We caught up with Leah Callahan to explore her recent “Curious Tourist” release, and the eclectic influences that shape her sound. Collaborating with arranger, producer, and multi-instrumentalist Chris Stern, they’ve crafted a rich tapestry of infectious melodies and layered instrumentation.
With each insight, Leah reveals the artistry behind her thoughtful delivery.
Cougar Microbes: What time did you wake up today?
7 am
CM: Was it out of choice or necessity?
Necessity for my job, although it’s not so bad. I would get up at that time even if I were independently wealthy—or maybe even earlier.
CM: Who are you and what do you “do”?
I am a recovering poet who quit but has lapsed back into this bad habit in the past 5 years.
CM: Describe your music to someone who has yet to hear it…
Thinking person’s music.
CM: Out of your own tracks, which is your current favorite and why?
My next album, which will be called “Our Lady of the Sad Adventure.” A song called “Fall in Love with Your Mind” that Chris recently sent me the demo for.
CM: Can you share a bit about your musical background? How did you first get into music, and when did you realize it was your passion?
My first musical exposure was 45-inch records of Disney movies, particularly “Snow White” from the 1930s, and the Lawrence Welk show my grandparents watched when I was about 3. I used to stand in front of the TV and make them watch me sing instead, mostly Shirley Temple songs. I also used to choreograph my own disco dance performances, as I was a big fan of the show “Dance Fever.” I have sadly not continued my dancing training!
CM: Leah, your journey from ‘Turkish Delight‘ to ‘Curious Tourist‘ has been quite the evolution. Can you share how your approach to music and songwriting has changed over the years?
It’s really based on the people I work with. I love all kinds of music, but my exposure has evolved—from musicians who were experimental in the mid-late 90s to my current collaborator with a more straightforward indie-pop aesthetic. I’ve always liked pop, or more specifically, catchy melodies. I brought a pop sensibility to ‘Turkish Delight‘, ‘Betwixt‘, and ‘The Glass Set‘.
CM: Can you walk us through your typical songwriting process? Do you have a specific routine or approach?
I focus on musician or poet influences because one has to start somewhere—it’s like baking a cake or building something. You cannot start with a completely clean slate. So, I dive into reading about or listening to specific artists. For example, for the next album, I randomly heard The Doors‘ “LA Woman” and thought about writing an ode to Boston, similar to how Jim Morrison wrote an ode to LA.
CM: How do you find inspiration for your lyrics and melodies? Are there any specific sources or experiences that influence your songwriting?
Anything and everything, but mostly other music. It’s fairly random except when it isn’t. I write in spurts, so there are times when I don’t write or think about writing for many months. I usually have to focus and work on it.
CM: Can you tell us about the dynamic between yourself and Chris Stern in the studio? How do you complement each other’s strengths and challenge each other both creatively and not?
There’s a lot of trust on my part. I trust that whatever Chris does is going to be amazing. His strength is songwriting, producing, arranging, and performing, while my strength is lyric and melody writing. The challenge for him is that it’s not straightforward—it’s almost like saying, “Ok Chris, finish this poem but do it musically,” and he does.
CM: Do you often make significant changes to songs during the recording process, or do you try to capture the essence of your original demos as much as possible?
I don’t think there are many changes, just more development. If we didn’t have a deadline (mostly due to a tight budget), the songs would evolve ad infinitum.
CM: How do you know when a studio session is completed?
We just need to say, “This is done,” because we’re on a budget.
CM: How would you describe your musical chemistry? Are there any specific moments during the recording of ‘Curious Tourist‘ that highlighted this synergy for you?
For the song “Curious Tourist,” I had been rereading French symbolist poetry, and Chris had no idea. But the music he came up with sounded as if I had said, “Capture one of these Rimbaud poems in a song.” It was uncanny.
CM: Can you share an anecdote or challenge you faced during the recording process that ultimately contributed to the album’s uniqueness?
We don’t have that current pop sound, especially with processed vocals. It’s a turn-off to some reviewers but makes our music more unique. Richard Marr, the producer, and Chris have tried to use some processors on my voice, but my songs are written between keys. Trying to “fix” my vocals with “pitch correct” doesn’t work and makes them sour.
CM: What was the first record/tape/CD you ever bought?
A cassette of Echo and the Bunnymen‘s “Songs to Learn and Sing.” Before that, I listened to my parents’ music, which was pretty cool. They had Blondie and Roxy Music albums, which I gravitated towards as a teen. As a young kid, I listened religiously to everything they had, from AC/DC and Led Zeppelin to Strawberry Alarm Clock, The Moody Blues, and The Beatles.
CM: First concert you attended?
The Go-Go‘s on the Boston Common in summer 1984.
CM: Can you recall the first song you ever wrote, and what inspired it?
Some acapella punk rock songs when I was about 15, inspired by MTV videos and hardcore punk bands I heard on college radio.
CM: What was the last song that got stuck in your head?
“Party in the USA” by Miley Cyrus.
CM: What was the last show you paid and queued up for?
The Wailers, summer 2024.
CM: Are there other artists from your local scene we should know about?
Chris Stern‘s bands, The Sterns and The Deadly Desert. My good friend Petridisch (and his label Fishprints), whom I have collaborated with: Fishprints Inc. The drummer we work with, Alex Brander, is in some great bands Big D and the Kids Table as well as other projects, and my good friends and supporters’ label IHeartNoise.
CM: Your music draws from diverse influences, from Britpop to shoegaze. Are there any non-musical influences, such as literature or visual arts, that have significantly shaped your artistic vision for ‘Curious Tourist’?
For “Nowhere Girl,” I was influenced by the films Thelma and Louise and Babylon, as well as documentaries on Edie Sedgwick and Twiggy. For “Curious Tourist,” I was influenced by the poet Rimbaud and the nonfiction writer Ed Yong. For “Duras,” I was influenced by the writer Marguerite Duras. I am also very much influenced by British New Wave films of the 60s and American films of the 70s. The show (and soundtrack) of the TV show Killing Eve is a big influence, which got me thinking about music and film of the 60s—you might hear that in the next record.
CM: If you could record any cover in the world, what would it be?
Right now, I am fixated on the song “Xanadu,” written by ELO and famously sung by Olivia Newton-John. I just saw a video where Jeff Lynne sang it, and it’s pretty awesome: Jeff Lynne – Xanadu.
CM: If you could have any fictional character as a band member, who would it be and what instrument would they play?
Ziggy Stardust, and he’d play guitar.
CM: If you could bring any artist back from the dead, but in exchange you would have to send a living artist down, which artists would you choose and why?
I would bring David Bowie back from the dead and send Taylor Swift somewhere else for a bit, so I can have a break from that.
CM: Can you share a sneak peek or hint about any upcoming projects or surprises that we can anticipate?
Chris and I are working on “Our Lady of the Sad Adventure” now. It promises to be very, very good.
A huge thanks to Leah Callahan for sharing her creative insights. As she weaves poetry and music together, we look forward to ‘Our Lady of the Sad Adventure,’ which promises to be a captivating addition to her story. With her unique blend of influences and collaborative energy, it’ll be exciting to see where this journey leads her next!
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