always loved rock music, because I feel like it holds so much power. I feel like that’s never going to change. But I would say that our generation isn’t scared of boundaries, isn’t scared of breaking walls and trying new things, adding electronic stuff in our music and taking inspiration from old rock, classic rock, shoegaze. I’ve noticed that there’s not a certain genre of rock. Rock feels very broad right now, which I love.
Experimenting more with genre is just a lot more accepted now. I feel like even a few years ago if you were a rock artist but you went a little more pop or you went a little more country you were really criticized if you went outside the box. I love that it’s so more accepted now.
I think genreless is becoming a genre, which I fuck with.
On your recent EP KANDY you do experiment with, as you just mentioned, different genres, sounds and influences. How do you pull from all these different genres while still maintaining your own unique sound?
The [rock] genre is in my back pocket, because growing up from six to 16 I was in a rock band. I did rock my whole life. When I was like 14, 15, we kind of switched a little bit to pop. Then when we broke up, I did all genres. I did whatever I felt I wanted to do for years. I just labeled myself as a pop artist because my old management at the time was like, ‘You need to label yourself as something because it’s hard to market you if you don’t put yourself in a genre.’ And I was like, ‘Whatever, I’ll just do pop and I could just do whatever I want then.’ So I did that, and then I started playing my pop stuff live and I was like, ‘This shit is not hard enough. I need to sweat.’ So I was like, it’s either hip hop or it’s rock. It’s one of the two, because I felt like the energy that those two hold or execute live is what I wanted. So I went back to rock and it worked. I feel like going into making new songs now, I just make whatever feels good. If the song as a baseline is a good song, I could put country music over it, I could put rock music over it, I could put R&B, I could change the production to match a genre if I wanted to. But I always feel like it never loses my vibe or my sound. Because at the baseline of it, it’s me.
I love how limitless it is. I’m excited to see what happens with your music in the future in terms of experimentation or just playing around different stuff. Obviously I mentioned KANDY, the EP that just came out in July. It’s been out for a hot minute, but how has it been following the EP’s release? How does it sit with you now that it’s been out for a few months?
It’s been crazy. I remember before I released it I was getting some traction on socials because I was teasing it. And the first thing I really noticed was all the long comments and DMs I was getting saying, ‘I just went through this and I need this song.’ [KANDY] was going to come out a certain date, but I called my team and I was like, ‘Yo, it needs to come out now. These people need it and I could feel it.’ And just like I needed those songs to help me heal through my breakup, which is what I wrote the EP about, I knew that these people needed the songs as much as I did. So I pushed for a sooner release date and we got it. It was so incredible to see all of the people I felt like I healed and helped with the EP. I think that was the biggest thing for me. I was going through probably one of the worst breakups I had been through, and writing the EP was really difficult. I just felt like I was ripping my heart out and throwing it in this EP, and listening back to it was like a form of healing. Once it was done, listening to the whole thing fully felt like a process of, ‘This is how I felt, and then this is the healing of it.’ I just feel like I helped a lot of people. And that’s what I release my music for, is to help people.
Making this album was such a healing process, even when looking back on the album after it came out. What did you learn about yourself or about the breakup as you were making the album?
The biggest lesson I learned from that experience — and this may sound basic to some people who’ve already learned this, and some people may have not learned this yet — but sometimes it’s hard to differentiate if something is good for you or if it just feels good. I think that’s a scary thing to not realize, and love is blinding sometimes. When you love someone, it’s like you don’t realize you are maybe hurting yourself or it’s not the healthiest thing in the world. So I think my biggest lesson was understanding that, yes, this may feel good at some times, but it’s not good for me. And truly having to let that go, too, I think was really difficult. And then having to truly let go, even if it may hurt somebody, was also a difficult thing I had to learn. Obviously, I don’t think anybody ever wants to hurt anyone. It doesn’t make us feel good. We don’t love that. But I think that the longer you hold on to something that’s unhealthy, it’s going to end up hurting the both of you. So I think learning to let go is not necessarily a bad thing, especially if the relationship’s not good for you.
Because it’s about something so personal, was there any hesitation to write some of these songs or release these songs? Or was it like, ‘I need to get this out, I need to get it off my chest?’
I don’t go to therapy, so music is my form of therapy, and that’s how I get it out. So regardless, I needed to get it out. I was hesitant a little on releasing the music, because I feel like it was personal. And there was one song in particular, which was “MAKE YOU HATE ME,” which I didn’t want anybody to hear. It wasn’t a great reflection on my behalf. Obviously no one ever wants to be in the wrong or be wrong, and I feel like there’s layers to it. Everyone has layers to their relationships. But that song was super vulnerable. I talk about how I had to basically make this person hate me in order for this person to let go. It’s a really tough situation to be put in because obviously you don’t want to hurt this person, but you’re trying so hard to cut ties and let this go and someone’s still holding on. I had to change who I was. I noticed myself changing over time in the relationship. I think that song was probably the hardest to listen back to. But I think it was the one that healed me the most and made me self-reflect and understand why I did certain things and why things went down the way that they did. That one I didn’t want the world to hear, but that one ended up helping a lot of people.
You said earlier there was such a huge fan reaction from the album as well. Were you expecting that? How did that feel to get this huge wave of DMs and responses from people?
I wasn’t expecting that. Obviously, that’s the goal, that’s what I would love. My whole logo and my brand is ‘kure the world.’ Since I was 14, I’ve always wanted to help people. Whether that’s one person or a million people. But it’s beautiful seeing it actually come to life. Not that I didn’t expect it, because obviously that’s what I’m shooting for. That’s what I want. But it was surreal seeing all of the DMs and the people I met at the shows that come up to me and are crying and I’m hugging them and they’re making me cry (laughs). Because breakups aren’t easy. And I try to make my song so universal to where everyone can relate. I love to include everybody. That’s why I say ‘kure the world.’ I want everyone to feel a part of, doesn’t matter who you are. So I just feel like I’ve been able to reach a lot of different people, and I think that’s also shocked me as well.
You once said that you write music for yourself, but you release music for others. Writing music is your form of therapy, but how does releasing music and putting it out in the world help you?
I think getting it out there in the world and knowing that it helps other people makes me feel like what I went through wasn’t for nothing. What I went through helped me learn and helped me as a person grow and elevate, and that’s awesome. But I feel like I’m put on the earth to have purpose and make a difference and help people. So I feel like those are steps closer to making those happen. Every time I release a song, I’m going to help somebody. This is what I’m meant to do and I went through this to help that person. And if I went through all of this to help that one kid that I met at that show, then so be it, that’s fine, I’m cool with it. And I think that’s also a way of me healing and helping me be okay with the shit that I’ve been through, regardless if it’s my last breakup or shit I’ve been through way before that. And I do feel more connected with the fans when I release the song. I feel like as much as it helps the fans, it helps me to release it. My main form of therapy and understanding how I’m feeling is through writing 100%. But maybe the final piece of healing is releasing the song to the world.
Your biggest goal is to ‘kure the world,’ What does that mean to you to kure the world? Does it just mean connecting with people? Or to make people feel seen? What does that phrase mean for you?
I feel like there’s so many different layers to that saying (laughs). It’s a super broad statement, but I’ve always said, whether it’s one person or a million people, if I help one person that’s all I needed to do. But kure the world, whether my songs are a cure or medicine for people or a therapy for people or whatever it is, I’m cool with that. Whether it’s something I said on stage that helps somebody, whether it’s something I said to someone in a meet and greet or outside of a venue, it’s all of those things. I think every time I step outside the house, I’m ready to help somebody. I’ve always had this savior complex since I was a kid. I’ve always wanted to be this little superhero. So I still just carry that with me on my back, always. Way later down the line when I’m ready to, when I feel like I have the platform and the finances to do this, I’m really passionate about the foster care system. I grew up with a really strong support system with my family, and it kills me to know that there are kids out there that don’t have that or don’t have that opportunity. So I wanted to create this program called the Spark Program where I help kids find their spark and their passion and I help nurture that. That’s something that I want to do as part of the kure the world thing. And also to help young artists at some point, whether I manage artists or start a label. I think the kure the world brand will build over time. But I think right now, all I have right now is my voice. That’s what I’m going to start with.
I absolutely love that. Switching gears a little bit, you have such control over your music. You approach it with a very DIY ethos; you’re in charge of all the production with your music. I was wondering why that was important for you to have so much artistic control over your songwriting process.
Total transparency — I’m a control freak (laughs). So I like to have control. But honestly I love writing. That’s by far my favorite thing. I drum, I sing, I edit my own videos. But writing music has always had a special place in my heart, so I think I enjoy doing it. Not that I don’t love working with writers, I love collaborating with other producers and writers. But I do feel like I take most of the reins when it comes to the writing because I feel like that’s how I get my stuff out, and it comes really natural for me. I write songs pretty quick, so it doesn’t ever feel like I need that extra push or that help. Sometimes I do and that’s fine. But most of the time I just feel like that’s what calls me to the music, is the writing. Also, I feel like when you do incorporate more producers and writers in a session, I feel like you do lose authenticity. I just feel like once there’s other brains in the room, other people’s personalities gets in it. Sometimes it’s sick and sometimes it makes a great song. But I feel like, especially the songs that are so vulnerable to me, they are so vulnerable because I write them all by myself. I think that’s what people connect with. When I sing them on stage and I sing them with such emotion and passion, it’s because it’s coming from a real place. I think the realer the song feels, the more people are going to feel connected with me.
I feel like there might be more satisfaction too if you wrote, produced, and released something all on your own.
Oh yeah, for sure. There’s a little pride thing in that too as well (laughs). And it’s sick because it was just Curt Martin and I that wrote this whole EP. And that feels good for us because we were both going through a breakup at the time. So at the end, we’re just like, ‘We did this shit bro.’ It felt good. We killed it. We did it. What we went through was not for nothing, because look how many people it helped. And it helped us, but sometimes it’s easier to take yourself out of it and look around and be like, ‘Okay, I helped all these people. I can give less of a fuck about myself (laughs).’ But it was cool. I think it healed both of us, the whole process. So it was dope. It feels more intimate, just us two writing it.
In terms of ownership and taking control of your own music, I also think it’s really cool that you’ve been outspoken on being a strong female artist in rock music. I was wondering if you’d be able to speak on what your experience has been like as a woman in the industry, especially in this new wave of rock that we were talking about.
I feel like because I’m a woman, I’ve never let that affect anything I’ve ever done. I’ve always walked in a room and tried to dominate the space, especially if I feel like I’m trying to be belittled by any men in the room. I think maybe when I was younger, I was a girl drummer and I was young, so older men would always be like, ‘Oh, turn her up because she can’t play loud.’ I remember that happening. I was probably like 10 or 11. I was playing the Whiskey A Go-Go with my sisters. We were doing a sound check and I remember the guy saying, ‘I’ll turn her up because she’s a girl and she’s a kid and she can’t hit hard.’ And I was like, ‘Oh yeah? I can’t hit hard? I’m going to hit the fuck out of this drum set.’ And I fucking just wailed that sound check, and all these biker men were just like, ‘She plays like a man!’ I was like, ‘I play like a fucking girl. That’s what I play like.’ So that’s just how I drum now. But I started drumming that hard because of what people would say about me, that I’m a girl and I can’t hit hard. I’ve just always had this really dominant competitive energy. That’s why I love this genre because it is so male-dominated and it’s a game for me. And to me, as time passes, me being a girl walking in a room full of men doesn’t cross my mind because I feel like I’ve dealt with that so much when I was younger. I’ve gained this confidence and this strength of walking in a room and having that dominant energy as a female. I just think, for any girls that feel intimidated in a room with men, absolutely don’t feel intimidated. First off, that’s insane. Because women are so fucking strong and we hold so much power.
Thank you for answering that, it’s so inspiring to hear any woman in this industry talk about their experience, because even in 2025 we’re still dealing with misogyny in rock music.
Yeah, for sure. And I do think it still is a very male-dominated space. But I think women are killing it right now, and I think that we just need to keep killing it and keep using our strength in our own ways. I think everyone has our superpowers, you know what I mean? Everyone has different superpowers. Everyone’s a little hero. Especially if you’re an artist or anything like that. Never let someone dim your light. Especially a man.
Never a man.
Never a man. Unfortunately, it kills me that that’s still a thing. But I think times are changing, and I hope that we get more powerful women in these roles. I strive to be that for a lot of young girls and women, so that’s something I really advocate for, is just being a strong girl.
Looking at this moment in your career right now — you just released a new EP, you played Louder Than Life, you have this really cool run of shows coming up in October and November. Looking back on everything, how would you describe this moment in your career for you?
I’ve been doing this for so long, so it feels like another step, which is totally fine. And I feel like it’s always going to feel like a step. But right now, in this moment in my life, I’m trying to really take everything in and enjoy it all and really live in the moment. I think young me would be super proud to see me where I am at now. It’s hard because I’m a perfectionist and I always want to be better. And I still have so many goals left. So sometimes it feels so far, but yet it feels so close. I think I’m just trying to keep my head on right and stay focused and keep working my ass off, but also enjoy the moment. And everything does feel very unreal. The more real things get, the more unreal it feels. But I’m super blessed and super excited for everything. I have a bunch of unreleased songs coming that is some of my best music I’ve made in the last two, three months after KANDY. I’m excited to release those. And I love connecting with the fans and I’m meeting more people. That, by far, I think has made me the most grateful for everything.
Keep up with Kami Kehoe: Instagram // TikTok // Facebook // X // Spotify // YouTube // Website
