Interview – Lark

Lark, your new single “Downtown on the Radio” is a bold protest track. What inspired you to take aim at streaming giants and record labels in your music?

This single was inspired by the contrast between the current music streaming “norm” where artists are exploited for profit; and the community spirit of indie radio, now emulated in Web3 music, where artists are celebrated and supported. The interests of streaming platforms and record labels are deeply intertwined, and they’ve built a tightly controlled, centralised system that benefits them at the expense of artists. Like most artists seeking exposure to a wider audience, I was frustrated by the system and that is what inspired this song.

You’ve referred to the song as a call to arms for artist empowerment. How do you see this single influencing the conversation about artist autonomy?

I think the lyrics will resonate with artists who are also frustrated at the system and their lack of control within it. Hopefully, it gets people talking about how artists and fans can work together to break free from this exploitative system, with radio, Web3 and direct fan support as the ways forward. It’s about planting a seed for a future where artist autonomy isn’t just a buzzword, it’s the standard.

The song is inspired by the legacy of “Video Killed the Radio Star.” How does this theme of technological disruption play into your vision for the future of the music industry?

“Video Killed the Radio Star” was an iconic warning shot about tech shaking up the music world – a whole era disrupted. My single picks up that thread, but now it’s streaming giants and labels that are strangling the artist’s voice, while AI and bots muddy the waters. It’s the same theme – a promise of progress that instead leaves artists sidelined. I see a future where we can flip the script ourselves, where tech like Web3 hands power back to artists and fans. Imagine a world where we’re not begging for 0.003 cents per stream or fighting algorithm bias, but we are selling directly to fans, owning our work through NFTs, getting paid fairly and having our fans with us every step of the way. My song is a nod to the legacy of disruption but it’s also my push for a music industry where the next wave of tech doesn’t kill the star – it lifts them up.

You’ve described “Downtown on the Radio” as a bridge to music NFTs. How do you see the future of NFTs reshaping how artists connect with their audiences?

NFTs are a game changer. They’re a way to build something real. Currently, artists are at the mercy of algorithms and middlemen, whereas NFTs let us not only sell directly to fans but to build personal relationships with them. NFTs are about ownership and closeness. Fans can hold something tangible with their own version of “Downtown on the Radio,” and even share in its success if it does well. I imagine a future where my listeners aren’t just streaming – they’re investing in me, collecting my work, and unlocking exclusive content and experiences. But it’s a two-way street, I get to fund my art, and fans own a stake and are right beside me on my journey. That’s the kind of bond that streaming can’t touch, a direct line where tech empowers both artists and fans.

How does the idea of ownership and control in the blockchain and NFT world resonate with your personal experiences as an independent artist?

I’ve spent years on the mouse wheel chasing algorithms and streams and it’s a fool’s game with the odds stacked against us. The lack of control over my earnings, and my reach, and now with Spotify’s new tier that allows remixes, even my own music, really stings. Blockchain feels like the antidote. It’s the independence I’ve been fighting for where I’m not just a cog in someone else’s machine but the one steering the ship. This is personal – I’m taking back what’s mine and sharing it with the fans who support me.

Can you tell us about the collaboration with Jono Fernandez on this track? How did his production contribute to the overall vibe of the song?

I came into the studio with the chords, lyrics and the general vibe and right away, Jono picked up what I was putting down. We decided on a solid drum groove and pulsating synth-pop bassline sitting underneath the verses before dropping out and allowing the song to pause and breathe before exploding into the chorus. For both of us, the bridge is our favourite part of the song. The production on this one was tricky as it needed to be uplifting and inspiring, yet strong and edgy enough to drive home the serious lyrics. Jono always pulls the best out of me and I’m really proud of this song that we created.

Each NFT in the “Downtown on the Radio” collection features a unique version of the song. Can you explain the concept behind offering fans a personal connection to the track through these one-of-a-kind NFTs?

It’s not just artists who need to join the revolution, fans need to join too, we go hand in hand. There are 50 different versions of this song available as NFTs. Each NFT features a unique colour and number and unlocks a unique bridge, welcoming the holder to the revolution, and weaving them into the soul of the song. I wanted each NFT to be special and unique for each holder so that they are the only person in the world who has that version of the song – that creates a personal connection between us.

The artwork for the NFT collection was created by Christian Cordella, a celebrated illustrator known for his work on major films. What made you choose him, and how does his artwork complement the message of the song?

I met Christian in Los Angeles in 2024 through mutual friends and right away, I knew he was my people! Plus, there was no way I was going to pass up the opportunity to work with someone of his calibre and talent. There are two parts to the Downtown story. Part 1 is Ground Zero, where the artists have fallen: Part 1 represents streaming and labels and the album cover features a photograph of me taking a pill of light and energy, which represents blockchain. Part 2 is Welcome to the Revolution, this is the 50-piece NFT collection that features Christian’s artwork. I wanted to lean heavily into the technology theme, so the artwork features binary code. My outfit and emotion in Christian’s artwork also tie in with the music video where I take the pill of light which leads to creative freedom.

The song has a retro feel, blending synth-pop elements with a rebellious spirit. What inspired you to mix these styles, and how does that reflect your artistic identity?

I wanted this song to be both a protest and a party, so I needed to be able to represent both. Synth-pop can be uplifting but it can also sound very edgy and dangerous, so it was perfect. I wanted the song to flow in and out of retro and modern styles with radio static to give it that vintage feel and as a hat tip to the storytelling legacy of “Video Killed the Radio Star.”

“Downtown on the Radio” has already started getting radio play. What does it mean for you to have your song spun by independent broadcasters who support emerging talent?

Indie broadcasters have been my biggest supporters and promoters, and they mean the world to me. They truly believe in uplifting independent talent, and this song is also a thank you to them for continuing to support independent music and culture.

You’ve mentioned that the song’s lyrics are both a protest and a party anthem. Can you break down the balance between activism and celebration in the track

The verses are the protest where I set out what’s wrong with the status quo. The opening line, “Bright lights and Hollywood white nights” relates specifically to ‘those’ parties and that whole insidious music industry culture. The line, “Golden age of silver screens, boulevard of beauty queens” specifically relates to the obsession with youth and looks, which further oppresses artists, female artists in particular. The line “they pulled the biggest art heist of all time” is one of my proudest lyrics. Not only have they stolen the profits from our art, we freely give it to them. The bridge “we’re so tired of being sold out by the 1% who ripped our souls out” signals that enough is enough. The chorus is where the party kicks in. Downtown scenes have long been associated with rebels and artists, and indie stations are part of that community. That rebel indie community culture is also now emulated in Web3 – so let’s move the party to the airways and blockchain.

You’ve built a strong independent career with multiple accolades and chart successes. What does the future hold for you as you continue to innovate in both the music and digital spaces?

I have so many exciting projects that I’m working on – one in particular that I’ve never seen done before. I’m so focused on my creativity and enjoying my journey, no matter where it takes me. I also want to help other artists discover alternative ways to promote their music and build their community, and to know that they can do it in addition to what they’re already doing.

Can you elaborate on what the “Lark Pop Syndicate” is and what kind of exclusive experiences and content fans can expect by joining it through the NFT collection?

I have a brand new Discord server called the Lark Pop Syndicate which is like a secret club for my NFT holders. So far, I have shared an early preview of my music video before it gets released on 16 April, a quick BTS from the studio of a song for my next collection, a chat with Jono from the studio about how Downtown was born and our process. I’ll also be sharing BTS from the music video shoot and a live stream link to my next show so my holders can watch from anywhere in the world. As soon as I’m up and running, I will hold weekly online concerts for my holders where we can connect, meet each other, talk about whatever we want to talk about and hang out. I also have collectable physical items that are only available at my shows, that when scanned, allow holders to claim a free NFT, have an exclusive experience, and join the community.

Your music often blends forward-thinking ideas with nostalgic influences. How do you balance innovation with honoring the past in your sound?

I’m a nostalgic, vintage girl at heart but I also see the potential for innovation that tech brings. My aim is for my music to transport listeners to a different world – maybe even time travelling between the past and the future during the course of a song.

Finally, what message do you hope listeners and fans take away from “Downtown on the Radio” in terms of both its musical and its philosophical impact?

I hope that “Downtown” awakens artists and fans to the very real struggle that we are currently experiencing. I hope it inspires fans to discover new local, national and global music via local and online radio stations. I hope it inspires artists to look at alternative and additional ways to release and promote their music. Mostly, I hope that it encourages the return of meaningful and long-lasting artist/fan relationships and communities.

Stream ‘Downtown on the Radio’ –