By: Staff
Kenzy Peach’s latest release “I Think I Get It Now” is a powerful, raw anthem that grips you from the very first note.
With a rumbling bass opener, this track unfolds like a story you can't stop listening to, drawing you into the uncomfortable reality of recognizing a toxic relationship. As Kenzy’s calm delivery sets the stage, you immediately sense that this is no ordinary pop-rock track. It’s a confrontation, a reckoning with the past. Her vocals gradually build with every verse, each note carrying more power and emotion until it explodes into a chorus that’s nothing short of exhilarating. When Kenzy belts out, “And all I ever thought and want was just for you to love me,” you feel the weight of the betrayal, the sadness of being taken advantage of, and the anger at realizing that love was never the intention.
As the song progresses, Kenzy Peach takes listeners on a rollercoaster of emotion. Her voice rises and falls with the intensity of her message, and by the time she reaches the chorus, “I think I get it now,” it all clicks into place. The sadness turns into rage, and suddenly, it’s not just her story anymore, it’s an anthem for anyone who’s ever felt used or manipulated. The raw energy of the track, combined with Kenzy’s commanding vocal presence, ensures that this song won’t just be played once. It's the kind of song you’ll scream along to in the car, letting out all your frustration and anger.
The musical arrangement here is top-notch. The track builds and drops, mirroring Kenzy’s emotions throughout the song. The grinding guitars and pounding drums amplify her message, supporting her every word. The engineering on this track deserves high praise, every layer of sound is crystal clear and packs a punch, whether you’re listening at full volume or a lower setting. You can feel the intensity in every beat and every note.
Kenzy Peach doesn’t hold back, and that’s what makes “I Think I Get It Now” such a standout. Not only does the track provide a cathartic release for listeners, but it also shines a light on the darker side of relationships, especially when one person takes advantage of another. It’s a tough subject to tackle, but Kenzy does it with grace and ferocity, making this song both relatable and empowering. Her message is clear: it’s okay to be angry, and it’s okay to finally understand that you deserve better.
You can find this release on any major platform. See below for links to take you straight to some of the profiles. Make sure to playlist, stream, and share “I Think I Get It Now” by Kenzy Peach.
Wait… there's more!
We had the chance to catch up with this exciting artist for an exclusive interview in "The Cage" Music Blog.
Here’s how it went:
Begin Interview
Hello Kenzy Peach, we’re thrilled to have you for this interview! We've thoroughly enjoyed diving into your music and exploring your work, and now we’re even more eager to discover more about you, both personally and professionally.
What are the main challenges you face as a solo artist, and how do the benefits of working independently compare?
Despite being a “solo artist”, I never really do it alone. I rely on my band, my producers, engineers, session musicians, friends, fans, and so many other collaborators for everything from live shows to marketing.
The creative control I maintain by releasing my songs as a solo musician is majorly important to me - I get the final say for all creative decisions, so I’m able to ensure the work comes out in a way that fully represents my vision. But that’s a lot of pressure! I have no one else to blame when a song flops, or I screw up a song live.
How long have you been making music?
For the past 3-7 lifetimes most likely.
What emotion do you feel inspires your desire to start a project, i.e., sadness, worry, happiness, etc.?
Usually I write from a place of near-insanity. I’m always teetering on the edge so it’s not that difficult to tap in. Songs bubble up inside me and start leaking out without my permission. I write on the go a lot - while driving, or out for a walk.
A lot of my songs are just letters I can’t send. I write songs hoping very specific people will hear them. They never do.
What inspired the powerful message behind “I Think I Get it Now”?
What message do you hope listeners take away from "I Think I Get it Now"?
This song was written purely out of my own catharsis, but hopefully it serves as such for anyone else who has been taken advantage of. I hope people scream it in the car and let themselves exercise some rage.
What instrument do you use as the foundation to start your musical creations?
While I do love to sit down at the piano or with my guitar to write songs, this one started as an unaccompanied melody. I love writing in the car, singing into my voice memo app, fully fleshing out the song, and then finding the right chords on my guitar once it’s fully written. I’m not an expert guitar player, so I find writing this way can actually free me to write more dynamically than I would with an instrument in hand.
What instrument do you not play, or play leisurely, that you wish you could master?
Everything I play, I play leisurely. My attention span is incredibly short so I have a hard time doing the necessary practice to get really good at anything aside from singing. Basically, I won’t learn technique until I accidentally write it into a song. I’d love to eventually master the guitar, which could happen as long as my writing stays one step ahead of my skill.
In my fantasy world where all I do is play music, I would love to get really good at the pedal steel guitar, theremin, or harp. I love instruments that have a sort of ethereal magic to them.
Can you tell us more about working with producer Zach Bloomstein at Portland’s Jackpot Studios on this track?
Happily! Zach is such a gem, I feel so blessed to work with him. His belief in my music and excitement about this song in particular made this project a breeze - he had zero ulterior motives aside from truly loving my work, which unfortunately is not a given in the music industry. I think it’s tough for a producer to act from a place of service to the music rather than a place of ego, and Zach was able to add massively to the track while always prioritizing my vision and perspective. He’s also so damn good at what he does - he acted as both the producer and studio engineer, and we wrapped in 7 hours from start to finish. I could go on but yeah, I love Zach.
This was also my first time recording at a studio as prolific as Jackpot. To create in a space utilized by legends like Built to Spill, Sleater-Kinney, and Elliott Smith to name a few… It was a massive honor. I never thought I’d care about that sort of thing honestly, but there’s something inspiring about the shared psychic energy of a storied physical space.
What was the most challenging part of bringing "I Think I Get it Now" to life, from the initial idea to the final recording?
The key change! The song started with just verses and choruses. It felt like something was missing, so I added a bridge. Once I got the bridge in there, I realized it also needed a key change. But I had no idea how to write one!
Thankfully my band is full of musicians far more theoretically skilled than I. My drummer Joe O’Connor played us “She’s Gone” by Hall & Oates and we were able to mimic the incremental climbing key change that song uses. We were so proud of ourselves, that was probably my favorite band practice of all time.
What part of the music-making process is the most stressful, i.e., the creation, the actual release date, etc.?
The mixing and mastering process, simply because it’s the very last opportunity to get it right before the song’s release, and that’s simply too much pressure for me to handle. I tend to go through a major freakout after hearing the first mix of a song - I catastrophize, I panic, I decide that I hate the song and myself.
It’s so important to work with collaborators (like Zach) who are super patient with me, and are able to parse through my neuroses to make the changes necessary to rebuild my confidence in the songs.
I’ve also gotten way better at asking for what I need during that stage, and my confidence in my artistry has grown to the point where I simply won’t release a song if I don’t totally love it, no matter how many passes it takes, how much extra money I have to spend on it, or how long it delays the process. I’m finally at a point where I trust myself fully. But hearing those very first mixes and masters will probably always freak me out.
If there was one thing you could change about the music industry, what would it be?
Everything. Over the past year, I’ve realized how impossible it is to get your music heard for free. I used to think of the term “Industry Plant” was an abstract concept, but yeah, you absolutely can pay your way to fame as a musician. Not to mention the insidious way beauty standards factor into the equation. It’s very rare that female musicians who aren’t young, thin, and conventionally attractive see massive success, which adds a pressure that really diverges from authenticity.
It’s all really depressing. It’s not even that I think my music is significantly better than that of shockingly hot women with massive financial backing, but sometimes I’ll see an artist gain traction who I find super mediocre, and I can’t help but think, “if mediocre songwriters are getting 500,000 Spotify listeners, why can’t it be me?”
The answer is capitalism, as it tends to be. Or I’m just not the right kind of mediocre musician. Who knows. I try not to think about it too hard.
Where do you see your sound and artistry heading in the future? Are there any exciting new directions you're exploring?
I kind of want to be a pop star. Or really lean into a golden era country sound. I want to have eras. I want my music to evolve forever. I can’t really plan on where it’ll take me, I just have to trust it and follow.
What advice would you give your younger self?
Nothing. The butterfly effect comes to mind - I’m where I am now because I had to learn through experience.
Plus, I’m kind of hard-headed. She wouldn’t have listened to me anyways.
Most people love or hate social media—where do you land?
Social media as a tool for connecting the world and exposing us to people, places, and knowledge that we woudn’t have otherwise is an incredibly awesome feat.
Social media as an arm of capitalism that insidiously farms our very limited time on this earth in order to morph us into unsuspecting free-laborers and prime us to consume excessively is very, very bad.
When you reach the stage where you have the admiration and respect of other world-known artists, what band or artist would you love to call and say, “Let’s go on tour together”?
CMAT! CMAT PLEASE LET ME TOUR WITH YOU! I PROMISE MY STAGE PRESENCE IS OUT OF THIS WORLD JUST GIVE ME THE CHANCE! PLEASE CMAT! PLEASE PLEASE PLEASE! CMAT I LOVE YOU!!!!
As humans, we should strive to perform acts of selflessness daily, and many do. Once your artistry has achieved widespread recognition, how would you use your influential voice to make a bigger positive impact on the world?
I think that anyone, no matter how known or influential, has massive opportunity to make a positive impact on the world.
In fact, the most impactful you can be is not on a global scale but within your own community. We see a lot of people pressuring big artists to have a political presence, but those same fans walk by their own houseless neighbors without ever offering a helping hand. The world is right outside your door, you can change it now.
Having said that, I do think it’s important to constantly uplift voices snuffed out by the state, for example the Palestinian voices that have been chronically silenced by the US and Israels’ terror. It becomes more important as your audience grows, but there’s no audience too small to be educated on morally vital messages.
End Interview
We’re thrilled to have shared this artist’s exciting journey with you and uncovered such inspiring insights about their creative process.
Now, click the links below to experience their incredible work firsthand!
Check out this latest release and listen to more of Kenzy Peach on Spotify & YouTube.
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