Rachael Sage

With the release of her latest album Canopy perched on the horizon, singer-songwriter and multi-disciplinary artist Rachael Sage is poised to unveil her most intentional and soul-stirring work to date. Blending poetic lyricism with cinematic folk-pop arrangements, Sage offers a sonic sanctuary for anyone seeking light in uncertain times. In this deeply reflective conversation, she opens up about the global inspirations behind the title track, the ongoing evolution of her artistry, and the unwavering hope that music, when rooted in empathy and courage, can still be a catalyst for collective healing.

Your upcoming single, "Canopy", is described as a refuge woven from resilience, longing, and determination. What personal experiences led you to create this song?

RS: I honestly was trying to think much more “globally” than personally, with respect to the lyrics on this particular song, even though the first word happens to be “I”; but I believe it could also be the collective “we” just as easily and anyone from my mother to my sister to young and older women I encounter every step along my travels, sharing the same perspective I’m singing in this song.

As a global citizen who happens to be female, it seems pretty obvious that most wars are started by and proliferated by men, and that it has traditionally been male leadership that has, via patriarchy, brought us to this current moment where war is the “norm”, violence is the go-to way of handling conflict in so many realms, and excuses and allowances are made at every turn for toxic masculinity, entitlement and the urge to dominate others perceived as “lesser than” spawning policies that are infringing on all of our collective human rights. So I suppose, just being a woman or even simply a human being living in the year 2025 on planet earth was sadly all the personal experience needed to write this lyric!

The title track has been called an anthem of quiet strength and inclusivity. Can you share the message behind "Canopy" and what you hope listeners take away from it?

RS: I really tried to balance an authentic sense of disillusionment with the way things are, with how they still could be, within this song. It’s equally a statement of fact and an assessment of “where we are” as much as a resolution to support one another, embrace those who are especially vulnerable and to create safety in any and all possible ways, for one another. I hope when people hear it they feel acknowledged and that it’s also a reminder that no matter what, every person is a universe and has the ability to make life kinder and more bearable for someone else, just by including them in their sense of awareness and empathy

Your music has drawn comparisons to Bob Dylan, Sinéad O’Connor, and Alanis Morissette. How do you see their influence reflected in your songwriting and storytelling on "Canopy"?

RS: I am a fan of so many great songwritings of course, but specifically Bob Dyan has always been an influence on me since I first really delved into his work in college. I actually had a theatre director at Stanford assign me to do a sound design score for a production of “Lady Macbeth” in college and I ended up using various songs from “Oh Mercy” throughout the play including “Ring Them Bells” which is one of my favorite songs ever. Stylistically I’ve always loved his albums, the production, the playing and how real and organic the performances are; it’s a vibe as much as a record of his extraordinarily poetry and melody, and I continue to strive for that in my own way, even though my material is obviously quite a bit more pop. As far as Sinéad O’ Connor and Alanis, they’re two of my absolutely favorite singer-songwriters and both obviously fiercely independent, strong-willed women who’ve helped shape the landscape for other female musicians who followed simply by being exactly who they were. I came up in the NYC scene as an indie artist right around when Alanis was breaking and got a lot of comparisons to her which was always a big compliment. She’s more of a rock singer vocally but as far as topically and to some extent musically, I relate a lot to her sense of dynamics and her expressiveness as a persona, in her videos and just what we’ve seen through the years via her quest for spiritual connectedness. I think she’s the real deal and walks the walk as a genuinely self-reflective and compassionate person – as was Sinéad in a totally different way. If anything their biggest influence on me respectively has been the encouragement to be courageous and as absolutely myself as I can be, as an artist, while never losing sight of the power of music to forge meaningful connection and provide comfort where it’s most needed.

In what ways does "Canopy" build upon the themes of resilience and transformation explored in your previous albums, "The Other Side" and "Another Side"?

RS: As a whole, Canopy is a collection of very eclectic songs that each hopefully distill and celebrate aspects of what not only makes us human, but also what interconnects us in beautiful and potentially transformative ways. Sometimes it’s under duress that we find the courage to reach out to one another, and to offer comfort and safety to those who need it most. In my heart of hearts I have always felt that each one of us has the ability to be that light to others and likewise, that being part of a “tribe” doesn’t have to be exclusive versus inclusive. What if your tribe can just be comprised of those you not only feel drawn to automatically for whatever reason, but those for whom your understanding and presence can actually be a kind of transformative shelter? How can we widen our wingspan, so to speak, to be angels to each other in ways that will enrich us as much as others, inviting more compassion, and therefore more meaning into our lives? These aren’t necessarily questions I’m able to answer as much as ask, but they’re topics that resurface across the record and whether it’s a song about preventing gun violence or having more reverence for our planet or even just good old fashioned unconditional love, I hope that this music can be an uplifting and soul-shifting force for good in these challenging (understatement) times!

You’ll be bringing "Canopy" to life on stage with your trio, Rachael Sage & The Sequins. How do these live arrangements differ from the studio recordings?

RS: Yes - I’m really happy to be able to bring my violinist Kelly Halloran and my favorite harmonica genius Will Wilde back together on our upcoming UK tour! On the studio recordings, as a producer I create many layers not only of strings but also a variety of keyboards, guitars, drums and other instruments so these arrangements will necessarily be more stripped down, but what I love about playing with these two soloists is that they’re both so keen to serve the songs, while also creating exciting dynamics and moments where they each really step out and let loose! This trio has a lot of improvisational and spontaneous energy but we’re also sticklers for details and giving each musical transition its own special finesse. We also laugh a lot and get along great as friends so the on-stage camaraderie is a lot of fun, which just makes the whole show a lot more appealing.

You’ve shared the stage with legends like Lulu and Judy Collins. What’s the most valuable lesson you’ve learned from these live experiences?

RS: I learn so much from all the various artists I have the opportunity to tour with – but specifically from both Lulu and Judy, I’ve learned that you can be both regal and elegant, and down to earth and “real”. Both of them are consummate vocalists and performers who take their craft extremely seriously with regard to self-care, preparation and self-discipline. Likewise, they are approachable, kind and generous – and make time for appreciative listeners with genuine connection and respect. I’m so fortunate to have collaborated musically with Judy on our duet of “Helpless” and just being in the same room with her singing was a thrill of a lifetime! She was joyful and upbeat throughout the creative process, but also extremely focused and efficient. A true professional and an absolutely marvelous, magical human being! So the biggest lesson is: you can be a great hardworking “diva”, and still be kind and sensitive to all the people in your midst. The two are definitely not mutually exclusive!

With such an extensive touring history, do you have any pre-show rituals or routines that help you stay grounded?

RS: I always warm up my voice gently throughout the day on days of shows, do some yoga and stretching, and I do have some crazy-sounding noises I make in the tour van or my dressing room leading up to the show. I also try to really “eat clean” for instance to avoid heavy sauces, cheese, sugar or processed foods. The day of a show I’ll probably try to find a good salad with fresh veggies, avocado and maybe some salmon or a hard boiled egg for protein. I do like to do a little bit of “band bonding” with my other players where we psych each other up, thing about what energy we’re trying to share with the audience and generally do some physical movement and warmups together backstage. My childhood roots are in dance and theatre, so anything that helps us all be present, feel connected and mentally focused is a good thing! I prefer to be in a quiet, isolated space the hour before showtime rather than to be talking or social. Of course putting on my gig clothes and doing my makeup is also a kind of ritual, but I often do that before I arrive to a venue – the just keep adding more glitter or accessories the more time I have to kill in the dressing room!!

You’ve mentioned that “Canopy” is for the ones who keep showing up, holding space for others. Are there any specific people or moments in your life that embody this sentiment?

RS: Every day I get to work with an amazing team at my small but might record label that I founded, MPress Records. Most of the folks I work with have been with me many years now and I’m so grateful that every day we’re able to work on projects – whether it be mine or other musicians’ – that feel positive and generate a degree of hope. Whether it’s on social media or just via presenting the music in a live setting, we all try to be as mindful toward one another as we are interconnected, on a work level. I highly respect and admire these individuals and learn from them every day! As far as friends and family, I am also very fortunate that my sister is someone to whom I look up enormously and she’s also incredibly smart so when I need important advice or to just know I have an empathetic ear, I can be sure she will provide insight and words of assurance or guidance. I try to provide that as much as possible for the close friends in my life as well and also be aware that sometimes I fail and as long as I learn and grow in those moments, it’s ultimately going to be ok. Fear is the main reason most people don’t “show up” or hold space for others, it seems to me; the more we can encourage each other to be accepting and courageous the better. I aim to surround myself with people who inspire me in those ways, and hopefully influence me positively, to be my most inclusive, generous self. Being part of the Americana/Folk music community as a whole also feels very supportive. I try to give anyone I can a “leg up” and certainly many people along my journey as a musician have done the same, for me!

How do you navigate the balance between maintaining your signature style and evolving your sound with each new project?

RS: That’s an excellent question! I often joke about making my Punk Album or my Electronic Album to my engineer but I’m also half-serious. I am happy that so many younger artists feel like genre is passé and that they’re post-genre. It tends to make for more exciting and exploratory art when performers like Bjork or PJ Harvey or Nick Cave have defied obvious genre constraints and created music that’s a hybrid of several genres. I relate to that a lot and do push myself to do projects like my album Poetica or the odd neo-Classical composition that falls outside the usual singer-songwriter fare for me. I think you’ve already answered your question though, in a way; I navigate the balance! Navigating inherently involves making choices how to get to your destination safely and alive, and as an artist it’s similar. How much deviation from what I do most often feels comfortable versus reckless? How much change feels like it’s serving the larger mission versus abandoning the overall direction of the adventure? Micro versus Macro…I think there’s a ton of latitude but I also think it’s perfectly ok to have a style and feel cozy in it, and let the material be the thing that’s “new”. So I suppose, it varies – but right now I’m less interested in creating art that shocks versus that invites you in. Maybe next time that relationship to what I’m sharing will be different but now feels like a good time to develop my sound and my audience into something more focused, rather than to be a chameleon. My goal has always being to evolve and grow but not to confuse!

The album blends folk-pop with cinematic strings and soaring choruses. Were there any specific artists or artistic influences that inspired this sonic direction?

RS: The title track “Canopy” is definitely folk-pop and the strings are very prominent; other songs vary pretty widely from that approach such as “Just Enough” which doesn’t have any strings at all. But as far as the more anthemic moments, I like to think that The Sequins and specifically my collaborations with violinist Kelly Halloran and cellists Ward Williams and Dave Eggar have a unique quality that helps define our sound. I was a ballet dancer for many years and have always loved chamber music and classical composers – that was the music that shaped my early ears and so naturally I’ve always loved pop and rock acts that also embraced strings! There have been too many to mention (although The Beatles, Elvis Costello and Glen Hansard might be the most notable for me as far as their masterful blending of strings and pop music); but ultimately I think it was my dance background that influenced that sonic direction the most. The New York City Ballet and The School Of American Ballet were my artistic homes in my early teens. I can still remember the first time I danced to Tchaikovsky with a full orchestra like it was yesterday and I’ve been a string-addict ever since!

Looking back at your discography, how do you feel you've grown as an artist since your earliest releases

RS: I try not to look back too often but I did include two songs I wrote as a teenager on this new album, so in this case it was unavoidable I listened to some early demos that were never released. My voice used to be very high and very thin. Now it’s lower and deeper, but I can’t hit all the high notes I did in my teens. There’s a beautiful, metaphorical richness to that reality! I’m older and hopefully more introspective…but I can still look back and feel a lot of compassion for the younger, aspirational girl who sang in mostly soprano falsetto and gaged her ability but how high her range was. Now, mostly all I can about is whether I mean what I sing and if the vibe is there! This would also apply to my visual art; my painting is looser and my lines are bigger but the expansiveness I’ve gained has also required me to let go of some specificity and youthful obsessiveness with tiny details. My creative priorities have shifted, for sure….

What’s next for you beyond "Canopy"? Do you already have ideas for future projects or creative endeavors?

RS: I have recorded a live album that will be coming out next year, and am also planning to tour in some new regions both this year and next. But the year is still young, and I can’t wait to share this new record, make some creative videos to support it, and tour as much as possible throughout the UK!