Robbie Stokes, an independent singer-songwriter from Massachusetts, boasts a playful discography that fuses easy-going beats with heartfelt, introspective lyrics.
Yellow Light Mag: Your Spotify description succinctly summarizes your music — “never taking itself too seriously.” It’s refreshing! How did you land at this sound? What drives your vibes?
Robbie Stokes: I’m deeply passionate about making music, don’t get me wrong. I’ve poured my heart and soul into every song I’ve ever made. However, I’ve never made it a point to take things too seriously. Otherwise, I’d be losing sight of why I do this in the first place. Sure, I hope the listeners take me seriously to some degree and can appreciate the effort I put into my work, but I’m not this industry-level big shot with a high production value who does everything by the books. I think that’s silly. I’m not trying to put down those people, but it’ll never be for me. That’s why I describe my music and process in such a way. At the end of the day, I’m just a regular guy who makes fun-loving music in the corner of a bedroom. It’s never been all that serious to begin with. In my opinion, making music shouldn't be. It’s always been a source of fun for me and always will be. In turn, I think that’s why my music sounds the way it does; upbeat, breezy, and homemade. I don’t really take myself too seriously either, so I wouldn’t be surprised if that attitude is reflected in my music. I like it. I’ve been having a blast these past five years and it’s been a wonderful distraction. What drives me the most is the sense of accomplishment creating gives me; listening back to a finished recording is one of the most satisfying aspects of this whole thing. Knowing I was able to form a full-fledged song out of a simple thought, tune, or daydream remains extremely rewarding; along with sharing it with the world, of course!
YLM: Your music is nostalgically 60s-reminiscent. What inspires you most about artists like George Harrison and the Beatles? What about their artistry calls to you?
RS: I’ve always admired both early Beatles and their solo endeavors. I think they did the love song thing extremely well. The late fifties/early sixties as a whole were such a wonderful time for bright and bubbly love songs. During the early months of COVID, I was listening to a lot of early Beatles, Connie Francis, Bobby Vinton, Frankie Valli, and so many more. Oddly enough, my favorite kind of love songs are the ones that I’m sure most people detest nowadays, as they didn’t age particularly well; the ones with a catchy melody, repetitive chord progression, and simple lyrics that also tell a story. Y’know, boy falls in love with girl, that sort of thing. “Teenager in Love”, “Poetry in Motion”, “Take Good Care of My Baby”, “Big Girls Don’t Cry” and the entire “With the Beatles” album are a few of my favorites and influences. Being an up-and-coming guitarist at the time, practicing with songs like these helped me find my footing. I quickly adopted this style of songwriting and still try to follow this formula all these years later. I love it. On “LOVER BOY”, you can certainly hear the inspiration shine through on songs like “THE GIRL WHO GOT AWAY” and “MY FORBIDDEN LITTLE FRUIT”. I attempted to put my own, modernized spin on this forgotten genre. Did I succeed? Who knows. But, it’s cute. I adore this stuff. George Harrison’s “Gone Troppo” has been on repeat over here as of late. I’ve been studying the ins and outs of that album, in hopes that I’ll one day, be able to make my own tropical record.
Sailor hats, tropical collages, and Hawaiian shirts are pieces of Robbie's larger visual picture that reinforces the lively vibe of his discography.
YLM: Your visuals are diverse but they all appropriately encapsulate the carefree, heartfelt attitude of your songs. How do you come up with visual accompaniment ideas? What does the process for formulating album artwork look like?
RS: Lately, I’ve been trying my best to ensure that the vibe of the artwork and overall theming matches the vibe of the song or album. It’s good to be consistent in that way. I didn’t give this sort of thing too much thought until I was wrapping up the “Mixed Signals” EP, which is a perfect example. “Mixed Signals” is made up of two love songs and two break-up songs; the title and phrase itself is a double entendre. It doubles as what one person can give another when their feelings are uncertain and what occurs when your television set is acting up. Brilliant. I remember smashing in the screen of an old CRT TV with a hammer and filling it with red and blue roses; that’s when it clicked in my head that visual accompaniment is both fun and imperative! I recorded two music videos promoting the album on a vintage camcorder to keep in line with the theme. More recently, the cover art of “A Dose Of Reality” features me in a blue coat holding a flask of pink liquid; blue and pink being a callback to the music video for “The Way It Was”. Now, I’m addicted to utilizing colors in this way. It’s a ton of fun!
YLM: “The Way it Was” music video is excellently funky and makes me homesick for early internet, especially coupled with lyrics that remind me of missing the past but knowing you’ll never be that previous version of yourself again. What prompted you to incorporate vibrant colors and vivid patterns in the video? Walk us through your direction process.
RS: “The Way It Was” marked my first of many creative shifts as an artist. Like I’ve said, this was my first song that wasn’t an upbeat love song. Huge! I was officially in a different frame of mind at this point. It was written during a period of somberness, nostalgia, and yearning for “The Good Ol’ Days” which is reflected in both the lyrics and instrumentation. I find that the track itself has a very specific atmosphere, almost psychedelic. It was new territory; a totally new aesthetic. I decided to ride with it. I can’t exactly tell you why I landed on blue and pink, but I’m glad I did. Who would’ve thought those colors would follow me until the very end? If memory serves, I had Prince and Purple Rain on the mind during production. God rest his soul. I really like how the video itself turned out. It’s not easy filming a music video in front of a projector like that. I saw stars for hours. Sometimes you have to make sacrifices for your art. I love your “early internet” comparison. It’s perfect!
Robbie started making music in his bedroom shortly after the first COVID lockdown. His debut record, LOVER BOY, launched him into the sonic stratosphere. Upbeat ballads seasoned with silly robot voices, gentle maracas, and signature synths set the tone for Robbie’s balmy discography. However, working independently from a bedroom does not come without challenges.
YLM: You started writing and recording at home during the first lockdown in 2020. What’s the hardest part about making music from a space like your house or bedroom?
RS: I think the only downside to recording music in a bedroom as opposed to a proper studio, at least in my case, is lack of space. I still call this little corner of mine “the studio” though. It’s filled to the brim with records, tapes, all of my gear, and a bunch of other trinkets. I always feel like I have to tread lightly. It’s my own fault for packing shit in like this. What can I say? I like being surrounded by things that I love. It keeps me inspired. Is that a downside? It’s all about perspective, baby. I will say that moving microphones and cables with a guitar attached to my chest is not exactly glamorous, but it’s charming. Despite it all, I’m comfortable. As for the noise, we don’t exactly live in a quiet neighborhood, but instead on a main road in the sticks, which means it’s not always radio silent; tractors, diesel trucks, motorcycles, and dogs have all been responsible for robbing me of a good vocal take. But, I try my best to be patient. It just sucks when you’re in the zone and you lose that energy or train of thought. I’ve always wondered what it’d be like to record in a studio, but I’m really not all that interested. I find there’s something really special about recording in your own space.
YLM: You are the solo performer and writer on everything you’ve published, it seems. Are there any challenges that come with being a one-man-show? What are the benefits to working alone?
RS: It’s kind of like a jack of all, master of none situation with me. Since the very beginning of this journey, I’ve done everything on my own; from writing and playing to recording and producing. I know it sounds like a lot to take on, but this is how I feel about it. Whatever I’m incapable of just won’t happen. And that’s okay! I’ll give it my best shot and if I can pull it off and it works, then fuck yeah. But if not, no sweat. I won’t seek out help from others. Is that stubborn? I guess what I’m getting at is, I don’t particularly allow myself time to worry about the stuff that I can’t do for a song. I’m far from an expert, so I’ve had many of these “can’t” moments, but I try not to dwell. I feel a great sense of pride knowing I was able to complete a song or album without help; this way here, it’s got 100% of my DNA. HA! I promise I’m not pretentious. I’m just independent. I think I learn better with limitations, surprisingly. I have no desire to do things traditionally, as I’ve said before. I follow many artists who do it themselves from their apartments or bedrooms; artists like Tonetta and R. Stevie Moore. I live for that shit. In my opinion, knowing that makes for a more intimate listen. However, there are rare times where I wish I did have accompaniment; like if I ever wanted to perform live. I constantly wonder how my music would sound live; but I’d need a band for that! Duh! In short, I’m not quite ready to have another cook in the kitchen, so to speak. I prefer to go it alone!
Robbie’s most recent release, “First Class Lover,” sounds like a coconut margarita with a microphone. It begs to be enjoyed in a sun chair beside a plastic lawn flamingo. It settles sweetly amidst Robbie's collection of previously released love songs.
YLM: “Ho’olauna” feels like the beginning of a through-line that led to “First Class Lover.” What does the inside of your mind look like when you float out these easy-going tunes?
RS: “Ho’olauna” and “First Class Lover” are very similar in the sense that they’re both Hawaiian-Inspired. “Ho’olauna” is actually Hawaiian for “Introduction”, which is why it’s placed at the top! In most cases, my songs find their way to me quite easily, which is bizarre, because if you’d asked me to string a tune together five years ago, I would’ve told you to take a hike. I’ll lay down a few of those simple chords and start humming along. Eventually, the melody makes its way in, then the bass. I’ve been told that melodies are my bread and butter. It all comes together like a delicious sandwich. I utilized the lap steel guitar on every track on “A Dose of Reality”. It’s one of the trickiest instruments I’ve ever played, but it’s incredibly satisfying. I’m captivated by the sound. Mac DeMarco and George Harrison both have this style of guitar playing I’ve been after that sounds Hawaiian to me, but it’s not? It’s like their guitars are slipping and sliding all over the place. It’s wonderful. It reminds me of the beach. Or the goo inside of a lava lamp. I’ve been big into Hawaiian for many, many years and I try to sprinkle a bit of that influence on everything I make. “She’s a Mystery” especially is one of my favorites. I wouldn’t be opposed to doing a whole album of songs just like that. As a matter of fact, this may just be my next step. That’s where my head’s been at. I won’t go into too much detail, but I consider “The Angry Girl” and “First Class Lover” the start of another shift in my sound. Lyrically, things may sound a bit familiar, but I can feel myself gravitating towards more “tropical” instrumentation. It makes for a great mix. I missed writing songs like this! I can’t wait.
YLM: Each of your songs are unique but your album, “A Dose of Reality,” is so cohesive. How do you so effectively balance incorporating unique sonic details while maintaining continuity from a bird’s eye view?
RS: Creating an album that feels cohesive while still retaining the individuality in each track was something that was at the top of my list this time around. I discovered that It’s all about following a central theme or mood that ties everything together. Luckily, the groundwork was laid out for me from the start. With “A Dose of Reality” I had established an arsenal of specific instruments and textures that would carry us all the way through; my little load out. I had a specific set of synthesizers, a LinnDrum, and of course, that damn lap steel; all prevalent throughout. I ensured that all of the tracks were mixed and mastered in a similar fashion; that way, even if a song ended up taking a bit of a different turn instrumentally, there’s something familiar that grounds it, like that signature lap steel motif that you hear sprinkled throughout the album; that little glide-in that I love so much. I also took the album’s “flow” into consideration; how the songs would be arranged on the track list. I set the songs up in a way that guides you to a climax, the title track, hits you with a track fun and bouncy, “Let it Go”, and end on one that pulls at your heartstrings, “A World Without you”. My intention was to send the listener on a journey through my psyche and form an effective experience. It felt like I was a mad scientist or something. I told you that I wanted to challenge myself with this album and I feel like I did. It put me through the wringer in the best way possible. These are all great examples of things I never really considered before, but will now for future projects. In the end, it’s all about keeping that core message or vibe consistent, but letting the songs evolve on their own within that framework.
On Robbie’s most recent album, "A Dose of Reality," his cheerful arrangements are married with lyrics that tackle his inner conflicts about aging, his view of the past, and himself. While listening to one of the album's more popular tracks, "Who Am I," it's easy to lose track of your foot as it taps away to the two-beat. On the other hand, Robbie floats out "I CAN HARDLY RECALL / WHO I SEE IN MY MEMORIES / IT AIN'T ME AT ALL."
Robbie's track "A Dose of Reality" doesn't demand self-reflection, it gently invites you to. It feels like it should be easy not to lose sight of ourselves. So many of us struggle with anxious thoughts and self-criticism and yet it's just as universal an experience to wake up and realize that you don't recognize yourself. Are you still a dreamer? An artist? Surely, satiation for mediocrity isn't "BOUND TO HAPPEN TO ME / LIKE IT HAPPENED TO ALL OF YOU," right?
Or is this is that "swing of things" we had always heard about? I used to think I'd never "settle" and would eternally be a wide-eyed student of this life. Then I opened my eyes and realized I was in scrubs in the grocery store on a Tuesday night and just like Robbie warned me, "NO ONE GETS OFF FREE / CAN'T YOU SEE ... IT'S YOUR DOSE OF REALITY."
YLM: There’s a poignant juxtaposition, especially throughout your album “A Dose of Reality,” between sunshine-y instrumentation and somber, introspective lyrics. Does this vulnerability ever frighten you? If so, how do you manage that fear?
RS: What an awesome question. It all started when I wrote “The Way It Was”. It was two months after “Mixed Signals” and I had a hankering to release something new. So, I sat down one evening in the dark studio and wrote about how I was feeling at the time, which was totally out of character for me; the goofy love song man. I had never written something so vulnerable and introspective in my life, but it was extremely cathartic. I think I needed it ‘cause my pen was flying across the page. HA! It was like some sort of awakening. I didn’t really consider the repercussions of putting my feelings on display. I actually remember being excited about this track, despite the subject matter, because it was a different side of Robbie nobody has heard before. Oooh, mysterious. It was at this point that I knew I wanted to explore this further on my next record. I combined my knack for bubbly pop music and lyrics of this new-found introspection and before I knew it, I had an album on my hands. I was ready to share my diary with the world. I’ve always considered crafting this album as a necessary experience for me. It’s been a little over a year since release and I have no regrets. I think most listeners appreciated my transparency and honesty and even resonated with my words, which is a beautiful thing. I’m grateful I didn’t let the fear of oversharing take over. If I did, it might’ve just cost me the album. “Who Am I” and “Inside My Head” are two tracks that are easily Robbie at his most raw, despite the upbeat, sunny instrumentation. I love when songs do that!
YLM: Your music feels fearless in the way you straightforwardly address complex topics like anxiety, regret, retrospection, and heartbreak while maintaining a balmy attitude. What keeps you brave?
RS: In all honesty, I’m not that brave; quite the opposite, I’m afraid. I think my music, as well as my Instagram stories paint a picture of this care-free, silly guy. Which I am! However, we all have skeletons in our closet. I’m not playing a character by any means, but I’d be lying to you if I said I’ve always got a smile on. Life can be scary. It can be strange. Especially as I creep closer to thirty. The music thing has been a real blessing, as it helps keep me distracted; an escape; a safe haven. It’s a gas. Have you ever seen Courage the Cowardly Dog? Sometimes, I feel like him. Poor little dog. But, in all seriousness, I’ve learned that it’s important to take a step back every so often and look at the positives. Life is a gift. I was feeling very pessimistic during the production of “A Dose of Reality”. Lyrically, it’s quite evident. The entire album-crafting process taught me that it’s imperative to practice optimism, patience, and gratefulness. So, to answer your question, I’m still a work in progress. I’ve got a lot to be grateful for right now and that alone is enough to keep me going! I mean, how lucky am I to be able to share my music and talk to you?
YLM: You refer to yourself as “a kid at heart” on your album “A Dose of Reality,” despite the somber themes explored in the album. How do you stay whimsical and wonder-full when the world gets dreary?
RS: It’s not easy, that’s for sure. It’s one of the most challenging aspects of growing up. Like I’ve said before, sometimes it’s difficult to keep things light. Sometimes you just need to grin and bear it. “Kid at Heart” was written about my lack of true life experience; my immaturity, ignorance, and stubbornness. Being labeled a “kid at heart” is considered a term of endearment; someone who maintains a joyous and youthful attitude. I’d consider myself a kid at heart in that way, but the song in particular is meant to highlight the fact that I never really grew up. It’s depicted as a negative in this case. I still feel like a kid who’s lost in this big, scary world. I constantly worry that this lack of experience and willful ignorance is going to affect me greatly in the future; that fucking dose of reality. I’ve tried to hang onto my youth for as long as I can, but we’ve all gotta grow up sometime. It’s a tough pill to swallow. It’s not practical to stay a kid forever. Every so often, I’ll think to myself “Am I doing this life thing all wrong?” Perhaps it’s time I pull up my pants and face the music. I don’t know. But, getting older is a privilege and I am grateful I’ve made it this far. I wish I could tell you why letting go of the past and change as a whole has been such a challenge for me. Deep down, I think I’m afraid of becoming jaded and losing my spark.
YLM: “Times are changing quickly and the clocks are moving fast” is a lyric presented in “The Way it Was.” This hit hard, especially since our zine explores transitions and growing up. Do you have methods of making moments feel longer? If not, what helps you enjoy the ride?
RS: I’ll be turning thirty at the end of this year and I’m shuddering at the thought. I have yet to figure out how to slow things down. It comes at you at a frightening speed. Forgive me if this sounds a bit neurotic, but the inevitable frightens me to no end. Recently, I’ve been shifting my priorities around a bit; prioritizing my overall well-being, slowing myself down, trying to live in the moment; things like that. I’ve scaled back considerably in terms of the music thing, but that’s okay. I’ve have to remind myself on numerous occasions that breaks are a necessity! I know it’s impossible to stop the clock. I’ve spent a lot of time with my mom and my grandfather over the past year. I love them so much. They’re all I’ve got. Something in my heart tells me that moments like these are the ones I should be focusing on: the little moments in the now. If I can offer any advice to the readers out there, it’s to live in the now. I’ve wasted way too much time yearning for the past or worrying about my future, that I’ve missed out on a lot of the present. It feels like I’m making up for lost time, picking up all the pieces. I will leave you with a quote that my grandfather Bernie shared with me on one of our lunch dates; “CHERISH YESTERDAY, LIVE TODAY, DREAM TOMORROW.” I hate to end things on such a sad note! I’ve got a new tune out today. It’s a good one. It’s one you can shake your tail feather to! HA! I can’t thank you enough for your questions, seriously. I hope it was a good read. God bless you, YLM!
Keep up with Robbie on Apple Music, Spotify, YouTube, and Instagram.
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