With her breakout album "Transparent Shadows" earning critical acclaim and a devoted following, indie artist Sarah Johnson has established herself as one of the most authentic voices in today's music scene. Known for her raw, introspective lyrics and genre-bending sound that weaves elements of folk, indie rock, and electronic music, Johnson represents a new generation of artists building careers on their own terms. In this exclusive interview, she opens up about her creative process, navigating the industry as an independent artist, and her upcoming projects.

I meet Sarah at a quiet café in her hometown of Portland, Oregon. Despite her rising success, she arrives alone, without the entourage that typically accompanies artists of her caliber. Dressed in a vintage denim jacket adorned with hand-embroidered flowers – her own handiwork, she later tells me – she greets me with a warm smile that immediately puts me at ease.

Finding Her Voice

The Universal Story: Your music defies easy categorization. How would you describe your sound to someone who's never heard it before?

Sarah Johnson: That's always such a difficult question! [Laughs] I think of my music as emotional landscapes. Sometimes those landscapes are sparse and intimate, like an acoustic guitar and voice in a quiet room. Other times they're dense and layered, with electronic elements creating these textural atmospheres. The constant thread is probably the storytelling and the emotional honesty in the lyrics.

If I had to put it in genre terms, I'd say it's indie folk at its core, but with electronic and alternative rock influences. I'm not particularly interested in staying within genre boundaries though. I follow what serves the emotion of each song.

MJ: Was that genre-blending approach always part of your musical identity?

SJ: Not at all. When I started writing songs at 15, I was firmly in the acoustic singer-songwriter tradition. I worshipped artists like Joni Mitchell and Nick Drake – and I still do. But I was also listening to Björk, Radiohead, and James Blake, artists who use electronics in really emotional, human ways.

The evolution happened gradually. I started experimenting with recording and production techniques in college. I'd record these basic acoustic songs, then manipulate and layer them with samples and synths. There was something exciting about creating these juxtapositions between organic and electronic elements. It felt like it mirrored the world we live in now – this blend of the natural and technological.

Creative Process

MJ: Take us through your songwriting process. Does it typically start with lyrics, melody, or something else?

SJ: It really varies. Sometimes a song will start with a phrase or image that gets stuck in my head. Other times it's a chord progression or melodic fragment. Occasionally, it's even a production element – a particular sound or rhythm that suggests an emotional direction.

But regardless of where it starts, I've found that my best songs come when I don't force the process too much. I try to follow what interests me emotionally in the moment. If I'm feeling particularly verbal, I might focus on developing the lyrics first. If I'm in a more intuitive space, I might just play around with sounds until something clicks.

I also keep a voice memo app handy at all times. I probably record five or six little ideas every day – a melody line while I'm walking, or a lyric idea that comes while I'm waiting for the bus. Most of them go nowhere, but occasionally there's a seed of something that grows into a complete song.

MJ: "Transparent Shadows" deals with some deeply personal themes. Is it challenging to share such intimate aspects of your life in your music?

SJ: Yes and no. Writing the songs is actually the easy part for me. In the moment of creation, I'm not thinking about an audience – it's just me processing my experiences through music. The vulnerability comes later, when I'm deciding what to release and how to talk about it publicly.

There's this strange duality to being a songwriter. On one hand, I want to be completely honest and authentic in my work. On the other, once a song is released, it becomes part of a public conversation that I can't fully control. People bring their own interpretations and assumptions, which is beautiful but can also feel exposing.

I've gradually found a balance that works for me. I allow myself complete freedom during the writing process, then make thoughtful choices about what I share and how I frame it. Some songs stay just for me, and that's okay too.

"I'm not trying to present a polished version of myself or my experiences. I want my music to reflect the messiness and complexity of being human. That's where the connection happens."

— Sarah Johnson

Navigating Independence

MJ: You've remained independent despite interest from major labels. What drove that decision?

SJ: It wasn't initially a philosophical stance – more a series of practical choices that aligned with what felt right at each stage. After college, I just started putting my music online and playing local shows. I built a small following, then a slightly bigger one, and gradually realized I could sustain myself this way.

When label interest came, the deals never quite felt right. They involved compromises I wasn't ready to make, particularly around creative control and ownership of my music. I had already built direct relationships with my audience, and that was incredibly valuable to me.

That said, I'm not ideologically opposed to labels. They still offer resources and reach that are difficult to access independently. I just haven't found the right partnership yet – one that would enhance what I'm building rather than redirect it.

MJ: What's been the biggest challenge of navigating the industry independently?

SJ: The sheer volume of non-musical work required. On any given day, I might be negotiating with a venue, updating my website, planning a tour route, analyzing streaming data, coordinating with my small team, or handling accounting.

Independence means freedom, but it also means wearing many hats. Sometimes those administrative tasks eat into creative time, which can be frustrating. I've had to get better at delegating and building systems that allow me to focus on music.

The other big challenge is financial stability. The economics of streaming are tough for independent artists. I'm fortunate to have a passionate fan base that buys merchandise and comes to shows, but it's still a precarious way to make a living.

MJ: How do you approach social media and the expectation for artists to maintain an ongoing digital presence?

SJ: That's something I've had to figure out through trial and error. Early on, I tried to follow conventional advice about posting consistently and strategically, but it felt inauthentic and exhausting. Now I use social media more intentionally – as a window into my creative process and a way to have meaningful exchanges with listeners.

I'm not trying to game algorithms or manufacture a persona. I share things when I feel genuinely moved to do so, whether that's a new song snippet, a thought about music-making, or just expressing gratitude to fans. This approach might not maximize growth metrics, but it feels sustainable and aligned with why I make music in the first place.

I also build more direct connections through my newsletter and community platform, where interactions feel less transactional than on mainstream social media.

Influences and Evolution

MJ: You've mentioned some of your musical influences, but are there non-musical sources that inspire your work?

SJ: Absolutely. Literature has always been a huge influence on my writing. Authors like Ocean Vuong, Rebecca Solnit, and Maggie Nelson have shaped how I think about language and narrative. I'm drawn to writers who can articulate complex emotional experiences in ways that feel both personal and universal.

Visual art influences me too, particularly contemporary photography. There's something about how photographers frame and isolate moments that relates to songwriting – deciding what to include and exclude, playing with focus and perspective.

Nature is probably my most consistent source of inspiration. Growing up in the Pacific Northwest, I spent a lot of time in forests and near the ocean. Those landscapes appear in my lyrics, but they also influence how I think about sound and space in music – the dynamics between stillness and movement, between sparseness and density.

MJ: Your sound has evolved significantly over your three releases. How conscious is that evolution, and where do you see it heading next?

SJ: The evolution has been partly intentional and partly intuitive. I never want to repeat myself, so each project starts with asking questions like: What haven't I explored yet? What am I listening to that's exciting me? What technical or creative skills am I developing that could open new possibilities?

At the same time, I'm not calculating these changes. They reflect my genuine interests and growth as a person and musician at each stage. My first EP was bedroom folk because that's what I could create with the skills and equipment I had then. As I learned more about production and collaboration, my sound naturally expanded.

For my next project, I'm exploring more rhythmic elements and experimenting with vocal processing in ways I haven't before. I'm also working with a string quartet for several songs, which brings a different textural palette. But thematically, I'm still focused on emotional honesty and storytelling – that core remains consistent even as the sonic landscape shifts.

The Future

MJ: You've mentioned your next project. Can you share more about what fans can expect?

SJ: I'm working on an album that I hope to release later this year. It explores themes of transformation and liminality – those in-between spaces where we're no longer who we were but not yet who we're becoming. There's also a focus on collective experiences versus individual ones, partly influenced by what we've all lived through in recent years.

Sonically, it builds on "Transparent Shadows" but pushes further in several directions. Some songs are more stripped-down and direct than anything I've released, while others incorporate more experimental production techniques. I'm collaborating with a few other musicians I deeply respect, which is bringing new dimensions to the sound.

I'm also developing a visual component that will accompany the music – a series of short films that extend the album's themes rather than literally illustrating the songs. I'm excited about creating a more immersive experience around this body of work.

MJ: Beyond music, what other creative projects are you involved in?

SJ: I've been writing some prose pieces that explore similar themes to my songs but in a different form. I'm not sure yet whether they'll become a book or something else, but it's been liberating to work with language outside the constraints of lyrics.

I'm also developing a podcast that features conversations with various artists about their creative processes. We talk about the practical aspects of making art – the routines, challenges, and techniques – rather than focusing on career highlights. It's partly selfish because I learn so much from these conversations, but I hope others will find them valuable too.

MJ: What advice would you give to emerging independent artists trying to find their way in today's music landscape?

SJ: First, develop your unique voice and perspective. The music world doesn't need more replicas of what's already successful – it needs authentic expressions that only you can create. That doesn't mean ignoring influences or traditions, but rather finding your place within them.

Second, build genuine connections with listeners, even if they're few at first. One person who truly connects with your work is worth more than a thousand passive streams. Those real connections create the foundation for a sustainable career.

Third, be patient and persistent. Building an independent career takes time. There's a lot of emphasis on overnight success stories, but most artists – even very successful ones – build their careers gradually through consistent work and creative growth.

Finally, find your community. Music-making can be solitary, but navigating the industry shouldn't be. Connect with other independent artists who can share resources, opportunities, and emotional support. Those peer relationships have been absolutely essential for me.

"Success in music isn't just about numbers or external validation. It's about creating work that matters to you and finding the people who resonate with it. Everything else is secondary."

— Sarah Johnson

Conclusion

As our conversation winds down, I ask Sarah what success looks like to her now, given her unconventional path.

"Success is sustainability," she reflects. "It's being able to keep making music that feels meaningful to me, connecting with people who find value in it, and building a life that supports my creative work without compromising my wellbeing or values."

It's a thoughtful definition that encapsulates the balanced approach she brings to her career – one that prioritizes artistic integrity and human connection over industry metrics.

As we part ways, Sarah heads to a local studio where she's working on her upcoming album. There's a quiet determination in her demeanor that suggests she's exactly where she wants to be – charting her own course through the music industry, one authentic song at a time.