Miya Folick has been taking over the alternative indie scene as a queen of authenticity, whose music makes people feel understood through her vulnerable and pensive lyricism. Her rich and breathy mid-range vocals paired with a feisty pop-punk style create a cathartic feeling that makes you want to dance around your room and feel every emotion, whether it’s good or bad. Folick’s music has lifted so many hearts through deep, intimate writing about her uncomfortable battles throughout life. Her inspiring visions of spirituality, communal support, and both personal and universal empowerment push listeners to look inward, see themselves in a natural light, and face their battles from a place of love. We spoke with Miya and discussed her early days as a musician and the powerfully intimate lessons she has learned along the way.
Folick was born in California and is half Japanese and half Russian; she was raised as a Buddhist where she learned to play the taiko drums in a church group in Orange County. When she graduated from high school, her mother bought her an acoustic guitar from Costco which spent most of its time sitting in the corner of her room, but when she began studying acting at NYU, she found herself picking the guitar back up when she was struggling with loneliness and depression during a semester break. Folick began learning Led Zeppelin’s ‘Tangerine’ and Joni Mitchell’s ‘Big Yellow Taxi’ on the guitar, reflecting her influences of powerful melodies and gut-wrenching vocals. Soon after, she started spending all her time learning how to create songs before moving to LA to pursue a career in music – but at that point, she didn’t know anyone in the scene yet. As a solution to her problem, she then began to use various dating apps to find local musicians, where she successfully pulled people together from Tinder and formed her very first band.
Folick’s songwriting is brimming with intricate and intimate details of her life, as she unapologetically shares her experiences with the world. Her process stems from her everyday moments, creating a substantial sense of authenticity and compassion for her listener, as she explains: “When I’m writing, I always try to collect things – words I like, phrases I like, images, feelings. Then I have something to draw from when I’m sitting down to write. I tend to improvise for a bit until I find a thread of an idea that speaks to me. Then I try to sit in the colour of that emotion and let myself express whatever I find there.” The artist inspiringly connects with her listeners by pouring her heart into her writing, soothing and healing those who can relate to her words.
Her gripping debut album ‘Premonitions’ explores the plea for redemption and development on a personal level, embracing the emotional alteration of unabashed growth. The album speaks of uncomfortable battles, focusing on confronting trauma and the exploitation of women. Her song ‘Deadbody’ is a dark revenge anthem against all men who continuously hurt women. Folick amplifies her anger through primal, guttural vocals alongside a militaristic drum snare roll, essentially creating a battle cry for her pain and speaking on behalf of so many women who have been gaslit and abused. Through the record, the California-based singer delivers her vision of a more ennobled world, a better one for herself and all who struggle with their internal battles and trauma. She gives courage to women, especially musicians who are trying to express themselves in a less socially “feminine” way through pop-punk.
In 2022, the 34-year-old released her EP ‘2007’, an ode to her spiritual beliefs and yearning for love that comes from a place of peace. Formed with elements of spiky pop-punk and electronic balladry, the collection of songs is a direct contrast to ‘Premonitions’, which focuses on systemic inequality at a much larger scale. Through this, Folick takes her listeners onto a more introspective path to her soul. For example, the intricate ‘Bad Thing’ is a personal revelation of addressing your bad habits, filled with delicate guitar licks and yearnful vocals. Co-written with the sensational Mitski, Miya thoroughly enjoyed merging her meditative thoughts with Mitski’s innovative style, as she states: “Mitski is a great collaborator and wore slacks with heeled sandals. I was a bit surprised at the sultry nature of her shoes in the studio. I am always wearing tennis shoes, so I was inspired. She’s fiercely herself.” Both Miya and Mitski share the ideal of being true to themselves and healthily open about themselves to the world, as shown through their artistry. Flowing between sweet melodic tones and earth-shattering roars, Folick is no stranger to a diverse range in her music. With dreamy piano instrumentals and ethereal vocals, going to quieter, wavering screams, this EP turns you into a fly on the wall of the constant back and forth of Miya’s emotions. It is a gut-wrenching tale of resilience.
‘Roach’ is Folick’s most recent release in 2023, a sturdy narration of the ambivalent hurdles she has continuously overcome through both hardship and ease. She takes ownership of her insecurities and doesn’t shy away from their impact, emphasising the importance of addressing them as a rite of passage to grow. The album sways from alluring electric-pop melodies to ferociously bittersweet anthems of struggle. Folick plunges herself into deeper experimentation of style, pumping eclectic artistry through the heart of her work. As a highlight, the spunky pop-punk tune ‘Get Out of My House’ reflects her timely ease with cutting out toxic people, and accepting her own company as a place of comfort. Once again, Folick can be seen (and heard) channelling righteous anger whilst simultaneously using it to obtain solace, showing her acknowledgement of the ebbs and flows of life.
Solitude is a fundamental part of Miya Folick, greatly deriving from her Buddhist upbringing. She promotes compassion and the significance of co-existence, allowing her spiritual background to pave its way into her songwriting: “I think solitude, to me, is ample time to engage with the environment without the feeling of being watched, judged or relied upon. A night walk. A morning coffee.” The talented musician appreciates the little things and shows understanding for taking a step back and being grateful for life itself, despite the challenges it brings. Her spiritual beliefs are fueled more throughout her musical journey through the power of community. “Community means having people to borrow gear from,”, she laughs. “I’m kidding…but that’s definitely part of it. The kinship that comes from shared experiences feels pretty essential. I don’t know what I would do without my friends in music.”
Over the past few years, Miya Folick has lit up stages across the world, supporting artists such as Dermot Kennedy, Tove Lo and Father John Misty. The Cali musician’s ascent has been unstoppable as she ceaselessly experiments with newer sounds and continues to learn more about herself through hardship and brutality. Her music cannot be couched into one genre, the same way her spirit can’t fit into a specific mould society exasperatingly pushes her into. Folick provides beautiful yet brutal clarity as a young woman, showing inquisitive strength in quiet vulnerability. Like it is for many of us, music is an escape but it also helps you understand your own feelings. To Folick, music is the most influential part of her life, as she states: “It’s the way I relate to the world. It’s, in many ways, the lens through which I experience life. And it’s how I understand what I have experienced. Music teaches you about listening, patience and communication.”
Folick has proven herself to be an incredibly down-to- earth human being – a guiding light for those who need a push in their creative power and personal growth. She emphasises the value of accepting impermanence and pushes you not to shy away from your flaws. We journey with her as she continues to find comfort in her past, and compels you to sink deeper into your mind and soul.
Written by Raabia Haq // Photography by Jonny Marlow
GEM Magazine 