Sometimes the weight of the world is so great that one feels like the Greek Titan Atlas trying to hold up the weight of the world on their own.
It’s a feeling Frenchtown, New Jersey based singer-songwriter Clover Stieve, who performs under the moniker CLOVER, felt in recent years. She began noticing a nagging feeling that she was spending an unhealthy amount of time going out of her way to aid others with personal demons. That includes both parents who struggled with their alcoholism. After a phone call with a psychic that her mother had recommended, the path forward became clearer.
CLOVER’s debut EP, Atlas, which was released today, features many of the ruminations.
“[The psychic,] she asked me if I had ever heard of Atlas, and I had heard the name Atlas, but I didn’t really know the story…He was forced to hold up the weight of the heavens on his back. And when she was describing this to me, I was like, ‘oh my gosh, I feel like that’s what I’m holding,’” Stieve said during a recent interview over Zoom.
“It made me realize or question whether or not really it was my responsibility to hold those things as the daughter of these parents who were dealing with some really traumatic and sad things. Was it really my responsibility to hold that and take care of them and all of that? So, I was questioning that, and I wrote all of the songs off of the EP during that point of time where I was really like, ‘is this mine to hold? Or do I need to create boundaries and let go of things that aren’t mine to hold so that I don’t feel this intense heavyweight on my back?’”
She realized she wasn’t going to let the weight of the world get her down. It also helped that her now fiancé and her family and friends were there to help her along the way, including recently with the tragic passing of both of her parents.
There are glimmers of hope for the future on the EP, including “Used to It” which recounts the cross-country road trip she took with her future fiancé to Mexico during the early days of dating and the COVID-19 pandemic. That uncertainty gave way to many new adventures, including living in a tent surrounded by artists in Upstate New York and busking on the streets of 20 states.
All of this has coincided with an upward trajectory for CLOVER’s music, culminating in her recording Atlas at the famed Electric Lady Studios in New York City. She got the opportunity to record in the historic studio after meeting the chief engineer and producer at the studio, John Rooney, at one of her shows in Brooklyn. She was also joined in the studio by guitarist (and fiancé) Dani Sundream and longtime friend and drummer Daniel Fresco.
CLOVER’s music expertly blends folk, pop, and soul into a dynamic soundscape, with each song exuding an adventurous sonic road map with many twists and turns. The album press release describes it as a sound that draws from 60s and 70s influences “with a contemporary twist.” The EP features upbeat, groove-driven anthems and introspective ballads with lyrics that speak boldly on themes of love, loss, control, and spirituality.
Born and raised in Lambertville, New Jersey, Stieve from an early age gained an avid curiosity and desire to discover for the world around her thanks to a community rich in musical opportunities. After graduating from Bard College in 2018, she was invited to appear on NBC’s The Voice. However, she opted out before the show made its premiere after realizing she wanted to maintain her independence and control over her own music and image. Her hard work has led to performances at New York City venues like Rockwood Music Hall and Pianos, and Philadelphia venues like World Cafe Live and Ardmore Music Hall.
In 2020, Stieve released her debut single, “This Love,” and began touring. She supported herself with sustainable, handmade merchandise. She co-wrote “Power” for MILCK, which was featured on ABC for Women’s History Month in 2022. CLOVER also performed at the 2022 NYC Women’s March and took the stage at the Levitt Pavilion SteelStacks in Bethlehem, PA in June 2024.
SWT caught up with Stieve to learn how the EP’s songs helped provide clarity and direction for her, her drive to make a difference in the world through her music, and how she hopes to continue her momentum as a performer.
You’re releasing your debut EP this week. Can you talk a little bit about CLOVER and the origins of the name?
Clover is my name, and that’s the name I was given at birth. I just use that as my artist name.
What about the name of the EP, Atlas?
I had this experience when I was on the cross-country road trip. I was in California, and both of my parents were back on the East coast, and both of them were going through some really hard times. Both of my parents were alcoholics. My dad actually passed away two years ago. And at the time, my dad was at his lowest point with his addiction, and he was in an abusive relationship, and I had just found out when I was in California that he was going to be going to jail. I had these really heavy things that I was holding. And my mom actually suggested that I get on the phone with a psychic medium friend, like a spiritual guide friend. She was like, “You should get on the phone with this person and talk to them and see if they can help you let go of all these things that are weighing you down right now.”
So, I was talking to the psychic on the phone, and she asked me if I had ever heard of Atlas, and I had heard the name Atlas, but I didn’t really know the story. Atlas, he’s in Greek mythology. He was forced to hold up the weight of the heavens on his back. And when she was describing this to me, I was like, “Oh my gosh, I feel like that’s what I’m holding.” It made me realize or question whether or not really it was my responsibility to hold those things as the daughter of these parents who were dealing with some really traumatic and sad things. Was it really my responsibility to hold that and take care of them and all of that? So, I was questioning that, and I wrote all of the songs off of the EP during that point of time where I was really like, “Is this mine to hold? Or do I need to create boundaries and let go of things that aren’t mine to hold so that I don’t feel this intense heavyweight on my back?” So that’s where the EP, the name, and also the songs came from.
So, the name of the EP came to you pretty quickly?
Yeah, it came quickly, but Atlas wasn’t actually the original name for this EP. It was going to be a full album, and it had a different name that I actually don’t want to share because I might use it for a future project. I still feel really connected to it. But Atlas became the obvious choice once the album had been kind of turned into a smaller project because that I feel like the story or the thread that moves through all of the songs and where I was at the time.
You grew up in New Jersey. How did that environment most impact you and get you into music?
I grew up in a very artsy town called Lambertville, New Jersey. It’s right on the Delaware River and it borders Pennsylvania. There’s a town right across the river called New Hope, Pennsylvania. And both Lambertville and New Hope are hubs for artists. They’re like an hour from Philadelphia and an hour and a half from New York City. So, it’s kind of this in-between magical space where all these artists go to live. And both of my parents were artists. I grew up in a home where creativity, not just music, but just creative practices were everywhere. And my dad was a vinyl DJ, so there was always music on in the house.
The music that was playing varied so much. Some days, my dad was really into noise, just like noise music. So, some days I would just hear sounds that are hard to describe exactly how they’re made, but almost banging on metal or sounds from a construction site, or just these really out there for hours and hours. We just hear drones going throughout the house. My dad’s taste in music could go from that to house music or music from around the world. It was a very wide range of music that I was hearing. And then my mom’s taste was more folky, like Joni Mitchell. She liked more singer-songwriters. So, I had this really out there noise side of things that was happening. And then also the singer-songwriter side. And I think in my earlier phases of writing, I was weirder and more experimental, and I actually hope to get back there at some point.
But I think that my dad’s taste in music really influenced me back then. And I think my mom’s taste in music is what allowed me to really get into songwriting and also just feel like not bound to genres. The fact that I had these two really different sides and all of all different genres being played when I was growing up, I never really felt like, “oh, I am this kind of singer.” And I still feel like when you listen to Atlas, the EP, when it comes out, it’s like every song takes you somewhere else. And I kind of think of this EP as a tasting platter in a way for all the different kinds of songs that I write and genres that I like to dabble in.
I really like that dynamic range of styles on the EP. Why do you think it’s important to have that kind of dynamic sound? How do you think it helps separate yourself from others?
Well, I think that it’s important for me to share my dynamic range and sound because that’s just true to me and who I am as an artist. I’ve definitely had people in the past say that it actually would be detrimental and that I need to really fit into one genre in order for people to understand me. But this is who I am, so I don’t really want to pretend to be something else. And I think that it will allow me to stand out from other artists because I do think that there are a lot of artists out there who do fit really easily into one genre. And I think that it’s a strength of mine that I can play in all these different worlds.
Living in New York City and touring different areas seems to have really aided your musical growth. How do you think so?
I’ve traveled around the US for an entire year, and also, I recently went to Europe for the first time traveling. Having adventurous experiences always inspires my [songwriting]. I think that my inspiration, ideas, and excitement for writing come from adventure or trying new things or meeting new people. And traveling is a big part of that. And then also even living in New York City, it’s like everywhere you go is a new chapter of adventure. There’s just so much constantly changing and shifting, and so many activities and museums and venues, and musicians and just all of that happening here. So, it definitely inspires me.
And then also with this EP, we recorded it at Electric Lady Studios in Manhattan, and that has inspired me endlessly because that’s a studio that I dreamt I would record at in, I don’t know, maybe 10 years or something, when I’m further along in my career.
But we were so blessed with this incredible gift to be able to record there. And when you’re there, you can feel almost like the ghosts of all the other musicians who have recorded there. And so being in that space, it’s like a spiritual experience. And that I think has just affected my songwriting and really just shifted my way of viewing the world because it makes me feel like anything is possible. The fact that I’m this small indie artist and I get to record my first EP there, that I need to remember that if that’s possible, then literally anything is possible.
I imagine with living in New York there’s a lot of opportunities you can take advantage of.
Definitely. And you just never know who you’re going to meet or run into or get to collaborate with when you’re just out and about in the city. It’s amazing.
How did the opportunity for Electric Lady Studios come about?
So, I collaborated with my fiancé, who’s also my guitarist, his name is Dani Sundream, and my best friend, who’s also a drummer, Daniel Fresco. The three of us were rehearsing for a show and we posted a video on Instagram of us rehearsing. I didn’t know this at the time, but the lead engineer at Electric Lady Studio saw the video and sent us a message and asked if we had recorded the song before. And we said it hadn’t been recorded and invited him to our show. So, he came to our show, and then after the show, he came up to me and said he would love to record my music. And I was like, “Oh, that’s amazing. Do you have a home studio? Where do you want to record?” And he said, “Well, I’m the lead engineer at Electric Lady Studios.” And I was like, “wow, that’s amazing. That’s so cool that you work there. So where do you want to record then?” And he was like, “At Electric Lady.” And I just really couldn’t wrap my head around it. And even after multiple times recording there, it still feels like a dream.
So that’s the way the opportunity came about, and I just feel so grateful. His name’s John Rooney, the engineer and producer for this EP. He’s just been so supportive, and it’s been so much fun to work with him. I feel so lucky because not only is he the reason why we get to record there, but we also just work really well together. I am so grateful that somehow he just found us and my music, because I feel like, as a collaborator, he’s kind of my dream producer as well, and it just kind of plopped out of nowhere. It’s amazing.
What was the biggest way that he impacted the songs?
Oh my gosh. Well, John is someone who’s kind of a “yes, let’s try anything until it’s a no, until it doesn’t work” [type person]. So, there were many times, I feel like, where we’re just in this really open state of being creative and in our creative flow, and someone could have an idea that maybe someone would be like, “Oh, that’s really weird, or there’s no point in trying that.” And John’s always like, “Yeah, let’s try it.” So, it just created an environment where we felt really safe to try experimental things. I remember this moment where on the last song on the EP, it’s called “Anymore,” I had this idea to just sing into the grand piano. So, if you put up the lid of the grand piano and you just sing notes into it, it reverberates off of the strings. And it’s kind of like this really haunting, and there’s not really a reason why anyone should tell me that I shouldn’t try that.
But John, of course, was like, “Yeah, let’s do it.” And it ended up being a big part of the song. So, I think that he’s really open-minded and down to try experimental things. I also remember working on the title track “Atlas”. And we were recording some percussive elements in his apartment. We had already recorded the song at Electric Lady, but we wanted to get some more percussive elements. And he had this old clock, and we were just taking a microphone and just banging on things in his apartment and playing with the old clock. And we got just so many really cool textural sounds from that. And if he wasn’t, then we wouldn’t have gotten those kinds of sounds.
I imagine working with him made you a lot more comfortable with recording since you didn’t have much experience with that.
Yeah, it made me more comfortable with recording. And also, it can be intimidating to go into a recording studio where, well, for many reasons. One, you might not know the other people there. If you have your own home studio, you’re a lot more comfortable with the space, and you’re in your home. But if you’re going into someone else’s space, you don’t really know what the unspoken rules are of how you should behave in the studio, and you’re going in there to make something that’s so personal to you and so vulnerable. You want to be able to feel like yourself and express yourself, and John always made us feel that way. But also, while recording at Electric Lady, the assistant engineers and everyone who was helping us there just really made us feel at home and did an amazing job at just making us feel safe and secure and getting our nerves away, and so we could really just perform and enjoy ourselves.
What was your favorite part of recording at the studio?
Oh my gosh. I think that my favorite part is really that I felt it sounds a little bit crazy, but that I really felt the presence of the other musicians who have recorded there. There were times when I would be recording vocals, and something would come out of my mouth that I can’t even really sing. It’s not my voice, it is my voice, but it almost felt like the spirit and the talent of the other musicians was getting infused into the music that we were creating. And that was a really crazy feeling.
And actually, I remember the first song that we recorded there was “Used to It”, which I released at the end of January. I remember sitting down at a Rhodes piano keyboard to play. I think John, the producer, came over and he was like, “Clover, you’re playing Stevie Wonder’s Rhodes.” I was just in shock. And I mean, if that’s Stevie Wonders’ Rhodes, he puts so much of his energy into playing that instrument and then to get to kind of, maybe it’s placebo, but feel that or feel that support or magic or whatever, when you’re playing it, it’s like nothing else I’ve ever experienced.
After college you had an opportunity to appear on The Voice, but you ultimately decided to leave the show. Why did you feel it was important to make that kind of decision and not take what some might see as the easy path?
It was a really hard decision to make. The opportunity to appear on national television is a hard one to pass up on. When I was out there filming, I was there for a month before I left, and during that time, I felt like I didn’t have enough control over my image, or not just my image, but I didn’t have enough independence. And I’m someone who, when it comes to my music, the songs that I write and the stories that I want to tell, I think it’s really important for me to retain that independence and that freedom to speak and sing about whatever it is that I feel really connected to. And I was just worried that if I did the show, then I would lose that opportunity to really just be who I am. And not only did that scare me on an artistic level, but even just a personal level of, if you do a show like that and the image that you, or however you’re personified on TV is not who you truly are, then in the public eye, you have to keep up the image that was created for you.
And that for me and my brain and my mental health was like, that sounds too, that doesn’t sound good to me. So yeah, I decided to leave to pursue a career where I can really hold my independence and freely express myself.
A lot of the music and things you do have a very DIY feel to it with. The press release mentions a few things like sustainability, empowerment, and activism as being important to you. Can you talk a little bit about the importance of those elements and why they’re so satisfying to you?
Yeah, so the sustainability piece, I’ll share that when I first started, it became time where I needed merch to sell at shows. And I thought about how we all have so much stuff and we all have so many band tees, and we have, everyone has everything that they need. But I’m talking about when someone’s coming to a show to purchase merch. A lot of the time, we already have a lot of the things that we’re purchasing, like the physical items and things. And I still knew that I wanted to have those for people to buy, but I was just like, “Okay, how can I do this in a way that is more sustainable and thoughtful when it comes to our planet and the waste that we’re creating when we make merch as artists?” So, what I did for my first round of t-shirts was I went to thrift stores, and I thrifted all of these white t-shirts. I learned how to screen print, and I did all the screen printing at home. And then I dyed the shirts with plants. You can naturally dye shirts with onion skins and avocado skins and pits, and you can get these really beautiful, vibrant colors.
And I’m an artist outside of music. I love doing different crafts and just learning about different mediums. So, it was a fun project for me to do anyway, but it just felt so fulfilling that what I was creating was not only DIY, one-of-a-kind, but also sustainable. So, I could feel like, “Oh, I’m not creating waste. These things already existed.”
And it’s definitely, it’s getting harder to be able to do that as I grow. But sustainability still is a pillar for if I am making t-shirts, I am purchasing recycled t-shirts, made out of recycled materials, or I’m doing everything I can to be as sustainable as possible, and it’s just very important to me.
And then the other piece was empowerment and activism. I’m very passionate about women’s rights and women’s health, and I’m someone who wants to be an activist, but I know that there are only certain ways of activism that I feel comfortable with. For me personally, going to a march or a rally makes me feel very anxious. So, I was like, “Okay, how can I be an activist if I can’t be an activist in that space?” And for me, I was like, “Oh, wait, I can write songs. I can write songs, and I can share stories that show about these issues that I really care about.” So yeah, that’s kind of how that came to be for me.
Do you have any people that you look to as the inspiration for those areas?
Yeah. I can’t think of a specific person or name right now, but it doesn’t have to be in the music industry. It could be anyone who is speaking out about these things, just people who are really authentic and honest. It’s something that I’m actually trying to work on because when you’re alone speaking to your family or something, you feel very safe in that space to speak your truth and speak your mind and be honest.
But if you’re on stage and you are in front of a bunch of people you don’t know, sometimes it can be harder to really let your truth come through. So, I feel inspired by people when I see them perform on tv, or if I hear them on the radio, that I feel like I’m really actually hearing that person and their truth, even though they’re not at home talking to their family, they’re in front of hundreds or thousands of people speaking up and sharing their story.
What’s one example of an event you participated in?
I did a concert earlier this year in Brooklyn that’s all artists whose art is inspired by grief and loss. I guess to me, that’s something that I feel really passionate about, creating spaces for people who have lost important people in their lives and kind of dismantling this shame that there is around talking about it and being in community and sharing grief stories and supporting each other, holding each other, all of that.
I imagine you’re always looking for new opportunities to support wherever you can?
Yeah, absolutely. I also am planning, I don’t know when the event is going to be, but I think it’s probably July, most likely. But I have a song called “My Kind of Woman” that I really wanted to release for Women’s History Month, but it just didn’t. With the EP, it was too hard to fit it in there. But I’m planning on doing at least one event, maybe a series of events around this release where it will not only be a concert, but it’ll also be an educational experience that will teach people about women’s reproductive rights and the menstrual cycle and just women’s health in general. And the event at this point in time, it’s not just for women because I actually think it’s really important for men to learn about this stuff too. But that’s something that I am planning right now, and I would love to get to be a part of it. I really want to start bridging music with education more, especially when it comes to women’s health and women’s rights. And definitely very important these days, unfortunately.
I’d like to briefly go through each of the album’s tracks and have you talk about your inspiration and/or anything else notable about the making of it. The first track on the album is “Who Knew.” Anything stand out with that one?
I met my now fiancé right before the pandemic, and we took this trip to Mexico before lockdown, but when we were in Mexico, that’s when everything started to shut down. And we were told that if we didn’t come back to the U.S. then we might get stuck there. So, it was the very beginning of our relationship. We were falling in love. We were in Mexico on the beach and just having this really beautiful, almost fairytale-esque time. And then there was the fear and just none of us really knew what was going on. It was like no man’s land all of a sudden.
So, we went to the airport to come back to the U.S., and we were wearing masks, and we had gloves on our hands, and my partner, Dani, was playing the guitar in the airport, but with gloves on. It was just a very dystopian experience. So that song, “Who Knew” is who knew this was coming or who knew you could have the dichotomy of falling in love with this amazing human, and also the fear and darkness of a pandemic happening at the same time.
And “Who Knew” has had a lot of iterations when it comes to recording it and what it now sounds like on the EP, it’s probably the most experimental production wise. It definitely is, actually. And I’m really excited for people to hear it because it’s pretty weird.
Next up is “Used to It.”
That song was inspired by my cross-country road trip with my partner Dani. So, after Mexico, because of the pandemic, everyone was quarantining, and we had just started dating. And we thought, “Okay, well, if we have to quarantine separately, then who knows when we’ll see each other next.” So, we were crazy, and we decided to move in together right away. Well, not really knowing that it would be long-term, but more so like, “Okay, let’s just quarantine together and see what happens.” And then a few months in, we got the opportunity to go live on our friend’s property in upstate New York in a tent. So, we lived there for three months, and then it started to get too cold to live in a tent. We were like, “what do we do next?”
And we decided to drive across the country and play music on the street because all the music venues were closed, and we really just wanted to keep playing music and bringing music to the people so used to it. I wrote that while on the road trip, and it has two things going on. One is getting used to waking up in new places while traveling and loving the feeling of not knowing what’s to come. So, the excitement of adventure.
And then the other piece is not wanting to leave the honeymoon phase while in a new relationship. So, I don’t want to get used to your love is this idea of, “Yeah, I don’t want to lose this spark that we have.” A lot of people say when there’s something good, they’re like, “Yeah, I could get used to this.” And so, I kind of took that phrase and I was like, “No, I actually don’t want to get used to this.” I want it to stay really exciting and fresh forever.
What about the title-track, “Atlas”? Anything else notable about that one?
Like I said earlier, it was inspired by the phone call with the psychic who mentioned the god Atlas and the titan Atlas. And it sparked this question of “how much of the responsibilities and weights that I hold are really mine to hold, and can I let go of some of these so that I can feel more free and happy and joyful?”
Next is “Joyride.”
I feel like “Used To It” and “Atlas” kind of live in a similar world sonically, and production wise, while “Joyride” is a really stark difference where the track has acoustic guitar and drums and is much more vulnerable and raw. And “Joyride” is a song that I wrote about a memory of mine from when I was a kid. I was probably maybe 11 years old.
And it kind of just takes you through these moments of me being a kid and living with parents who are struggling with addiction. So it is an intense song, but also I feel like some people have heard me play it live, and a lot of people who have had similar experiences are like, “Wow, you really were able to capture this fiery feeling of anger and fear.” In a way that maybe they had never been able to speak on their own, people who also had experience with growing up in a home with alcoholics. So, it’s very vulnerable, and I think that going from the song “Atlas” where I’m questioning, “Oh, is this my responsibility to hold this weight,” “Joyride” is kind of showing you what the weight is. It’s like this is the intensity of the weight that I’m speaking of.
The final song on the EP is the piano ballad “Anymore.” What stands out about that one?
It’s also very raw and vulnerable, and that one I wrote the day after my dad did end up going to jail. And it’s my declaration of “I am not going to hold this weight. I am going to release the weight that I’ve been holding. I don’t want to hold it anymore.”
So, that’s kind of the flow. It goes from “Atlas” being like, is this mine to hold? I didn’t realize I was carrying this” to “Joyride,” which is like, “oh, this is what I’ve been carrying” to “Anymore”, which is like, “I’m not carrying it anymore.” And so, yeah, the EP ends on this note of just really letting go and putting up boundaries and hopefully feeling a cathartic release at the end.
You had the recent heartbreaking experience of losing both of your parents. I’m sorry for your loss. How have your partner and others helped you get through those losses?
Oh my gosh. My partner, and his family, and my community and friends have been so amazing. They’re so supportive, and I feel just so lucky that I have this chosen family around me. I don’t even know where to start, but I’m so grateful for them. And yeah, everyone’s been amazing.
I had a similar experience after my dad’s sudden passing about nine years ago
Oh, I’m sorry.
I think it shaped the way I think of a lot of stuff now. Has it for you?
Loss and grief, and just the realization of our impermanence, or death, I feel like has totally shifted the way that I think about life. And this EP doesn’t talk about death that much, but since losing both of my parents now, I can’t stop writing about it. I have two songs now on Spotify. One of them is called “I Cried at Costco,” and the other one is called “Beach in the Rain.” And both of those are about losing my parents and my experience with grief. And, yeah, I’m hoping that in the fall I will start releasing some singles that will be off of the next project, which really does go into my experience with losing them.
What does it mean to be able to share music with your love for music, with your partner like that?
It’s amazing. I was thinking about it [recently]. I went to a show at the Irish Arts Center in New York City. There was a band from Ireland, and there were two brothers, and they were performing on stage. And I don’t know, it reflected back to me how much of a gift it is that I get to share this with my partner, with songwriting, playing music, and touring. It’s such an intimate thing, and all of it is very intimate, and you want to do that surrounded by people you love. So, the fact that I get to do it with my partner, Dani, is such a gift. And I just feel so excited that this gets to be our life together. If all goes as we hope, then we get to be touring together forever. It’s a lot of fun.
Do you think you’ll release another EP, or do you think you will try for an album next time?
My plan is to go for the album. I have plenty of songs, so it’s just a matter of recording them, figuring out the best way to release them. But yeah, these losses have, as you can imagine, given me plenty of material.
What are you most looking forward to this year with touring and other events?
Well, I’m really looking forward to having a full body of work out so that when I play a show, people can actually go and go home and listen to it. I mean, I’ve had that with singles and stuff for a few years now, but to have a full story that people can hear live and then go home and have their own experience with, and take home a vinyl, which is so exciting. I’m really excited for that. And also, I’m feeling really excited to start opening for artists, bigger artists who I admire more and more. That’s the direction that I’m hoping this year will go in with this music coming out.
Are you planning to do a national tour?
I would love to. We have to see, there’s one group that I’m really, all my fingers crossed, hoping to open for in the fall, which would be a national tour. So, let’s all pray that that comes through. And even if that doesn’t, I still did the road trip thing before, and I will do it again. I love being on the road, and even if I’m touring across the country, busing on the street, I love that. That’s really fulfilling for me. My partner and I want to get a van soon so that we can be more mobile and do that.
What music have you been really into lately?
There’s this artist named Saya Gray. She just came out with an album [entitled Saya], I think it was the end of February, so it’s pretty new. I had never heard of her before, but all of the sudden all these people in my life were sending me this album saying “Clover, have you heard this? You are going to love it.” And now I feel like I’ve found my new favorite artist.
So Saya Gray, I’ve been listening to her a lot, and it’s kind of like, I don’t know if you’ve ever had this experience, but it’s shocking when all of a sudden you hear a musician that you’ve never heard of before and they find this place in your heart so quickly you’re like, “Wait a second. I’ve been listening to music for so many years, and I already thought I found my favorite artists,” but then all of a sudden you’re like, “Whoa.” So, I feel really connected to her music right now.
Here’s where you can catch CLOVER next:
June 5 @ 7:00PM: Atlas EP Release Show @ Sound Mind Center, Brooklyn, NY
June 6 @ 7:30PM: CLOVER Opening for Adam Ezra Group @ City Winery NYC, NYC
June 7 @ 3:00PM: Atlas EP Release Show @ Sunbeam Lenape Park, Frenchtown, NJ
July 11 @ 7:30PM: CLOVER opening for Sister Sparrow & The Dirty Birds @ Sellersville Theater, Sellersville, PA
July 31 @ 7:30PM: Musikfest – Americaplatz at Levitt Pavilion SteelStacks, Bethlehem, PA
August 21 @ 7:00PM: Unicorn Bar w/ Mackenzie Shivers & Beccs
You can follow and listen to CLOVER at the links below:
Instagram: @cloveronthemic
Facebook: @cloveronthemic
Bandcamp: cloveronthemic.bandcamp.com/
YouTube: @cloveronthemic
Spotify: https://open.spotify.com/artist/6DAReYeYUzQh9YOSqvPYyo
Joshua is co-founder of Scummy Water Tower. He’s freelanced for a variety of newspapers, magazines, and websites, including: Rolling Stone, The Boston Globe, Chicago Sun-Times, Guitar World, MTV News, Grammy.com, Chicago Magazine, Milwaukee Magazine, MKE Lifestyle, Milwaukee Journal Sentinel, A.V. Club, SPIN, Alternative Press, Under the Radar, Paste, PopMatters, American Songwriter, and Relix. You can email him at josh@scummywatertower.com.
