【專訪】LÜCY：學會逆流生長；從〈Looking at Me〉到〈LOOP〉，在黑暗中到往前的力量
台灣創作歌手 LÜCY，從細膩而私密的情緒出發，持續探索聲音與創作的不同可能。近年她也積極與海外音樂人合作，從 Jaguar Sun、羊文學，到這次與挪威製作人 Eirik Hella、電子流行歌手 Moyka 的跨國共創，逐漸將音樂帶向更寬廣的世界。
在〈Looking at Me〉中，她寫下成長過程裡的焦慮與低潮；到了〈LOOP〉，則將視角延伸至原生家庭與代際循環，思考那些不健康的模式，是否能夠在這一代停下來。
「那個循環可以在我們這一代停下來。」
對 LÜCY 而言，寫歌不一定能立刻解決問題，卻能讓她慢慢消化那些難以言說的情緒。那些曾經的徬徨與困難，也在時間裡成為養分，讓她學會「逆流生長」。
從與 Ollie 合作的〈Toy Boat〉，到即將展開的首次歐洲個人巡迴，LÜCY 正帶著一路走來的經歷繼續向前。10 月 16 日，她也將推出兩首全新單曲，而全新迷你專輯目前也正在準備中。
這次，《好青年的音樂清單》與 LÜCY 聊聊創作如何接住低潮、跨國合作帶來的碰撞，以及一路走來，那些讓她成為現在自己的故事。
Q1：〈Looking at Me〉記錄了妳生命中最黑暗的時期。想問 LÜCY 在寫這首歌的當下，這種「把痛苦寫成歌」的過程，對妳而言是一種逼自己直面恐懼的殘忍過程，還是一種被音樂接住的療癒？
LÜCY：我覺得比較像是一種被音樂接住的療癒。對我來說，寫歌是抒發情緒的方式。我喜歡把回憶和感受譜成旋律，變成一首歌，像是替生活寫一份回憶備忘錄。
我也喜歡用寫歌來抱怨生活，好的、壞的都會寫。但不是說寫完一首歌，情緒就完全抒發了，問題也解決了。它不會立刻解決什麼，只是能讓我舒壓。有些事可能要寫到五首歌，我才能慢慢消化過來。
LÜCY：我覺得比較像是一種被音樂接住的療癒。對我來說，寫歌是抒發情緒的方式。我喜歡把回憶和感受譜成旋律，變成一首歌，像是替生活寫一份回憶備忘錄。
我也喜歡用寫歌來抱怨生活，好的、壞的都會寫。但不是說寫完一首歌，情緒就完全抒發了，問題也解決了。它不會立刻解決什麼，只是能讓我舒壓。有些事可能要寫到五首歌，我才能慢慢消化過來。
Q2：新歌〈LOOP〉緊接著推出，從歌名到主題都在探討「斷開循環」的生命課題。如果說〈Looking at Me〉是妳個人在黑暗中的掙扎，〈LOOP〉是否是妳將視角放大，發現這種痛苦其實是很多人、甚至整個世代都在經歷的循環？這兩首歌在妳心中有著怎樣的內在關聯？
LÜCY：〈LOOP〉比較確切地是在寫那些可能一代接著一代重複的事。原生家庭對一個人的影響很大；有些不健康的習慣、情緒勒索，甚至暴力，都可能影響下一代，變成一個不好的循環。
這首歌想說的是：那個循環可以在我們這一代停下來。好的東西可以繼承，但不好的，不代表我們也必須繼續帶給下一代。你無法選擇自己出生的家庭，卻可以選擇未來想創造一個什麼樣的家庭。
這也是我說的「逆流生長」。逆流生長很辛苦，但那些經歷也可能變成養分，讓我們更獨立、更勇敢。〈Looking at Me〉比較接近我當時個人的感受；〈LOOP〉則讓我想到，那些感受也會和我們如何長大、如何對待下一代有關。
Q3：這兩首歌都有挪威製作人 Eirik Hella 參與操刀，充滿了迷幻合成器與深沉的重低音。從〈Looking at me〉揮之不去的不安感，到〈LOOP〉催眠般的脈動節奏，妳與 Eirik 是如何建立這種「黑暗、迷惘」的音樂美學的？妳覺得他為妳的音樂帶來了什麼不同的色彩？
LÜCY：我是在 Spotify 上聽到一首 Eirik 製作的歌，覺得很 powerful，有一種女性戰士的力量。我很喜歡他挑選鼓聲的方式，也喜歡他運用合成器和設計音色的能力，所以想找他合作。
〈Looking at Me〉最後其實和我原本的 demo 很接近。一起在錄音室討論編曲時，我告訴他這首歌的故事，為什麼會寫它，甚至給他看我在低潮時寫的日記。我覺得製作人需要知道歌曲裡的故事，才知道要怎麼替它搭出一個空間。
我們沒有刻意先設定什麼「黑暗、迷惘」的美學。那些 demo 就是在那樣的回憶和情緒裡寫出來的，聲音自然會從那裡長出來。Eirik 幫我把原本想表達的東西傳遞得更完整，編曲也更完整。我常常告訴他腦中想到的聲音，他很快就能理解，選出來的音色通常第一個就很合適。我們在音樂上很合拍，不太需要花很多話解釋。
Ｑ4：在〈LOOP〉中，妳與 Moyka 進行了中文、挪威語、英語的三語交織，展現了妳在人聲實驗上的大膽嘗試。這樣的編排是創作當下直覺的靈感，還是錄音室裡撞擊出的火花？
LÜCY：〈LOOP〉裡的語言編排，真的是在錄音室裡碰撞出來的。我原本計畫去挪威找製作人 Eirik，剛好在錄音室遇到 Moyka。既然三個人都在同一個房間，就想試試看一起寫一首歌。那天沒有事先準備好要做什麼，我們想到什麼就直接做出來。他們擅長電子音樂，我們也想做一首可以跳舞、比較燃的歌。
開始寫之前，我們先花時間認識彼此，聊各自成長的經歷。我和 Moyka 發現彼此有相近的地方：我們的原生家庭都不是那麼完整，長大的路比較坎坷，也讓我們比較獨立。這成了〈LOOP〉的起點。
Eirik 和 Moyka 成長時最熟悉的是挪威語，我成長過程中也經常使用中文，而英語是我們三個人一起溝通的語言。我不想只是和 Moyka 做一首全英文歌；我希望這首歌裡也能留下我們各自成長時最熟悉的語言。所以最後中文、挪威語和英語都進來了。對我們來說，這也是一次很新鮮的嘗試。
Q5：這次在〈LOOP〉中與挪威電子流行歌手 Moyka 合作，兩位的唱腔一溫暖神祕、一空靈浮遊，極具火花。妳們在彼此共創的過程中有著什麼樣的共鳴？
LÜCY：我覺得我和 Moyka 的聲音確實各有特色，但放在一起又融合得非常好。有時候我自己在聽〈LOOP〉時，甚至會忘記哪一個部分是她唱的、哪一個部分是我唱的。我覺得我們兩個人的音色非常相容。
共創過程中的共鳴，對我來說比較多是來自人與人之間的認識和連結。我很重視在一起做歌之前，先真正地認識對方，了解對方的故事。
就像前面提到的，我們的原生家庭和小時候成長的背景有一些相似之處，這成為了我們很重要的共同點。聊天的時候，我們聊起彼此的經歷，甚至一度都紅了眼眶。所以我覺得，這次共創不只是一起完成一首歌，整個認識彼此、理解彼此的過程也非常美麗。
Q6：從之前的 Jaguar Sun、羊文學到這次的 Moyka，妳一直有不少跨國協作經驗。和來自不同文化背景的音樂人合作，有沒有帶給妳什麼意想不到的思考視角，或是完全不同的音樂表達方式？
LÜCY：沒錯。當我開始以獨立音樂人的身分工作，可以完全替自己做選擇、企劃每一張專輯和每一個作品之後，我確實更常找海外的音樂人合作。對我來說，這也是一種讓自己開開眼界的方式，可以認識不同國家的音樂產業、工作方式和創作環境，再從中學習。
最近和我合作的海外音樂人也都是非常獨立的創作者。他們真的從零開始，自己寫歌、編曲、製作、混音，有些人也是連周邊商品都自己設計。我們之間有很多共同點，所以我也會想知道，他們是不是有一些我還不知道的做法和經驗，是我可以學習的。
我覺得他們身上有一種很自由的感覺。可能正是因為他們是獨立音樂人，他們的音樂和整個人的狀態都比較自在、自然，也比較貼近生活。你會感覺到他們的生活和音樂是真的連結在一起，而不是被分開的。
跟這些自由的獨立音樂人合作，也會提醒我要偶爾停下來想一想：我現在做音樂的方式和風格，真的是我自己想要的嗎？跨國合作讓我看見更多不同的選擇，也讓我有機會停下腳步重新思考自己前方的方向。
Q7：〈Looking at Me〉歌詞裡提到來自長輩的碎念與網絡時代被注視的集體焦慮。而在〈LOOP〉中，妳試圖探討如何靠自己的力量打破這種反覆的惡性循環。對現在的妳來說，面對這些焦慮時，通常會用什麼方式找到自己的安全感？
LÜCY：寫〈Looking at Me〉的時候，我的焦慮很大一部分來自長大，也來自被別人注視的感覺。那個「別人」可能是家人、朋友、網路上的人，也可能是我想像中的所有人。大概十八到二十一歲那幾年，我常常不知道自己屬於哪裡、能做什麼，或者自己的價值在哪裡。那時候還要上學，家裡經濟狀況也不容易，我會想是不是該休學去工作，又不知道該怎麼面對自己的夢想。
現在回頭想，我覺得要不斷嘗試，慢慢找到自己熱衷的事，也找到一個出口。有些人會寫歌，有些人會拍照、拍影片、畫畫或寫作。能把生活裡的矛盾和不開心記錄下來，也是一種抒發。那時候陪我走過來的，是耳機裡的音樂和瑜伽；我也慢慢學著用比較健康的習慣照顧自己。
我們那時候的人生才剛開始，正因為覺得沒什麼好失去，反而敢去試以前沒做過的事。你可能有擅長的事情，只是根本還沒開始做。如果不去試，永遠不會知道。所以我覺得，做就對了。
Q8：很多人開玩笑說「藝術家需要痛苦作為養分」，但身處痛苦之中往往是非常折磨的。現在回頭看寫出這兩首黑暗與循環之作的時期，妳覺得這些日子留給現在的 LÜCY 最珍貴的東西是什麼？
LÜCY：那些日子留給我最珍貴的東西，是讓我學會了逆流生長。當時有很多徬徨，也有很多困難，但它們後來都變成了我現在的養分，讓我更獨立。
也因為那時候覺得自己沒什麼可以失去，我反而更敢去嘗試不同的事，追逐自己感興趣、真正想要的東西。我覺得那個時候的自己，生存能力是最強的。
如果現在可以重新選擇，我不會選一條比較簡單的路。我還是會走同一條路。我這個人好像就是喜歡走難走的路，這樣才讓我覺得自己真的在活著。
Q9：10 月即將展開首次個人歐洲巡迴，到柏林、倫敦和巴黎演出。之前已經有過國外演出的經驗，這次的專場對妳來說有沒有什麼不一樣的心情或特殊意義？會帶來什麼專屬的內容嗎？
LÜCY：這是我第一次到歐洲舉辦個人專場。之前雖然也在海外演出過，但都是音樂節。音樂節比較像拼盤式的演出，有很多不同的音樂人，台下有些觀眾可能只是剛好路過，聽到聲音停下來。
但專場比較不一樣：是一個半小時的專場，大家是為了聽我的歌，買票、搭車來到現場。想到這件事，我很興奮，也比平常更緊張。
因為是第一次到歐洲，我想帶大家聽一聽最初認識我的那些歌，所以這次會比較偏向樂團的聲音。由於第一次在歐洲做巡演，預算有限，沒辦法把所有樂手都帶過去，但我會和這次同行的夥伴一起，用現有的編制盡我所能地呈現這些歌。
我想現場可能絕大多數會是在歐洲工作或讀書的華人，非常期待見到他們。但同時也很好奇會不會有歐洲當地的聽眾前來。
LÜCY：〈LOOP〉比較確切地是在寫那些可能一代接著一代重複的事。原生家庭對一個人的影響很大；有些不健康的習慣、情緒勒索，甚至暴力，都可能影響下一代，變成一個不好的循環。
這首歌想說的是：那個循環可以在我們這一代停下來。好的東西可以繼承，但不好的，不代表我們也必須繼續帶給下一代。你無法選擇自己出生的家庭，卻可以選擇未來想創造一個什麼樣的家庭。
這也是我說的「逆流生長」。逆流生長很辛苦，但那些經歷也可能變成養分，讓我們更獨立、更勇敢。〈Looking at Me〉比較接近我當時個人的感受；〈LOOP〉則讓我想到，那些感受也會和我們如何長大、如何對待下一代有關。
Q3：這兩首歌都有挪威製作人 Eirik Hella 參與操刀，充滿了迷幻合成器與深沉的重低音。從〈Looking at me〉揮之不去的不安感，到〈LOOP〉催眠般的脈動節奏，妳與 Eirik 是如何建立這種「黑暗、迷惘」的音樂美學的？妳覺得他為妳的音樂帶來了什麼不同的色彩？
LÜCY：我是在 Spotify 上聽到一首 Eirik 製作的歌，覺得很 powerful，有一種女性戰士的力量。我很喜歡他挑選鼓聲的方式，也喜歡他運用合成器和設計音色的能力，所以想找他合作。
〈Looking at Me〉最後其實和我原本的 demo 很接近。一起在錄音室討論編曲時，我告訴他這首歌的故事，為什麼會寫它，甚至給他看我在低潮時寫的日記。我覺得製作人需要知道歌曲裡的故事，才知道要怎麼替它搭出一個空間。
我們沒有刻意先設定什麼「黑暗、迷惘」的美學。那些 demo 就是在那樣的回憶和情緒裡寫出來的，聲音自然會從那裡長出來。Eirik 幫我把原本想表達的東西傳遞得更完整，編曲也更完整。我常常告訴他腦中想到的聲音，他很快就能理解，選出來的音色通常第一個就很合適。我們在音樂上很合拍，不太需要花很多話解釋。
Ｑ4：在〈LOOP〉中，妳與 Moyka 進行了中文、挪威語、英語的三語交織，展現了妳在人聲實驗上的大膽嘗試。這樣的編排是創作當下直覺的靈感，還是錄音室裡撞擊出的火花？
LÜCY：〈LOOP〉裡的語言編排，真的是在錄音室裡碰撞出來的。我原本計畫去挪威找製作人 Eirik，剛好在錄音室遇到 Moyka。既然三個人都在同一個房間，就想試試看一起寫一首歌。那天沒有事先準備好要做什麼，我們想到什麼就直接做出來。他們擅長電子音樂，我們也想做一首可以跳舞、比較燃的歌。
開始寫之前，我們先花時間認識彼此，聊各自成長的經歷。我和 Moyka 發現彼此有相近的地方：我們的原生家庭都不是那麼完整，長大的路比較坎坷，也讓我們比較獨立。這成了〈LOOP〉的起點。
Eirik 和 Moyka 成長時最熟悉的是挪威語，我成長過程中也經常使用中文，而英語是我們三個人一起溝通的語言。我不想只是和 Moyka 做一首全英文歌；我希望這首歌裡也能留下我們各自成長時最熟悉的語言。所以最後中文、挪威語和英語都進來了。對我們來說，這也是一次很新鮮的嘗試。
Q5：這次在〈LOOP〉中與挪威電子流行歌手 Moyka 合作，兩位的唱腔一溫暖神祕、一空靈浮遊，極具火花。妳們在彼此共創的過程中有著什麼樣的共鳴？
LÜCY：我覺得我和 Moyka 的聲音確實各有特色，但放在一起又融合得非常好。有時候我自己在聽〈LOOP〉時，甚至會忘記哪一個部分是她唱的、哪一個部分是我唱的。我覺得我們兩個人的音色非常相容。
共創過程中的共鳴，對我來說比較多是來自人與人之間的認識和連結。我很重視在一起做歌之前，先真正地認識對方，了解對方的故事。
就像前面提到的，我們的原生家庭和小時候成長的背景有一些相似之處，這成為了我們很重要的共同點。聊天的時候，我們聊起彼此的經歷，甚至一度都紅了眼眶。所以我覺得，這次共創不只是一起完成一首歌，整個認識彼此、理解彼此的過程也非常美麗。
Q6：從之前的 Jaguar Sun、羊文學到這次的 Moyka，妳一直有不少跨國協作經驗。和來自不同文化背景的音樂人合作，有沒有帶給妳什麼意想不到的思考視角，或是完全不同的音樂表達方式？
LÜCY：沒錯。當我開始以獨立音樂人的身分工作，可以完全替自己做選擇、企劃每一張專輯和每一個作品之後，我確實更常找海外的音樂人合作。對我來說，這也是一種讓自己開開眼界的方式，可以認識不同國家的音樂產業、工作方式和創作環境，再從中學習。
最近和我合作的海外音樂人也都是非常獨立的創作者。他們真的從零開始，自己寫歌、編曲、製作、混音，有些人也是連周邊商品都自己設計。我們之間有很多共同點，所以我也會想知道，他們是不是有一些我還不知道的做法和經驗，是我可以學習的。
我覺得他們身上有一種很自由的感覺。可能正是因為他們是獨立音樂人，他們的音樂和整個人的狀態都比較自在、自然，也比較貼近生活。你會感覺到他們的生活和音樂是真的連結在一起，而不是被分開的。
跟這些自由的獨立音樂人合作，也會提醒我要偶爾停下來想一想：我現在做音樂的方式和風格，真的是我自己想要的嗎？跨國合作讓我看見更多不同的選擇，也讓我有機會停下腳步重新思考自己前方的方向。
Q7：〈Looking at Me〉歌詞裡提到來自長輩的碎念與網絡時代被注視的集體焦慮。而在〈LOOP〉中，妳試圖探討如何靠自己的力量打破這種反覆的惡性循環。對現在的妳來說，面對這些焦慮時，通常會用什麼方式找到自己的安全感？
LÜCY：寫〈Looking at Me〉的時候，我的焦慮很大一部分來自長大，也來自被別人注視的感覺。那個「別人」可能是家人、朋友、網路上的人，也可能是我想像中的所有人。大概十八到二十一歲那幾年，我常常不知道自己屬於哪裡、能做什麼，或者自己的價值在哪裡。那時候還要上學，家裡經濟狀況也不容易，我會想是不是該休學去工作，又不知道該怎麼面對自己的夢想。
現在回頭想，我覺得要不斷嘗試，慢慢找到自己熱衷的事，也找到一個出口。有些人會寫歌，有些人會拍照、拍影片、畫畫或寫作。能把生活裡的矛盾和不開心記錄下來，也是一種抒發。那時候陪我走過來的，是耳機裡的音樂和瑜伽；我也慢慢學著用比較健康的習慣照顧自己。
我們那時候的人生才剛開始，正因為覺得沒什麼好失去，反而敢去試以前沒做過的事。你可能有擅長的事情，只是根本還沒開始做。如果不去試，永遠不會知道。所以我覺得，做就對了。
Q8：很多人開玩笑說「藝術家需要痛苦作為養分」，但身處痛苦之中往往是非常折磨的。現在回頭看寫出這兩首黑暗與循環之作的時期，妳覺得這些日子留給現在的 LÜCY 最珍貴的東西是什麼？
LÜCY：那些日子留給我最珍貴的東西，是讓我學會了逆流生長。當時有很多徬徨，也有很多困難，但它們後來都變成了我現在的養分，讓我更獨立。
也因為那時候覺得自己沒什麼可以失去，我反而更敢去嘗試不同的事，追逐自己感興趣、真正想要的東西。我覺得那個時候的自己，生存能力是最強的。
如果現在可以重新選擇，我不會選一條比較簡單的路。我還是會走同一條路。我這個人好像就是喜歡走難走的路，這樣才讓我覺得自己真的在活著。
Q9：10 月即將展開首次個人歐洲巡迴，到柏林、倫敦和巴黎演出。之前已經有過國外演出的經驗，這次的專場對妳來說有沒有什麼不一樣的心情或特殊意義？會帶來什麼專屬的內容嗎？
LÜCY：這是我第一次到歐洲舉辦個人專場。之前雖然也在海外演出過，但都是音樂節。音樂節比較像拼盤式的演出，有很多不同的音樂人，台下有些觀眾可能只是剛好路過，聽到聲音停下來。
但專場比較不一樣：是一個半小時的專場，大家是為了聽我的歌，買票、搭車來到現場。想到這件事，我很興奮，也比平常更緊張。
因為是第一次到歐洲，我想帶大家聽一聽最初認識我的那些歌，所以這次會比較偏向樂團的聲音。由於第一次在歐洲做巡演，預算有限，沒辦法把所有樂手都帶過去，但我會和這次同行的夥伴一起，用現有的編制盡我所能地呈現這些歌。
我想現場可能絕大多數會是在歐洲工作或讀書的華人，非常期待見到他們。但同時也很好奇會不會有歐洲當地的聽眾前來。
Q10：最近也推出了與 Ollie 合作的新歌〈Toy Boat〉，聽說還有一張全新的迷你專輯正在路上。能跟好青年的讀者透露一些接下來的消息嗎？最後，也想請 LÜCY 分享幾首陪伴妳度過那些低潮時期的私房歌單。
LÜCY：最近和 Ollie 推出的〈Toy Boat〉，寫的是童年，長大、追逐夢想的過程。有時候會覺得自己像一艘在海上漂流的小船，乘風破浪地也不知道明天會漂泊到哪裡，但我們還是保護著自己的初心一直往前走。
新的迷你專輯還在準備中，希望今年底之前可以順利發行。另外，10 月 16 日也會有兩首新單曲釋出。
如果要從自己的歌裡選一首，我會推薦〈Looking at Me〉。那真的是我在低潮時寫下的歌，大概已經是五年前的事了。現在我已經走過那段日子，再回去聽，感受很不一樣。
如果是推薦其他音樂人的音樂，我會推葡萄牙歌手 MARO。寫〈Looking at Me〉的那段時間，我聽了很多她的歌。特別想分享〈Still Feel It All〉和〈So Much Has Changed〉，這兩首歌陪我度過了很多低潮的時刻和眼淚。
Taiwanese singer-songwriter LÜCY has built her music around intimate emotions, constantly exploring new possibilities in sound and songwriting. In recent years, she has also expanded her creative world through international collaborations, working with artists including Jaguar Sun, Hitsujibungaku, Norwegian producer Eirik Hella and electronic pop artist Moyka.
On “Looking at Me”, LÜCY turns anxiety and growing pains into music. With “LOOP”, she looks beyond her own experience, exploring family, intergenerational cycles and the possibility of breaking them.
“The cycle can stop with our generation.”
From “Toy Boat”, her recent collaboration with Ollie, to her upcoming first European solo tour, LÜCY continues to move forward while carrying the experiences that have shaped her. She is also set to release two new singles on October 16, with a new mini-album currently in the works.
In this interview, we talk with LÜCY about music, growing against the current, international collaboration, and finding her own direction along the way.
Q1: “Looking at Me” reflects one of the darkest periods of your life. When you were writing the song, did turning that pain into music feel like a brutal process of confronting your fears, or more like being held and healed by music?
LÜCY: I think it was more like being held by music. For me, songwriting is a way of processing and expressing my emotions. I like turning memories and feelings into melodies and songs, almost like keeping a diary of my life through music.
I also like using songwriting as a way to complain about life. I write about both the good and the bad. But it’s not like writing a song immediately releases all the emotions or solves the problem. It doesn’t instantly fix anything; it simply helps me release some of that pressure. Sometimes it takes writing five songs before I can slowly process what I’m feeling.
Q2: “LOOP” followed closely after “Looking at Me”, and both the title and the song explore the idea of breaking a cycle. If “Looking at Me” reflects your personal struggle in the dark, does “LOOP” represent a wider perspective, recognising that these kinds of pain and patterns can be experienced by many people, even across generations? What is the connection between these two songs for you?
LÜCY: “LOOP” is more specifically about the things that can be repeated from one generation to the next. Our family background has a huge impact on who we become. Unhealthy habits, emotional manipulation, and even violence can all affect the next generation and become part of a destructive cycle.
What I wanted to say with this song is that the cycle can stop with our generation. We can inherit the good things, but that doesn’t mean we have to pass the bad things on to the next generation. You can’t choose the family you’re born into, but you can choose what kind of family you want to create in the future.
That’s also what I mean by “growing against the current.” It’s difficult to grow against the current, but those experiences can also become nourishment, making us more independent and courageous. “Looking at Me” is closer to how I felt personally at the time, whereas “LOOP” made me realise that those feelings are also connected to how we grow up and how we treat the next generation.
Q3: Both songs were produced with Norwegian producer Eirik Hella, with psychedelic synths and deep, weighty low-end shaping their sound. From the lingering unease of “Looking at Me” to the hypnotic pulse of “LOOP”, how did you and Eirik build this dark, disoriented musical aesthetic? What different colours do you think he has brought to your music?
LÜCY: I first heard a song produced by Eirik on Spotify and thought it was really powerful. It had this sense of strength that reminded me of a female warrior. I really liked the way he chose his drums, as well as his ability to work with synthesisers and sound design, so I wanted to collaborate with him.
“Looking at Me” actually ended up staying quite close to my original demo. When we were discussing the arrangement in the studio, I told him the story behind the song and why I wrote it. I even showed him some of the diary entries I had written when I was going through a difficult period. I feel that a producer needs to understand the story inside a song in order to know how to build a space around it.
We didn’t deliberately set out to create a “dark” or “disoriented” aesthetic. Those demos were written from those memories and emotions, so the sound naturally grew out of them. Eirik helped me communicate what I originally wanted to express more fully, while also developing the arrangements. I often tell him about the sounds I hear in my head, and he understands very quickly. Usually, the first sound he chooses feels just right. We’re very in sync musically, so we don’t need to spend a lot of time explaining things to each other.
Q4: On “LOOP”, you weave together Mandarin, Norwegian and English, showcasing a bold approach to experimenting with the voice. Did this arrangement come from instinct in the moment, or was it something that emerged organically through the energy of the studio?
LÜCY: The language arrangement on “LOOP” really came out of what happened in the studio. I had originally planned to go to Norway to work with Eirik, and I happened to meet Moyka at the studio. Since the three of us were in the same room, we thought, why not try writing a song together? We didn’t have anything prepared that day. We simply made whatever came to mind. They specialise in electronic music, and we also wanted to make something that people could dance to, something with more energy.
Before we started writing, we spent some time getting to know each other and talking about our experiences growing up. Moyka and I realised that we had some similar experiences. Neither of our family backgrounds was particularly complete, and we both had difficult paths growing up, which made us more independent. That became the starting point for “LOOP”.
Norwegian was the language Eirik and Moyka were most familiar with growing up, while Mandarin was a language I used frequently throughout my own childhood. English was the language we all used to communicate with each other. I didn’t want to simply make an all-English song with Moyka; I wanted the song to preserve the languages that were most familiar to each of us as we were growing up. That’s why Mandarin, Norwegian and English all found their way into the song. For all of us, it was a very fresh and exciting experiment.
Q5: You and Norwegian electronic pop artist Moyka bring very different vocal qualities to “LOOP”, warm and mysterious on your side, ethereal and weightless on hers, yet they blend beautifully. What kind of connection did you find through the process of creating the song together?
LÜCY: I think Moyka and I definitely have distinct voices, but when we put them together, they blend surprisingly well. Sometimes when I listen to “LOOP”, I can’t even remember which part she sang and which part I sang. I feel that our tones are very compatible.
For me, the connection we found through creating the song came more from getting to know each other as people. I really value taking the time to genuinely get to know someone and understand their story before making music together.
As I mentioned earlier, we had some similarities in our family backgrounds and the way we grew up, and that became an important point of connection between us. When we talked about our experiences, there was even a moment when we both became emotional. So for me, the collaboration wasn’t just about making a song together. The whole process of getting to know and understanding each other was also something really beautiful.
Q6: From Jaguar Sun and Hitsujibungaku to Moyka, you’ve had quite a rich history of international collaborations. Has working with musicians from different cultural backgrounds given you any unexpected perspectives or introduced you to completely different ways of expressing music?
LÜCY: Definitely. Once I started working independently as a musician and could make my own choices and plan each album and project myself, I began collaborating more frequently with musicians from overseas. For me, it’s also a way of broadening my horizons, to experience different music industries, ways of working and creative environments, and learn from them.
Many of the overseas musicians I’ve worked with recently are also very independent artists. They really build everything from the ground up: writing, arranging, producing and mixing their own music. Some of them even design their own merchandise. We have a lot in common, so I’m always curious to see whether there are approaches or experiences they have that I haven’t encountered yet and could learn from.
I think there’s a real sense of freedom in them. Perhaps because they are independent musicians, their music and their lives feel more relaxed, natural and closely connected to everyday life. You can feel that their lives and their music are genuinely intertwined rather than being treated as separate things.
Working with these free-spirited independent artists also reminds me to stop occasionally and ask myself: Is the way I’m making music, and the style I’m pursuing, really what I want? International collaborations have shown me more possibilities and given me opportunities to pause and rethink the direction I’m heading in.
Q7: The lyrics of “Looking at Me” touch on criticism from older generations and the collective anxiety of being watched in the internet age. Meanwhile, “LOOP” explores how we might find the strength to break out of destructive cycles. How do you find a sense of safety when you face these anxieties today?
LÜCY: When I was writing “Looking at Me”, a large part of my anxiety came from growing up and from the feeling of being watched by others. That “other” could be family, friends, people online, or even everyone I imagined was watching me. Between the ages of around 18 and 21, I often didn’t know where I belonged, what I could do, or what my value was. I was still in school at the time, and my family was also going through financial difficulties. I wondered whether I should leave school and find a job, while also not knowing how to face my dreams.
Looking back now, I think you have to keep trying things, slowly find what you’re passionate about, and find an outlet for yourself. Some people write songs; others take photographs, make videos, paint or write. Being able to document the contradictions and unhappiness in your life can also be a form of release. At that time, what helped me through was the music in my headphones and yoga. I also gradually learned to take care of myself through healthier habits.
We were only just beginning our lives back then. Maybe because we felt like we had little to lose, we were actually more willing to try things we had never done before. You might have something you’re good at. You just haven’t started doing it yet. If you don’t try, you’ll never know. So I think the answer is simply: do it.
Q8: People often joke that artists need pain as creative fuel, but being in pain can also be deeply difficult. Looking back on the period when you wrote these songs about darkness and cycles, what is the most precious thing those years have given the LÜCY you are today?
LÜCY: The most precious thing those years gave me was learning how to grow against the current. There was a lot of uncertainty and difficulty at the time, but those experiences eventually became nourishment for me. They made me more independent.
And because I felt like I had little to lose back then, I became more willing to try different things and pursue whatever genuinely interested me and whatever I truly wanted. I think that version of myself had the strongest instinct for survival.
If I could choose again now, I wouldn’t choose an easier path. I would still take the same one. I think I’m just someone who likes taking the difficult road. It’s what makes me feel truly alive.
Q9: You’re about to embark on your first European solo tour in October, with shows in Berlin, London and Paris. Having performed overseas before, does this solo tour carry a different feeling or special significance for you? Will you be bringing anything exclusive to these shows?
LÜCY: This is my first time doing solo shows in Europe. I’ve performed overseas before, but those were all at festivals. Festivals are more like a mixed bill, with many different artists, and some people in the audience might simply be passing by and stop when they hear the music.
A solo show feels different. It’s a one-and-a-half-hour set, and everyone there has come specifically to hear my music. They’ve bought a ticket, travelled to the venue, and made the effort to be there. Thinking about that makes me really excited, but also more nervous than usual.
Since this is my first time touring Europe, I want people to hear some of the songs that first introduced them to me, so the shows will lean more towards a band sound. Because it’s my first European tour, we have a limited budget and can’t bring all of the musicians with us. But I’ll be performing with the musicians who are joining me on the tour, and we’ll do our best to present these songs with the lineup we have.
I imagine that the majority of the audience may be Chinese-speaking people who are working or studying in Europe, and I’m really looking forward to seeing them. At the same time, I’m curious to see whether local European listeners will come to the shows as well.
Q10: You recently released “Toy Boat” with Ollie, and a new mini-album is also on the way. Can you share any upcoming news with the readers? And finally, could you share a few songs that helped you through some of your lowest moments?
LÜCY: “Toy Boat”, which I recently released with Ollie, is about childhood and the process of growing up and pursuing your dreams. Sometimes I feel like a little boat drifting out at sea, battling the waves without knowing where I’ll end up tomorrow. But we still protect that original sense of who we are and keep moving forward.
The new mini-album is still in the works, and I hope it can be released by the end of this year. There will also be two new singles coming out on October 16.
If I had to choose one of my own songs, I’d recommend “Looking at Me”. It’s a song I wrote when I was going through a very difficult period, about five years ago now. I’ve moved on from that chapter of my life, so when I listen to it again now, it feels very different.
If I were to recommend music by another artist, I’d choose Portuguese singer MARO. I listened to a lot of her music while I was writing “Looking at Me”. In particular, I’d like to share “Still Feel It All” and “So Much Has Changed”. Both songs stayed with me through many difficult moments and many tears.
LÜCY：最近和 Ollie 推出的〈Toy Boat〉，寫的是童年，長大、追逐夢想的過程。有時候會覺得自己像一艘在海上漂流的小船，乘風破浪地也不知道明天會漂泊到哪裡，但我們還是保護著自己的初心一直往前走。
新的迷你專輯還在準備中，希望今年底之前可以順利發行。另外，10 月 16 日也會有兩首新單曲釋出。
如果要從自己的歌裡選一首，我會推薦〈Looking at Me〉。那真的是我在低潮時寫下的歌，大概已經是五年前的事了。現在我已經走過那段日子，再回去聽，感受很不一樣。
如果是推薦其他音樂人的音樂，我會推葡萄牙歌手 MARO。寫〈Looking at Me〉的那段時間，我聽了很多她的歌。特別想分享〈Still Feel It All〉和〈So Much Has Changed〉，這兩首歌陪我度過了很多低潮的時刻和眼淚。
Interview | LÜCY: Growing Against the Current
From “Looking at Me” to “LOOP”, finding the strength to move forward through the darknessTaiwanese singer-songwriter LÜCY has built her music around intimate emotions, constantly exploring new possibilities in sound and songwriting. In recent years, she has also expanded her creative world through international collaborations, working with artists including Jaguar Sun, Hitsujibungaku, Norwegian producer Eirik Hella and electronic pop artist Moyka.
On “Looking at Me”, LÜCY turns anxiety and growing pains into music. With “LOOP”, she looks beyond her own experience, exploring family, intergenerational cycles and the possibility of breaking them.
“The cycle can stop with our generation.”
From “Toy Boat”, her recent collaboration with Ollie, to her upcoming first European solo tour, LÜCY continues to move forward while carrying the experiences that have shaped her. She is also set to release two new singles on October 16, with a new mini-album currently in the works.
In this interview, we talk with LÜCY about music, growing against the current, international collaboration, and finding her own direction along the way.
Q1: “Looking at Me” reflects one of the darkest periods of your life. When you were writing the song, did turning that pain into music feel like a brutal process of confronting your fears, or more like being held and healed by music?
LÜCY: I think it was more like being held by music. For me, songwriting is a way of processing and expressing my emotions. I like turning memories and feelings into melodies and songs, almost like keeping a diary of my life through music.
I also like using songwriting as a way to complain about life. I write about both the good and the bad. But it’s not like writing a song immediately releases all the emotions or solves the problem. It doesn’t instantly fix anything; it simply helps me release some of that pressure. Sometimes it takes writing five songs before I can slowly process what I’m feeling.
Q2: “LOOP” followed closely after “Looking at Me”, and both the title and the song explore the idea of breaking a cycle. If “Looking at Me” reflects your personal struggle in the dark, does “LOOP” represent a wider perspective, recognising that these kinds of pain and patterns can be experienced by many people, even across generations? What is the connection between these two songs for you?
LÜCY: “LOOP” is more specifically about the things that can be repeated from one generation to the next. Our family background has a huge impact on who we become. Unhealthy habits, emotional manipulation, and even violence can all affect the next generation and become part of a destructive cycle.
What I wanted to say with this song is that the cycle can stop with our generation. We can inherit the good things, but that doesn’t mean we have to pass the bad things on to the next generation. You can’t choose the family you’re born into, but you can choose what kind of family you want to create in the future.
That’s also what I mean by “growing against the current.” It’s difficult to grow against the current, but those experiences can also become nourishment, making us more independent and courageous. “Looking at Me” is closer to how I felt personally at the time, whereas “LOOP” made me realise that those feelings are also connected to how we grow up and how we treat the next generation.
Q3: Both songs were produced with Norwegian producer Eirik Hella, with psychedelic synths and deep, weighty low-end shaping their sound. From the lingering unease of “Looking at Me” to the hypnotic pulse of “LOOP”, how did you and Eirik build this dark, disoriented musical aesthetic? What different colours do you think he has brought to your music?
LÜCY: I first heard a song produced by Eirik on Spotify and thought it was really powerful. It had this sense of strength that reminded me of a female warrior. I really liked the way he chose his drums, as well as his ability to work with synthesisers and sound design, so I wanted to collaborate with him.
“Looking at Me” actually ended up staying quite close to my original demo. When we were discussing the arrangement in the studio, I told him the story behind the song and why I wrote it. I even showed him some of the diary entries I had written when I was going through a difficult period. I feel that a producer needs to understand the story inside a song in order to know how to build a space around it.
We didn’t deliberately set out to create a “dark” or “disoriented” aesthetic. Those demos were written from those memories and emotions, so the sound naturally grew out of them. Eirik helped me communicate what I originally wanted to express more fully, while also developing the arrangements. I often tell him about the sounds I hear in my head, and he understands very quickly. Usually, the first sound he chooses feels just right. We’re very in sync musically, so we don’t need to spend a lot of time explaining things to each other.
Q4: On “LOOP”, you weave together Mandarin, Norwegian and English, showcasing a bold approach to experimenting with the voice. Did this arrangement come from instinct in the moment, or was it something that emerged organically through the energy of the studio?
LÜCY: The language arrangement on “LOOP” really came out of what happened in the studio. I had originally planned to go to Norway to work with Eirik, and I happened to meet Moyka at the studio. Since the three of us were in the same room, we thought, why not try writing a song together? We didn’t have anything prepared that day. We simply made whatever came to mind. They specialise in electronic music, and we also wanted to make something that people could dance to, something with more energy.
Before we started writing, we spent some time getting to know each other and talking about our experiences growing up. Moyka and I realised that we had some similar experiences. Neither of our family backgrounds was particularly complete, and we both had difficult paths growing up, which made us more independent. That became the starting point for “LOOP”.
Norwegian was the language Eirik and Moyka were most familiar with growing up, while Mandarin was a language I used frequently throughout my own childhood. English was the language we all used to communicate with each other. I didn’t want to simply make an all-English song with Moyka; I wanted the song to preserve the languages that were most familiar to each of us as we were growing up. That’s why Mandarin, Norwegian and English all found their way into the song. For all of us, it was a very fresh and exciting experiment.
Q5: You and Norwegian electronic pop artist Moyka bring very different vocal qualities to “LOOP”, warm and mysterious on your side, ethereal and weightless on hers, yet they blend beautifully. What kind of connection did you find through the process of creating the song together?
LÜCY: I think Moyka and I definitely have distinct voices, but when we put them together, they blend surprisingly well. Sometimes when I listen to “LOOP”, I can’t even remember which part she sang and which part I sang. I feel that our tones are very compatible.
For me, the connection we found through creating the song came more from getting to know each other as people. I really value taking the time to genuinely get to know someone and understand their story before making music together.
As I mentioned earlier, we had some similarities in our family backgrounds and the way we grew up, and that became an important point of connection between us. When we talked about our experiences, there was even a moment when we both became emotional. So for me, the collaboration wasn’t just about making a song together. The whole process of getting to know and understanding each other was also something really beautiful.
Q6: From Jaguar Sun and Hitsujibungaku to Moyka, you’ve had quite a rich history of international collaborations. Has working with musicians from different cultural backgrounds given you any unexpected perspectives or introduced you to completely different ways of expressing music?
LÜCY: Definitely. Once I started working independently as a musician and could make my own choices and plan each album and project myself, I began collaborating more frequently with musicians from overseas. For me, it’s also a way of broadening my horizons, to experience different music industries, ways of working and creative environments, and learn from them.
Many of the overseas musicians I’ve worked with recently are also very independent artists. They really build everything from the ground up: writing, arranging, producing and mixing their own music. Some of them even design their own merchandise. We have a lot in common, so I’m always curious to see whether there are approaches or experiences they have that I haven’t encountered yet and could learn from.
I think there’s a real sense of freedom in them. Perhaps because they are independent musicians, their music and their lives feel more relaxed, natural and closely connected to everyday life. You can feel that their lives and their music are genuinely intertwined rather than being treated as separate things.
Working with these free-spirited independent artists also reminds me to stop occasionally and ask myself: Is the way I’m making music, and the style I’m pursuing, really what I want? International collaborations have shown me more possibilities and given me opportunities to pause and rethink the direction I’m heading in.
Q7: The lyrics of “Looking at Me” touch on criticism from older generations and the collective anxiety of being watched in the internet age. Meanwhile, “LOOP” explores how we might find the strength to break out of destructive cycles. How do you find a sense of safety when you face these anxieties today?
LÜCY: When I was writing “Looking at Me”, a large part of my anxiety came from growing up and from the feeling of being watched by others. That “other” could be family, friends, people online, or even everyone I imagined was watching me. Between the ages of around 18 and 21, I often didn’t know where I belonged, what I could do, or what my value was. I was still in school at the time, and my family was also going through financial difficulties. I wondered whether I should leave school and find a job, while also not knowing how to face my dreams.
Looking back now, I think you have to keep trying things, slowly find what you’re passionate about, and find an outlet for yourself. Some people write songs; others take photographs, make videos, paint or write. Being able to document the contradictions and unhappiness in your life can also be a form of release. At that time, what helped me through was the music in my headphones and yoga. I also gradually learned to take care of myself through healthier habits.
We were only just beginning our lives back then. Maybe because we felt like we had little to lose, we were actually more willing to try things we had never done before. You might have something you’re good at. You just haven’t started doing it yet. If you don’t try, you’ll never know. So I think the answer is simply: do it.
Q8: People often joke that artists need pain as creative fuel, but being in pain can also be deeply difficult. Looking back on the period when you wrote these songs about darkness and cycles, what is the most precious thing those years have given the LÜCY you are today?
LÜCY: The most precious thing those years gave me was learning how to grow against the current. There was a lot of uncertainty and difficulty at the time, but those experiences eventually became nourishment for me. They made me more independent.
And because I felt like I had little to lose back then, I became more willing to try different things and pursue whatever genuinely interested me and whatever I truly wanted. I think that version of myself had the strongest instinct for survival.
If I could choose again now, I wouldn’t choose an easier path. I would still take the same one. I think I’m just someone who likes taking the difficult road. It’s what makes me feel truly alive.
Q9: You’re about to embark on your first European solo tour in October, with shows in Berlin, London and Paris. Having performed overseas before, does this solo tour carry a different feeling or special significance for you? Will you be bringing anything exclusive to these shows?
LÜCY: This is my first time doing solo shows in Europe. I’ve performed overseas before, but those were all at festivals. Festivals are more like a mixed bill, with many different artists, and some people in the audience might simply be passing by and stop when they hear the music.
A solo show feels different. It’s a one-and-a-half-hour set, and everyone there has come specifically to hear my music. They’ve bought a ticket, travelled to the venue, and made the effort to be there. Thinking about that makes me really excited, but also more nervous than usual.
Since this is my first time touring Europe, I want people to hear some of the songs that first introduced them to me, so the shows will lean more towards a band sound. Because it’s my first European tour, we have a limited budget and can’t bring all of the musicians with us. But I’ll be performing with the musicians who are joining me on the tour, and we’ll do our best to present these songs with the lineup we have.
I imagine that the majority of the audience may be Chinese-speaking people who are working or studying in Europe, and I’m really looking forward to seeing them. At the same time, I’m curious to see whether local European listeners will come to the shows as well.
Q10: You recently released “Toy Boat” with Ollie, and a new mini-album is also on the way. Can you share any upcoming news with the readers? And finally, could you share a few songs that helped you through some of your lowest moments?
LÜCY: “Toy Boat”, which I recently released with Ollie, is about childhood and the process of growing up and pursuing your dreams. Sometimes I feel like a little boat drifting out at sea, battling the waves without knowing where I’ll end up tomorrow. But we still protect that original sense of who we are and keep moving forward.
The new mini-album is still in the works, and I hope it can be released by the end of this year. There will also be two new singles coming out on October 16.
If I had to choose one of my own songs, I’d recommend “Looking at Me”. It’s a song I wrote when I was going through a very difficult period, about five years ago now. I’ve moved on from that chapter of my life, so when I listen to it again now, it feels very different.
If I were to recommend music by another artist, I’d choose Portuguese singer MARO. I listened to a lot of her music while I was writing “Looking at Me”. In particular, I’d like to share “Still Feel It All” and “So Much Has Changed”. Both songs stayed with me through many difficult moments and many tears.
About the author
好青年
Music maniac is the part of me that lives for music. ♫～愛聽音樂、喜歡音樂、欣賞音樂、愛上音樂～♥ 和好青年一起沉溺音樂、徜徉其中，成為音樂狂熱分子吧！
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