Babygirl

Babygirl are breathing effervescent life into a new definition of pop music. The Toronto duo–comprised of college friends Kiki Frances and Cameron Bright–is placing a refreshing spin on youth nostalgia with a contemporary edge, thanks to fuzzy guitar riffs and sincere lyrics. The signature combination engulfs listeners like a warm blanket as you flip through the diary of your love life. Now, Babygirl are inviting everyone to a trip down memory lane with their fourth and latest EP, Be Still My Heart. Set for an April 14, 2023 release via Sandlot/AWAL, the EP is a five-track collection that details love’s ebbs and flows. The band defines its sound as “pop songs with sad guitars”, which is best displayed in the melancholic lead single “Always”. “Is your goldfish still alive? Does your girlfriend want to meet me?” Babygirl ponders over charmingly awkward drums as they try to deal with the aftermath of love ending. There’s also “Sore Eyes”, which focuses on the ways a person can bring levity and purpose into your life. Its gossamer vocals and sugary production drive off into the sunset of a most romantic movie. The band’s earnest nature is most felt on the EP’s “Starlight” opener, which has a delicate balance of despondent lyrics (“Everything is bogus when I’m missing your starlight, what am I to do?”) with hopeful production that sparkles with each guitar flick. Be Still My Heart is a heartfelt collection of songs detailing the bitter and the sweet of love, as it navigates feelings of joy and hopelessness. “We really want our music to be hopeful and sweet and full of love, but we also want to acknowledge how hard it can be to feel those feelings,” Kiki says. “We certainly both have a lot of emotional ups and downs as everyone else does. This world is really hard to live in, and there's a lot of pain and joy—equal measure at different times.” Be Still My Heart is the follow-up to 2021’s Losers Weepers. The band’s releases—a playful mix of Death Cab For Cutie-inspired conversational lyricism and Taylor Swift-inspired use of catchy language atypical for Top 40 pop, with a touch of Shakespearean drama—were steadily met with critical acclaim from platforms like Noisey, Rolling Stone, PAPER, and NYLON. Music students at heart, Babygirl followed GRAMMY-nominated songwriter Jacob “JKash” Hindlin on social media and the rest was fate: he signed the band to his Sandlot Records in partnership with AWAL Recordings at the top of 2020, after finding the band while scrolling on Instagram. Upon clicking on the link to the band’s “Soft” music video, Kash sent them a DM that opened a conversation that would unknowingly change their lives. “Kash gave us a lot of encouragement,” Kiki says. “He has been definitely key to us figuring out how to open any doors at all because the industry is a tough place to navigate. Having someone like him in our corner as a fan, friend and business partner has been so impactful for us.” After signing with Sandlot Records and co-producing Lauv’s “Canada” collaboration with Alessia Cara in 2020, like many artists Babygirl had to navigate through the tough parts of the early pandemic. They used the downtime in their favor, by strengthening their songwriting and unofficially forming their mission statement: “bittersweet pop rock.” Other key statements include “bubblegum emo” and having a The OC soundtrack feel, the latter of which is a major influence for the band due to its nostalgic “coming of age” sonic atmosphere. The growth was clearly evident with each project, but the consistency of what makes Babygirl so unique didn’t falter. “Consistency in world building is really important to us. There's always going to be different sonic stamps on everything,” Cameron says. “Generally, we want it to feel like when you hear a Babygirl song, you know it’s us. It's just about having those core values to indicate this recipe we’ve created. If we listen to a song and it doesn't fit in that recipe, maybe it shouldn't come out.” Their undeniable chemistry goes back to even before the bandmates knew each other. Growing up loving Avril Lavigne, Hilary Duff, Shania Twain, Black Eyed Peas and Green Day, Kiki began writing songs around age 11. She formed an afterschool band in grade five and the very notebook she used to jot down ideas was where the band name “Babygirl” was developed. Cameron was born into a music family, as his father (a pianist) and mother (a singer) met while working in bands together. Watching John Mayer perform “Your Body Is a Wonderland” at the 2001 Grammys was a formative moment: he soon enrolled in a music school and in grade 7, he recorded a Radiohead-inspired album in his father’s home studio. Fast forward to 2012, when both bandmates were enrolled in the music program at Toronto’s Humber College as vocal majors. After discovering a mutual adoration for pop, they formed a friendship. “We had a conversation about pop music and realized we have a lot of similar interests and taste,” Cameron recalls. “We were also both interested in songwriting, so we said, ‘Should we get together and try writing a song and see what happens?’.” As Babygirl continues to ascend in 2023, it’s important for the band to foster a core relationship with their audience who understands their signature sound, so they know exactly what to expect from the new music. But most importantly, the band wants music to fulfill their own souls, no matter how popular they get. “Music has been such a source of self-reflection and helped me to understand my own identity. I've spent so much of my life feeling seen by music that I felt less alone when I heard someone speaking my own feelings or experience back to me,” Cameron says. “Every piece of music that we write or produce, it's all a love letter to the music that we love. I hope that people will listen to our music and experience that same joy and inspiration, and a sense that they are being seen as well.”