“(…) stuff with hooky memorable riffs, big vocal melodies, jangly guitars, busy rhythm sections, and a lot of energy,” is how Steve Bailey describes the sound of Sorry Darling. In this interview, he and Liz Wagner introduce the band from Brooklyn, NY, and take us through the making of ‘See This Through‘, the beautiful EP recently released.

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You can discover ‘Sorry Darling’ featured on the Best Power Pop of 2024 Spotify Playlist.

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Could you share the journey of bringing this record to life? How did all the pieces come together to create the final product?

Steve – The majority of the songs on the EP had been gestating for about 5 years across a few different iterations of the band. Initially Liz and I had started Sorry Darling as sort of a stylistic diversion from our respective bands at times (shoutout to The Sharp Shadows, Wild Yawp, the Significant Looks, and Blaze Pascal!) It was meant to be primarily acoustic but as it became clear that we really liked writing together and that we simply wanted to rock more, the lineups got bigger and the songs got louder. The definitive lineup of Sorry Darling came together a year or so ago and by then we were itching to get into the studio, so once the songs had been learned we wasted no time getting in there.

Stylistically I feel like ‘See This Through’ is sort of a greatest hits of what we love in pop and rock music – stuff with hooky memorable riffs, big vocal melodies, jangly guitars, busy rhythm sections, and a lot of energy. I think the artists we individually like are all over the map but together make a really compelling mix sonically.

Was there a particular moment or experience that struck you, signaling that you were onto something special with this project?

Steve – I think it was early in the recording process at Studio G when we first heard ‘In Theory’ on the big studio monitors and realized that we rocked harder than we had initially thought we did! It’s one thing to learn the songs and play them together in a small room, but another entirely to work with a great engineer like Jeff Berner and hear yourself sounding as big and awesome as your favorite records do. If you can have that out of body experience of listening to yourself and forget it’s you, then you’re going places.

The decision to seek opinions on your new songs is intriguing. When did you realize that external perspectives could contribute to your creative process?

Steve – I think it’s useful when you are working on them in the studio. Personally I like to keep those processes internal save for a few trusted musical compatriots because I don’t want to second-guess my own artistic intent. I think too much committee can take away what’s unique about your music.

Liz – I think it mattered most to me to see which song of the 6 hit who and why. It was validating and exciting to share with our closest musical allies and friends and hear that all 6 got a chance to be somebody’s favorite.

As an artist, the act of baring your emotions to the world is profound. Does this vulnerability come naturally to you, or is it a constant journey of finding comfort?

Steve – An interesting question. For me personally I think part of writing pop music is less about my own personal vulnerability and more about reflecting situations that evoke that for people writ large. All of the songs originate from real experiences, but I am less interested in what people think Steve Bailey Himself™ gets up to and more interested in how they can relate these feelings to people and situations from their own lives. I think when that happens you get a real conversation going.

Liz – Agreed, a very interesting question. I hope that my Liz Wagner Biro Herself™ stories resonate and evoke memories and feelings for listeners as Steve said but I’d be lying if I didn’t say these two songs especially weren’t deeply personal! Writing vulnerably, playing vulnerably, singing vulnerably, etc. absolutely come naturally because I am a heart-on-my-sleeve kinda gal but woof, the post-show/post-release vulnerability/visibility hangover is real… That part is less natural. I have a complicated relationship to being perceived.

Imagine you could collaborate with three co-writers of your choice for new songs. Who would you select, and what qualities or dynamics draw you to them?

Steve – Chrissie Hynde for her way with words and attitude. Stuart Adamson (RIP) for his gorgeous melancholy and otherworldly guitar wizardry. Jessica Dobson of Deep Sea Diver for someone newer and closer to home for both of the above. She’s incredible and has such a personal musical language that still feels familiar and inviting.

Liz – Wow what a question… I am deeply moved and see myself in the lyrics of Katie Gavin of MUNA, Fiona Apple, and Jenny Lewis and right now the poetry of it all is what has me most captured.

Striking a balance between experimental artistry and commercial appeal is a challenge. How do you navigate this dynamic within your music?

Steve – I’ll be the first to say that I’m not a terribly experimental person when it comes to music. Weirdly I think the internet now is divided between people aggressively dedicated to niche artistry and people who want the most bone-headed hooks ever. I seek to exist between those two worlds in the way I feel the best bands always were – using interesting ideas in service of really memorable material.

Liz – I am similarly unsure of where to strike that balance in a particularly conscious way. I think, or at least I hope, we toe the line of the expected and the unexpected. I love throwing something just a little weird behind the more “bone-headed hooks”, as Steve defined them. I think because our personal influences are so diverse the art ends up being harder to put your finger on than any of us knew when we first brought in a song or a riff or whatever.

Lyrics often carry profound meaning. Are there particular lines you hope listeners will always remember from your songs? If so, what’s the significance?

Liz – Honestly, I want them to remember all the words always and sing along at shows cause that’s just so fun when it happens!

With the resurgence of cassettes, imagine curating your inaugural mixtape. Which five songs would be must-adds and why?

Steve – “In a Big Country” by Big Country, “Baba O’Riley” by the Who, “Brass in Pocket” by the Pretenders, “Material Girl” by Madonna, and “Shadow of a Doubt” by Sonic Youth. All of them live in my brain eternally, so might as well try and trap them on this cassette tape.

Liz – Ohhhh shit what a question… since Steve went retro I’ll stay (mostly) current – “The Wire” by Haim, “Best Left” by The Beths, “Honey” by Maggie Rogers, “Loudspeaker” by MUNA, and “When You’re Gone” by the Cranberries.

While you can’t dictate how people interpret your music, are there specific elements you wish to highlight that set your songs apart?

Steve – I think the level of craft we bring to the table makes us special. Bands these days either tend to be one-note fuzzy riff lords or navel-gazing indie/emo and we’re neither. I don’t think you should have to veer that far to either extreme to be heavy or to share a feeling. The best bands did it all and did it with style. I think we’re formed in that tradition.

Liz – I’d agree we’re trying to do it all, and I think again that’s a place where our diverse tastes and backgrounds converge really beautifully. I want our music to be equally enjoyed by you, your toddler, and your boomer mom and feedback thus far is that we’ve done that!

In a hypothetical scenario where you could tour with two other bands, who would be your ideal companions and what synergies do you envision?

Steve – The Beths and Charly Bliss would be super fun. I think all three of us value big hooks and on songcraft, so I think it’d be a match made in heaven.

Liz – I second The Beths, no question. It’s the one band all four of us passionately agree on! And I’d love to tour with Jenny Lewis, I think our songwriting is compatible and we’ve always said we’re for fans of Rilo Kiley.

Among the compliments you’ve received, is there one that remains etched in your memory? If so, what made it particularly unforgettable?

Steve – A friend of mine told me that my guitar style was instantly recognizable and that felt like a real accomplishment. Guitars may be back on the rise but I don’t know that song-focused guitar playing totally is just yet. I think we have a lot of enthusiastic strummers out there, but I don’t know that Millenials/Zoomers have too many guitar heroes that aren’t TikTok or YouTube people. I’m not an insane shredder but I do think I have certain musical tics that combined give me a sound that isn’t really in step with what most people seem to do lately.

Liz – One of my moments is actually something Steve said to me once after I expressed some self-conciousness about a particular vocal performance – he said something along the lines of “lots of people have voices that are nice to listen to but not everyone has a voice that makes them feel the way that you can.” I’ve really dined out on that feedback for a while now, so thanks buddy.

Where do you see yourself situated within the broader landscape of the music industry? How do you perceive your unique role and contribution?

Steve – Our generation has spent its entire adult life being talked down to. I think a lot of our generation’s music shows the hallmarks of being browbeaten, or suffering from arrested development (i.e. emo). With Sorry Darling I think we deal with a lot of the same feelings and situations but we’re not writing downer music that sounds like surrender. There’s some attitude there, there’s some ‘fuck you’ in the joyful energy, and there’s some maturity to how we handle the subject matter. I think that’s really important and I hope that inspires others to do the same.

Liz – Well said. I hope our songs help people feel less alone, that’s my biggest hope within art in general.

Envision recruiting three singers to provide harmony vocals on your next record. Who would you invite, and what qualities do they possess that resonate with you?

Steve – HAIM. Because they are HAIM.

Liz – Haha I am cool with that.

With the record completed and the music released, do you believe the pinnacle of enjoyment has been reached, or is this just the beginning of an exciting phase?

Steve – Just the beginning.

Liz – For sure just the beginning.