Q&A: Maddy Davis Reflects and Rewinds on Heartbreak, VHS Tapes, and Upcoming EP ‘Smile at the Good’
INTERVIEW
INTERVIEW
☆ BY SHEVON GREENE ☆
Photo by Cooper Roth
IN A QUIET VERMONT CABIN SURROUNDED BY EARLY SPRING STILLNESS — Maddy Davis poured a year’s worth of heartbreak, friendship, and reflection into song. Her upcoming EP, Smile at the Good (out July 18), carries a distinct emotional weight and sonic range, blending folk and indie pop references. Davis even cites Bruce Springsteen as a key inspiration. Written and recorded in just a week alongside close collaborators Jimi Somewhere and Milo Orchis, the EP captures moments of personal reckoning and creative clarity.
While earlier projects like RAGE and Would You Object for a Happier Life? hinted at emotional depth, Smile at the Good feels like a turning point. Her newest single, “John’s Song,” digs into the realities of being in your twenties, honoring the kind of friend who shows up when everything else falls apart.
The Luna Collective talked with Davis about creating in solitude, documenting emotion through her mom’s VHS camcorder, and reclaiming her narrative through songwriting. Read below for more.
Photo by Cooper Roth
LUNA: “John’s Song” feels really personal—grounded in real-life stuff: heartbreak, family, money, stress. What was going through your mind when you wrote it?
DAVIS: It came together really fast. I wrote it in Vermont during a writing trip—my family has a cabin there, and I brought two of my favorite collaborators. We wrote the whole project in a week and filmed a music video, too. That week was everything. For “John’s Song” specifically, I already had the concept in mind. It was inspired by my friend Jack, who the song is about. I just had this moment with him where I realized how special he was, especially in that early-to-mid-20s, transitional kind of way. Those friendships really stick with you. The lyrics come from real moments I lived through—really low points where Jack was there for me. It’s not just an ode to him, but to all the friends who lift you up when you're at rock bottom.
LUNA: I feel like that time in your 20s is so chaotic, and those friendships really become lifelines. In the music video, you’re in the backseat and your friends are chatting up front. There’s this quiet power to it. What made you want to film it that way?
DAVIS: I did a VHS-style video for the first single, “What If,” and I wanted this one to have a similar “outside-in” vibe. I couldn’t really recreate the band feel this time because the song is more stripped-down—just me and a harmonica, really. But I liked that visual of me playing the song while my friends are just there, existing beside me. It was literal and metaphorical: they’re doing their thing, but they’re also supporting me. That felt important.
LUNA: I love that it shows friendship without forcing it. That “outside-in” perspective gives it a real, raw feel. Speaking of VHS—wasn’t that your mom’s old camcorder?
DAVIS: Yeah! It’s from like ’98 or ’99. All our home videos were filmed on it. My mom preserved them all on CDs, and I used to watch them obsessively as a kid. I was always the one in the family who really cherished that stuff. I used the camera for a video back in 2019 and realized how irreplaceable that texture is—you just can’t fake it. One cool thing: it has night vision. We used that for the “What If” video, but not for this one. Still, it felt like bringing in a piece of my past. Also, there's a snippet in the outro of the EP—called Smile at the Good, which is a quote from the Madeline book I was named after. There’s this home video of me and my mom reading that book together when I was two. I clipped the audio and put it in the song. It felt like a full-circle moment.
LUNA: That’s such a sweet detail. It might seem small to someone else, but incorporating that into your project gives it so much heart.
DAVIS: Totally. I knew that video existed and it just clicked—like, “Oh my God, I have a clip of me literally saying the title of this EP!” That started the whole vibe for this project. Every visualizer is low-budget, using that same VHS camera, just with friends and family. I even figured out how to convert the VHS tapes to digital. I have it sitting here with me right now!
LUNA: That Vermont trip really sparked the whole thing. How did being out there affect your writing or headspace?
DAVIS: It was completely different from anything I’ve done. I went with Jimi Somewhere and Milo Orchis—two artists I’ve admired for years. I actually DMed Jimi in 2019 and never heard back, but then my manager helped book a session and we instantly clicked, both musically and personally. I basically adopted them into my LA friend group. When the chance came to go to Vermont, I knew I had to bring them. We packed minimal gear—just a few instruments, mics, and pedals. We got there on a Wednesday and made “What If” that first night. By the end of day four, we’d written all ten songs.
Their process is really intuitive. Jimi and Milo would switch places at the computer, sometimes speaking in Norwegian, and we all just rotated in and out depending on the song. There was no pressure—it was like summer camp. We’d pause to go swimming, make dinner, walk into town. There were no time blocks. We just worked whenever inspiration hit. That process made the whole project feel cohesive—not just sonically, but thematically. It’s like a time capsule of exactly where I was mentally at 24 and three-quarters.
Photo by Cooper Roth
LUNA: That sounds like such a special experience. Compared to your earlier EPs, like RAGE and Would You Object for a Happier Life?, do you feel like you’re in a different creative space now?
DAVIS: Yeah, for sure. I started writing those two EPs around the same time, so they overlap a bit. But I’ve grown so much since then, and I’m working with new people. That said, I still really stand by my past work. It’s easy to cringe at older stuff, but I always remind myself that evolving is normal. Even the songs from MUD, my first EP, still feel like me. I listen and think, “That’s who I was, and I’m proud of her.” I still love performing those songs live.
LUNA: That’s the best outcome—still loving your old stuff even as you evolve.
DAVIS: Yeah, they’re like little time capsules. I remember how I felt writing each one.
LUNA: Back to Jimi and Milo—what’s something new you learned working with them?
DAVIS: They taught me how to not force things. I’m used to sessions where I feel like I need a finished product by the end, but they’re great at saying, “Let’s take a break,” or “Let’s come back to this.” That was huge for me. We experienced every emotion that week—laughing, crying, getting frustrated, getting drunk, everything. And they really let me feel all of that without pushing me to power through. I journaled the whole time, and my friend Cooper documented everything. So many moments, like me announcing I was about to cry—are all on video.
LUNA: That’s amazing. Being able to reflect on all of that must make the project feel even richer.
DAVIS: Totally. I’m so glad it’s all documented.
LUNA: “John’s Song” has this folk-leaning sound. Was that a conscious choice?
DAVIS: Not at all. It just came out that way. I remember stepping outside, playing the guitar part in an Adirondack chair, and then tracking it quickly. We added harmonica and that was pretty much it. It felt complete, like it didn’t need drums or extra production. It just lived in its own world. I was definitely channeling some Bruce Springsteen energy—he’s folky sometimes but also just does whatever he wants, and I love that freedom.
LUNA: What’s a non-music thing that’s been inspiring you lately?
DAVIS: I’m on a recreational soccer team! I played seriously growing up and quit when I was around 14 because it got too intense. My friend Cooper (who filmed in Vermont) started a team, and it’s this amazing co-ed group of creative people—actors, screenwriters, musicians. It’s such a supportive space, and we rarely talk about work. It’s just fun and competitive in a way that doesn’t affect my life if I mess up. It’s been super grounding.
Photo by Cooper Roth
LUNA: That sounds like such a tight-knit community. I love that.
DAVIS: It’s the best.
LUNA: If you could go back to one concert in your mom’s basement, which one would it be?
DAVIS: The first one. I had a full panic attack beforehand—I was a freshman, and everyone else in the band were upperclassmen. I was throwing up in my brother’s bathroom. But then I got on stage and it ended up being the best night of my life. We sold like 300 tickets and raised money for charity. I have diary entries from that night like, “So I had a panic attack, but it was the best night ever.”
LUNA: That’s so sweet. The best kind of full-circle moment. Who’s an artist you’d love to share the stage with next?
DAVIS: My obvious answer is Bruce [Springsteen], but I’ll go with Tegan and Sara. I’ve been obsessed with them lately. “Back in Your Head” was on my iPod Shuffle when I was six. I almost introduced myself at a festival last year but got too scared. Next time, though!
LUNA: Love that. They’re so iconic and still killing it.
DAVIS: Exactly. Legends.
LUNA: What are you most excited for when Smile at the Good drops? Anything you’re manifesting?
DAVIS: Performing it live. I always play unreleased stuff during shows, which drives my manager crazy, but I just get so excited. Also, we’re working on a deluxe version with two more tracks, and I’ll be going back to Vermont to finish them. Plus, we filmed a music video there that’s almost done. So yeah—performing, releasing the video, and revisiting that creative space. I’m excited for all of it.
