Q&A: Victoria Canal On Her Alluring Debut Album, ‘Slowly, It Dawns
(Having worked with Hozier and Coldplay, among others, Victoria Canal is now ready to step into the spotlight as a solo artist, with her debut album. Canal sat down with fellow singer/songwriter Sage Bava to discuss writing, production, playing live and the full moon. – Steve Baltin)
Victoria Canal's debut album, Slowly, It Dawns, set to release on January 17 of next year via Elektra/Parlophone, marks a significant milestone in her artistic journey. As a multi-instrumentalist and composer who has garnered acclaim through her tours with Hozier and performances with Coldplay, Canal has cultivated a reputation for her nuanced musicality and introspective lyrics. Her sound, distinguished by its rich emotional depth, continues to captivate listeners with both its subtlety and intensity.
The album reflects Canal's personal odyssey from youthful uncertainty to a mature embrace of her own complexity. Each track unveils a new facet of her identity, molded by her diverse experiences. Songs like "June Baby," "California Sober" and "Cake" unfold a narrative arc that mirrors the ebb and flow of life's challenges and revelations, encapsulating them as if within the span of a single day.
With her lush, textured vocal harmony beds, a blend of minimalist and maximalist production, and a clear narrative, Slowly, It Dawns invites listeners into a world that represents both the Victoria Canal we know and the artist we will continue to discover.
Canal's global upbringing has shaped a unique voice that merges diverse cultural influences into a sound that feels both intimate and expansive. As Canal prepares to embark on her US tour to support the album, fans will have the opportunity to experience her evolving artistry live. Additional tour dates for 2025 will be announced soon, providing further chances to connect with her music. Slowly, It Dawns offers a genuine and insightful look at Canal's journey, marking a significant step in her career and setting the stage for what's to come.
I had the chance to speak with Victoria about the making of this album, delving into her creative process and the inspirations behind her new work. Below is our conversation. – Sage Bava
Sage Bava: Hi, excited to speak with you. You're in Milwaukee today, I believe?
Victoria Canal: Yes, I am. But we're driving to Chicago in a couple hours. I think we're going to stop at the beach if we can. Well, the lake. The lake beach. (laughter)
Bava: The lake beach (laughter). Sounds like a great commemoration for the start of your tour.
Canal: Yes, it is. Last night was the first night of tour.
Bava: And on the full moon. Good choice.
Canal: Totally intentional (laughs).
Bava: It always seems to happen like that. You are connected (laughs). We have a lot to cover, and this album is truly stunning. You've released so much captivating music over the years, and while this feels like you, it also adds another layer. I'm always drawn to the sonic atmospheres you create. As a musician and producer, I'm curious about how you bring it all together. It seems like both a development over time and an instinctive reflection of who you are. Could you share more about that process?
Canal: Absolutely. The songs for this album were written over many years. Some, like "Hollow," are deep catalog tracks, the oldest on the album. But most of the material came after my tour with Hozier last year. Watching him perform with an eight-piece band was inspiring — sonically, it felt limitless. You know how it is as a musician, that deep, immersive sound that hits you in the chest and pulls you in. I've been playing live since I was 14, I'm 26 now, and I've always been an independent artist. For years, my vibe was just piano and vocals, playing intimate gigs and trying to capture that energy on bigger stages. But seeing Hozier's dynamic approach pushed me to experiment in the studio and explore how far I could take things. When I look back, the poppier tunes came together in a frenzy, like I was sprinting through ideas. The mixing process involved reining that in, humbling some of the excess. This album became a practice in allowing myself to go all out and to be as minimal as I wanted. Side A is full of pop bangers, loud and outward-facing, while Side B is more reflective, singer-songwriter territory—my comfort zone, like lying in the dark thinking about life. I wanted to balance both sides and experiment with more dynamic energy, tapping into the unhinged, fun parts of myself. This album was unexpected, but I'm grateful for the experiences that led me to branch out beyond my usual safe zone and embrace something bigger.
Bava: I love how you allowed yourself to explore from minimalism to maximalism. It's so easy to box in your art, but this sounds like a very exploratory experience. One of the trickiest parts is having the discernment to decide what each song should be, given all the options. Do you rely mostly on gut instinct to shape how each song comes to life?
Canal: Great question! Yes, everything is gut instinct and intuition when it comes to the music. The actual process of creating it is the fun part—there are no rules, no one telling you what to do. In the studio, it's all about doing exactly what you want. But now I'm facing the challenge of pulling it all together into an album that tells a story and represents me in a way people can understand. Before this, I was easily labeled as the "acoustic piano, sad girl," but I'm not sure I fit that anymore, or at least not just that. This album is definitely pushing my creative identity and taking a risk, especially for a debut. It reminds me of when I saw Sam Smith live recently. Their first album was so formative for me, I went through my first heartbreak with it on repeat. Then, randomly, there were a couple of dance tracks, and I loved that they broke the mold. Same with Coldplay's Ghost Stories and "Sky Full of Stars"—it didn't seem to fit, but it worked. So, with songs like "Cake" or "Kelly Sober," I'm excited for people to hear them and be surprised, wondering where they came from. I hope they'll love that unexpectedness and turn to those tracks when they need them.
Bava: Can you talk a little bit about the inspiration of the lyrics and the story behind the songs?
Canal: For sure, there are several themes in this record. The title Slowly, it Dawns comes from the song "15%," which isn't out yet. It talks about the unreliable narrator—how, depending on the day, you either feel like you're on top of the world or the complete opposite, with no in-between. I jokingly call it the "God and the goblin," as in God Vic and goblin Vic, and sometimes I wonder which one I'm leaning into more. Can I step back and gain perspective? The album explores waking up to who you are, ego attachment, ego death, all part of a lifelong journey that isn't linear but cyclical. I find myself repeatedly going through this process of finding myself, breaking, losing myself, and then rediscovering who I am. I think I've figured things out, then something happens that throws it all into question. The album reflects that cycle. The earlier tracks like "June Baby," "Talk," "California Sober," and "Cake" feel naiver, reflecting youthful explorations of love, sexuality, addiction, and escapism. "15%" marks a shift into anxiety, realizing there's a deeper responsibility to life. From there, the album becomes more existential. "Vauxhall" questions whether I do this because I love it or because I'm seeking external validation. "How Can I Be a Person" reflects on the dangers of living in constant comparison, while "Totally F**king Fine" meditates on the peace found in simply letting the world wash over you without trying to be anything. The later songs, like "Barely Being" and "Hollow," explore themes of atheism and the brevity of life. "Black Swan" and "Swan Song" are sister tracks, addressing the end of life, forgiveness, and the tension between resentment and love. It's all part of a continual, almost organic process, like wrinkles in a piece of paper—they add depth and character over time. While the singles tell a simpler, more promotional narrative—girl finds new love, parties too hard, regrets it the next day, learns from it, then repeats the cycle—the full album goes much deeper, and that's what excites me about it. It's a reflection of life's continual journey of growth and self-discovery.
Bava: I'm such a fan of artists like you who rely on truth and turn their experiences into music. Music is such a powerful way to give back, and I see many artists draw from that well. How does this relationship to your music and giving back resonate with you? Is it a deep well of inspiration? What does it mean to you?
Canal: That's a really good question. I actually find the search for meaning in my work a bit depleting. It's a kind of suffering I choose, but I wouldn't say I gain energy from publishing my work. Ideally, if I could live comfortably making albums without the pressure to release them, I probably wouldn't. I'd prefer to create music like a traditional fine artist, keeping it for a select few rather than putting it on display for mass consumption. It can be exhausting to focus on critical reception. I have a friend whose recent album is undoubtedly his best work, but it received low ratings and negative reviews. He's frustrated because he knows how good it is, yet he doesn't let that define his opinion. Personally, I've historically valued others' opinions too much, often liking something more if it's well-received. So, one big practice for me is to accept that however this debut album is received, I'll continue making music for the rest of my life. If this album doesn't help me sell out shows, the next one might. I'm realizing I don't need to sell a thousand tickets to validate my worth as an artist.
Bava: I love the focus on process. Can you share a story or two about the writing of one of these songs?
Canal: One song I wrote, called "Totally F**king Fine," came to life a couple of years ago when I had strep throat and couldn't sing or talk. While staying at a friend's house with a beautiful piano, I wondered if I could write a song from start to finish without knowing how it would sound. I crafted the lyrics and melody entirely in my head, creating a stream-of-consciousness piece with a big instrumental section that felt like a wash of sound. It was fascinating to experience the tension of wanting to make noise but finding relief in silence. I didn't actually sing it until I was in the studio at Middle Farm in Devon, England. At around two o'clock in the morning, I pressed record and sang it for the first time, capturing that initial moment. You can even hear me say, "Yeah, something like that," into the mic at the end of the recording. It was a really special moment, and it's secretly my favorite song on the album.
Bava: It's amazing when you become a vehicle for creativity and the song just flows out of you. Did you experience a lot of those moments on this album? And when a song arrives effortlessly, how would you describe it?
Canal: It just feels like there's nothing stopping what's happening. Your brain is no longer in critical mode; instead, you're in curiosity mode, wondering, "What's this?" You follow that instinct and write things down, feeling a surge of adrenaline and energy within you. When you're alone, it can be incredibly self-nourishing to create something out of thin air. It's like you're listening for inspiration. It's a wonderful feeling. I haven't written in months, so I'm eager to experience that again. I've been so focused on tour prep and album promo, but getting back in the studio is my favorite part of it all.
Bava: Can you talk a little about this tour and how you're translating these songs for live performance? What are you most excited about?
Canal: Yeah, I've been building the show with my musical director, Seth, all summer, and my producer and best friend, Lucy, is in my band. For most of the tour, it'll be a duo show, but for bigger performances, like my upcoming headline show in London, it will be a full band. I recently made a live video featuring an eight-piece band with strings, and it was such a blast! Incorporating live production adds so many interesting layers, and I'm excited to push myself out of my comfort zone. It would have been easier to stick to a solo piano-guitar setup, but I'm motivated to test my limits. This tour feels like a big test for me. What artists and fans often don't see are the challenges behind the scenes. During rehearsals, things break down, and there are numerous little roadblocks that can feel intimidating, especially when you're venturing into unfamiliar territory. It's funny because I've been touring for ten years, but in some ways, I feel like a beginner as I embrace the role of a pop star frontwoman. Last night was the first night of the tour, and it was incredible! I danced with the crowd during "Cali Sober" and even jumped into the audience, which was such a thrill. I used to hide behind my keyboard, but I wanted to experience the adrenaline of a lively show. I'm excited to blend those dynamic elements into the new music and the new show.
Bava: I'm so excited to witness this evolution live because I'm sure the process of creating this project was deeply moving, and I can't wait to see how that translates to the stage. Is there anything you want to add about the album or the tour that we didn't cover?
Canal: I'm excited for the album to finally be out so that in the new year we can play it for people. I'm looking forward to doing more in the live space as well in the new year.
