we recently had the pleasure of interviewing Vancouver based singer songwriter Debra-Jean Creelman, whose new single “Bloom” has quickly become one of the most emotionally resonant releases of the season. “Bloom” is the kind of song that feels less like a performance and more like a moment of truth. It carries a quiet emotional weight, weaving soulful vocals with tender alt country textures that pull listeners into a space of honest self reflection.
Born from a simple writing exercise with one of her students, the song quickly evolved into something far more personal. Through memories from her childhood and insights from her present life, Debra shaped a narrative that asks bold, vulnerable questions about growth, self blame, and the courage it takes to face oneself. That raw honesty is what makes “Bloom” such a powerful introduction to her upcoming album Little Town.
The recording process added another layer of magic. Debra captured the instrumental elements live to tape in a barn in Catskill, New York, surrounded by an incredible collective of musicians who shared a natural creative chemistry. The result is a sound that feels organic, warm, and deeply alive. You can hear the room, the moment, and the emotion in every note.
As she prepares to release Little Town, Debra stands in a new era of her artistry. Her sound feels more confident, more soulful, and more authentically her than ever before. With new songs on the horizon, upcoming shows, and a growing creative vision, she continues to leave her mark on the worlds of folk, soul, and alt country.
In our interview, Debra opens up about the making of “Bloom,” the spirit behind the album, and the evolution that has guided her to this moment.
“Bloom” feels deeply emotional and introspective. What personal experiences or moments inspired the song?
Sean and I mined some of the stories I’d told him about my childhood / current life, for the scenes & imagery depicted in the song.
You originally started writing “Bloom” as an exercise with a student. At what point did you realize it was becoming something bigger?
When I came up with the chorus hook “Is it my fault that I don’t bloom? Is everything else my fault too?”
The song blends soulful elements with alt-country textures. How did you shape the sound and direction of the track?
Bloom was actually one of the songs that took the longest to come together groove wise. Sean made some cool demos with him singing over the finger picking pattern you hear on the finished track. But then he also did one with the backbeat feel you hear on the bridge. He was really hearing the whole song with the backbeat – but I pushed hard to keep the finger picking pattern, cuz I found it was easier to sing over / had more vibe. We didn’t figure it out until we were in the studio with the band. Got a bit heated for a minute, but the struggle was worth it I think.
What message do you hope listeners take away from “Bloom” when they hear it for the first time?
I don’t really have an intention or hope for what people will take away from my music, other than it could hopefully help them feel less alone?
You recorded the instrumental elements live to tape in a barn in Catskill. How did that environment influence the energy and authenticity of the recording?
Recording live to tape forces you to get over obsessive perfectionism, and be more in the moment. But the fact that Sean lived in Catskill, and was able to recruit his best friends / favourite collaborators for the session was also a huge factor. Each of them has their own beautiful singer/songwriter project, and they all play in each other’s bands. So I got to drop into an existing creative collective who adore each other, and had a musical shorthand already in place. It was really a dream scenario.Everyone on the record is heavily influenced by the music of Bob Dylan / The Band / Neil Young / The Beatles – so it was extra special to be tracking inThe Hudson Valley, amid it’s rich musical history.
Big Pink & Levon’s farm are not far from Basement Floods Records (the studio owned by Alex P. Wernquest where we recorded). I like to think you can hear some of that spirit on the album.
“Bloom” introduces listeners to the sound of your upcoming album Little Town. What themes run through the project as a whole?
Earthy soulfulness. A blend of irreverence and reverence. Jungian individuation meets Pentecostal “take it to church” spirit.
You have been part of the music scene for many years. How has your sound evolved into what we hear today?
With each record I make I’m gaining more confidence in my abilities / instincts. I’ve also been slowly learning what works for me in terms of collaborators, and have been getting closer to making music that I would actually listen to.
What can fans look forward to after the release of Little Town? Are there upcoming performances, visuals, or collaborations?
We’re playing a release show at Greenauto in Vancouver on Nov 28th. I’m flying two of the NY boys out for it, with the intention of meeting them out east to play some shows in Ontario / Quebec / New York eventually. Johnny Decourcy will be doing live visuals for the show, in addition to some clips he did for streamers / socials. There are plans to do more stuff with him in the future.
How do you see your sound evolving in the years ahead?
The goal is to make music that properly reflects my biggest musical influences and has my vocals front & center. I also want to make records that will translate well live, and be more of an emotional experience for the audience – rather than a cerebral one.
I have the bones of several new songs that I plan on finishing with Kendel Carson & Dave Genn. I could definitely see the next record being in sort of the same vein as Bloom. I’ve been sending tunes by Adrienne Lenker, Gillian Welch & Waxahatchee to Kendel as inspo for the new direction.
What do you hope your music continues to contribute to the wider folk, soul, and alt country landscape?
Heart & Soul
Exclusive Interview With Debra-Jean Creelman
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