Apple Music: Zane Lowe x Kristopher Kash Interview Music

ZL: Heartstrings has been out for a couple of weeks now, congratulations, by the way, and I wanted to start this interview with a kind of two-part question. First, where are you at mentally and emotionally now that the record is finally out in the world? And second, what feels different about releasing this project compared to your first two albums?

KK: Thank you. That’s a great question. It’s… an interesting feeling. Honestly, I feel super relieved. I’d been working on this project for almost two years. Most people don’t realize I actually started making this album while I was still touring. That meant a lot of writing on the road, and then whenever I had short breaks between tour legs, I’d head into the studio. Sometimes it was with Sawyer, sometimes with Landon, really just whoever was available in the little windows of time I had.

ZL: Really? That’s remarkable. Most artists focus entirely on the tour, especially one as massive as The Odyssey Tour. What made you keep working on new music in the middle of that?

KK: It’s hard to explain. I’m always writing because music is just kind of always playing in my head. I’ll be in a conversation with friends or family, and someone will say something that sparks a lyric, a melody, or even just the seed of an idea. But with this album, it was different. The songs were flowing out of me in a way I hadn’t really experienced before. Pretty early on, I realized I wasn’t just jotting down ideas, I was building the next record. So I leaned into it. If that meant spending a week in Australia, then flying straight to New York to record with Sawyer for a few days before heading back out, it felt like the right thing to do. And I wouldn’t trade that process for anything.

ZL: That’s truly unbelievably beautiful. Okay, back to my original question, because I am curious about this: what would you say is the difference between the Kristopher sitting with me today versus the Kristopher who released Metamorphosis and Rebirth?

KK: Wow, so much. I think, as people, we all grow up and learn lessons along the way. Rebirth was such a special time in my life. It was my first record, that experience of seeing all the ins and outs of how an album comes together. But with Rebirth, I didn’t really know what my voice was yet. In a way, it feels like an album made just for the sake of making an album, if that makes sense.

ZL: That’s a fascinating take, saying you made it just for the sake of making an album. What do you mean by that? And also, when you say you didn’t know your voice, did it take long to find it, or was it more of a gradual learning curve?

KK: It was my debut, so I didn’t know if it would be successful or if anyone would even listen. That’s just the honest truth. So I wrote songs about my life at the time, but the lyrics were maybe more general, almost safe. With Metamorphosis, though, things shifted. I got to know my audience. I saw how they interacted online, how they came to shows, what songs they gravitated toward, and why. That changed the way I wrote. I realized I could afford to be more specific, even hyper-specific, because I knew my listeners were meeting me there. It wasn’t just about what I needed to say anymore; it was also about what they needed to hear. And I think that’s a weight every songwriter feels at some point.

ZL: Well, that sets up the next section perfectly. Let’s talk about Heartstrings.

KK: Let’s do it. But actually, before we do that, I have a question for you. I was curious, because you are such a lover of art and music, what did you think of the record, and what was your favorite song off it?

ZL: I loved the record. I think it’s one of those projects where, when you listen, you really understand what’s being said. It’s hopeful, it’s funny in places, but it’s also deeply profound. My favorite song on the record is Hope ur ok. It’s one of those rare moments on the album where you give people a look at a different side of your life, the side you had to sacrifice in order to get here. And I’m curious: on an album that’s so much about you and working through baggage from the past, what made you create this track?

KK: I love that you love that song. It’s one of my favorites, too. I remember going back to my hometown of Toronto for a run of shows, and I had the chance to spend time with childhood friends and family, which is rare for me. It was amazing, and it made me reflect not just on those people, but on the unsung heroes of my queer experience. People who, unlike me, didn’t get the chance to be themselves, maybe because of their parents, or because they weren’t ready to step into that truth. I thought about them a lot. Including this song on the record just made sense because I wouldn’t be who I am without the influence of those people.

ZL: That’s so beautiful. I want to talk about the creation of the album, because as I said off-camera, I think this might be your most personal record to date. So, in making something that’s this personal, was there any hesitation about laying it all out there for the world to see and judge? Or were you just open to being free?

KK: I was terrified!

ZL: Oh my god, really?

KK: Yes! Creating this album taught me so many lessons I really needed, not just about music, but about life. Lessons I’ll carry with me forever.

ZL: Okay, I’m going to stop you there for a moment, because when you say well-needed life lessons, I’m curious. What comes to mind first?

KK: Oh, so many things. But the biggest one? If you listen to the record start to finish, it’s the thread running through everything: humans are flawed. At our core, that’s what we all have in common. Nobody’s perfect. Everybody fucks up, everybody makes mistakes, and everybody deserves grace, especially ourselves. And sorry, I know I’m swearing, but that’s just the honest way to say it. I think we’re usually the hardest on ourselves, and writing this album, co-writing with people I trust, people who pushed me to dig into those feelings, really helped me understand that.

ZL: Don’t be sorry, that’s the truth. And actually, the way you put that, “everybody fucks up, everybody deserves grace”, it makes me think about Delicate. Because to me, that’s the song where you sound the most fragile, the most human. Were you nervous about putting something that vulnerable on the record?

KK: Oh my god, thank you so much. Picking track five is always one of the hardest decisions when I’m making a tracklist. To me, it’s one of the most important placements on an album. I went back and forth on what would fit there, and honestly, Delicate was the only option that made sense.

ZL: Interesting. I’m curious, what’s the significance of track five for you? Because if you’re saying it’s one of the most important decisions in the process, that must carry some meaning.

KK: Yeah, my fans actually noticed it first. On Rebirth, track five was Wish You Were Sober. On Metamorphosis, it was All Too Well. Both ended up being the most emotional, vulnerable moments on those albums. So it’s kind of become this tradition, my fans expect track five to be the moment where I really lay it bare for them. Going into Heartstrings, I wanted to honor that. Delicate was perfect because it ties into the larger thread of the album: that moment of doubt, where you’re questioning if something this good can really be true.

ZL: That’s fascinating. But now I have to ask, do you ever feel pressure because of that? Like, fans expect track five to be the vulnerable one, so does that weigh on you when you’re building the record? Or do you think one day you’ll flip it and put the most carefree, lighthearted song in that spot just to throw people off?

KK: I wouldn’t say I feel pressure, but I’m definitely aware of it. Honestly, I enjoy having those little traditions with fans. It makes the music feel more like an event. It’s fun to watch them online, speculating about what track five is going to be, making theories about how it’ll sound or what it’ll be about. For me, that turns the whole thing into a communal experience; it’s not just me releasing songs, it’s us sharing in it together.

ZL: I love that, the idea of music as an event. Because that’s what it feels like with you, right? When you release a project, it’s not just an album drop; it’s this moment your fans rally around. Do you see that as part of your job now, to make the music feel like an event, or is that just something that happens naturally with the connection you’ve built?

KK: Honestly, I don’t see this as a job at all. I know I’m really lucky and privileged that it is my job; it’s one of the best jobs you can ever have. But what makes it extra special is the connection I’ve built with my fans. They let me have so much fun with it, making the music, planning out the releases, dropping hints about a song, sharing a lyric ahead of time, even putting little subtle details in that only make sense later when the album’s out. It turns the whole thing into this joyous experience. And I’m just so grateful I have that kind of freedom.

ZL: And that’s what I think makes you stand out, you’re not just giving people an album, you’re giving them a world to step into. Part of that is all the Easter eggs you hide in the music and the rollout. I’m curious, what do you love about putting those things in? Is it just a fun detail for you, or do you see it as another layer of storytelling?

KK: Hmm… Easter eggs for me will probably always be fun because of the fans. Honestly, the day they stop caring is the day I’ll probably stop doing them. There’s just something about planning something months ahead of time and then watching it online, either freaking out or turning into Sherlock Holmes, that’s so fulfilling. It shows me they care enough to look that deeply, and that makes it all worth it.

ZL: And that level of care says a lot about the relationship between you and your fans. Do you ever think about how much you let them in, or how much you hold back? Because part of your appeal is the mystery, but part of it is the honesty.

KK: I definitely hold some stuff back, because I’m a pretty private person. But I try to give fans as much as I think they can handle or relate to. I hope that they feel like they really do get to know me through the music, because that’s the place where I’m the most honest with them. It’s always a process, figuring out what to share and what to keep for myself, but I’m really lucky. My fans respect those boundaries, and I’ve got a great support system around me, too.

ZL: Let’s go back to the album for a second, the title, Heartstrings. It’s such a striking word because it feels both delicate and powerful at the same time. Why that title? What did it capture for you that made it the right banner for this whole project?

KK: It was always a working title that I enjoyed, because I think it describes the album perfectly. Every track on this album comes from some pull on my emotions, love, fear, doubt, joy, jealousy, all of it. And that word, “heartstrings,” it’s delicate, but it’s also strong. You tug on it, and you feel everything. That’s what this project was for me. I wanted people to feel like they were stepping right into the middle of my emotional world, for better or worse. And I also have this habit of giving my albums more conceptual titles, rather than naming them after a specific song.

ZL: I was going to bring that up, because that’s really interesting. Is there a reason you lean toward conceptual album titles instead of basing them on a track?

KK: Yeah. Since Rebirth, it’s just been a fun thing for me, because the albums aren’t about one single idea; they’re about different lessons and different phases of my life. Rebirth was about finding myself in this new world I was stepping into. Metamorphosis was about going through a life-altering love that left me with more questions than answers, and needing to figure those answers out. And with Heartstrings, it’s about learning how to love yourself, and giving yourself the grace you need to navigate the human experience.

ZL: That’s such a powerful way to look at it. Do you see those albums as separate chapters, or are they connected?

KK: I’d say they’re separate chapters, but together they paint a bigger picture of who I am and my journey through life. I look at each album as a snapshot of where I was at that time. And the amazing thing is, whether it’s two, four, or six years from now, I’ll be able to look back at these records and see a version of myself that once existed. To me, that’s a really remarkable achievement.

ZL: That’s a very important statement. We’re near the end, but I’ve got a few more questions, and this one’s a loaded two-parter.

KK: Okay, I’m excited and scared.

ZL: Don’t be. [laughs] I’m a strong believer that when artists create albums, there’s usually one song that ends up summing up the entire record. Do you feel like Heartstrings has that song?

KK: Oh my… um… I have to think about that, because I do believe every song plays an important role, not just on the album, but in the overall message. But if I had to pick one that really feels like, this is Heartstrings, it would have to be Lover.

ZL: Lover? Why that song? What is it about that track specifically? Is it a lyric, the way it feels after everything that comes before it?

KK: It’s more of an overall feel. Lover just came to me, I think it was either in the middle of the process or near the end. It started with the lyric, “Swear to be overdramatic and true to my lover,” and from there the whole song just spilled out. I sent it to Landon that same night.

ZL: When you say you sent it that night, how much of the song was there? Just an idea, or the chorus?

KK: The whole thing. I started writing around 2 AM, finished by 4, and sent it straight over. It doesn’t usually happen like that; it was almost serendipitous. And for me, Lover reframed what love really is. I always thought love had to be this big, messy, emotional thing that takes hold of you and never lets go. But in reality, it’s not always that. Most of the time, it’s quiet, it’s soft, it’s the little things that add up to forever.

ZL: Is there a lyric in that song you’re especially proud of? And how much of what you wrote that night made the final cut?

KK: Honestly, everything I sent Landon that night made the final version; we only changed one line. The lyric, “We can leave the Christmas lights up ’til January,” originally said April. The whole idea wasn’t about it being some wild thought; it was about how mundane that is when you’re building a life together. But my favorite lyric is, “Have I known you twenty seconds or twenty years?” I’m proud of that one, because it nails that feeling when you meet someone and it’s like they’ve been in your life forever, even if it’s only been three minutes.

ZL: Man, that’s beautiful. And that sets up the second part of my question perfectly. You talk about your younger self a lot, that small-town kid, queer, searching. If they had this album, what do you hope they’d take from it?

KK: That’s a fantastic question. I think what I’d hope they take from Heartstrings is the idea that no matter what you go through, you are deserving of love. There’s no such thing as being “too much” or “not enough.” The right person is out there for you.

ZL: I think that’s a beautiful sentiment to leave with. Sadly, we’re at the end of this conversation, and it’s been such a lovely chat. For such a young man, you have such a way with words, and I’m overjoyed and excited for your future.

KK: Thank you for your time. It’s been a blast. You’re such a fun person to talk to about music.

ZL: Well, one last question before I let you go: when fans hit play on this record, what do you hope they feel?

KK: The easiest and most sincere answer I can give is hope. I’ve worked hard on this record and on myself over the past year. And no matter how many times I rewrote lyrics, reshuffled the tracklist, or played it for friends and execs, the thing I kept coming back to was hope. Hope that we’re choosing the right partner. Hope that our past doesn’t define our future. And most importantly, hope that we’re finally seen by someone who has our best intentions in mind. So yeah, when people hit play, I hope they feel hopeful about their own future.

ZL: That’s such a poignant answer, and honestly, the perfect way to end this. Congratulations on Heartstrings. I can’t wait for our next conversation.

KK: The pleasure was all mine. I can’t wait either.