As we head into a new decade, Ampersand music writer Haley Bosselman zeroes in on pop music’s rising artists.
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Despite the world’s uncertainty, 20-year-old singer-songwriter Stephenie Lawrence is sure of her path as an artist.
She admits to pop star dreams. In spite of debating such ambitions, Lawrence never really has seen herself as a “lowkey artist.” There was purpose in creating her stage name: Vietta. She can separate her artist and personal identities. A mononym is also easily remembered and, as exemplified by great pop stars before her (Beyonce! Cher! Madonna!), holds an undeniable power.
“I definitely wanted it to be something that has just unlimited potential to be anything, like give me the freedom to just create and be a star,” Lawrence tells me over video chat last month.
“Vietta” is rooted in “vie,” the French word for “life.” She took the word and gave it a playful spin. As Lawrence develops as an artist, she can decide to grow into the air of glamour around a stage name. If not, she can lean into its poetic undertones. With 2020’s ever-present instability, it’s important to have options.
Still, Lawrence is an intimate artist. In recalling recent performances, she particularly enjoyed a show at Adults Only, a bar just off Sunset Boulevard.The stage was not on an elevated platform, which allowed her to connect with the audience.
“I felt kind of more free to move around and express myself,” she says. “Especially for people who aspire to be in music or to create, it kind of gives a sense like, ‘I can do this too.’”
Lawrence tiptoed into the music scene by collaborating with producer Nathan Chandra (professionally known as Ox the Moron) on a two-song EP of primarily dreamy acoustics. She announced her artistry with her first single “Dizzy,” put out last November. It’s three minutes of wholesome sweetness about the early stages of a crush. The chorus swirls around on a loop, igniting the endless optimism of emotions: “Could we be in love?”
After hearing a voice memo of early lyrics, Chandra aimed to capture the childlike rush of a first crush with a playful beat and spoken word sections. The delivery of verses is airy and simple, balancing the sticky fun of the chorus. I can only hope we’re safe to be outside by summer; “Dizzy” is a staple for a long beach day playlist.
The track came out five months ago, but there is purpose to an easy-going rollout. As a music fan, Lawrence has learned the importance of connecting with a solid audience before putting out a full EP. Lawrence and Chandra, who met as USC students, have a three-song rule: if someone likes three of your songs separately, then they are likely to enjoy you as an artist. A bonafide member of Generation Z, Lawrence is flexing her knowledge of how to reel in a steady fan base. The digital landscape allows us unlimited access to consuming and making music. Sprouting her roots and gaining a listener’s trust will help distinguish her from the countless artists across listening platforms.
As Lawrence continues to make music, she plans to be an unconfined creative. It’s only in her nature. Her dad is in the military, which meant moving a lot as a child. She was born in Germany, lived in a number of states in the U.S., moved back to Germany and then spent her last two years of high school in Texas. Not feeling like she belonged to a single place used to feel like a detriment. Eventually, Lawrence came to see it all as a strength. She now lets her multidimensional identity inform, not dilute her art. Even as a student, Lawrence’s interdisciplinary major feeds her eclectic soul; she studies philosophy, politics and law and minors in music industry.
Vietta’s yet-to-be-released music cracks the surface of relationships and moves beyond the easiness of honeymoon phase butterflies and into the uniqueness of heartbreak. She’s also been writing more on the “sultry side” lately.
“I write sad songs,” she explains, “but then pu[t] a happy beat to it.”
“Let Him Go!”, her second single, released April 20. Like “Dizzy,” it’s chilled-out pop with a spiteful undertone. Lawrence particularly likes a part of the song where Chandra blends a high harmony with a flute sound to create the audible version of floating. By writing the lyrics, as with much of her music, Lawrence can process her emotions about the relationship at hand. Instead of wasting emotional bandwidth, she can relay the message: “This is about you but, I don’t even want to talk to you.”
A gentle funk riff carries through the first verse and into the pre-chorus. Lawrence sings: “Say what you mean, say that you love me. Why don’t you mean it?” The drum eases into a modernized 60s doo wop. With unbothered sass, she repeats: “Let him go!” It’s a step off Dizzy’s cloud nine, but still just as much charm. Laurence admits to falling for this guy twice, despite knowing better. Her declaration to “Let him go!” propels her honesty: sorting through feelings and logic can be a mess.
“I definitely hope people can heal or just vibe with my music,” she says.
Even with just “Dizzy” and “Let Him Go!”, we know Vietta’s music is swallowable— an antidote to breaking up our unprecedented period of isolation.
You can listen to Vietta on all streaming platforms and follow her here.