When Gia Margaret lost her voice in 2019, the experience was, in her own words, like “reliving a nightmare every day.” This profound period of silence forced the Chicago-based singer-songwriter to pivot, leading her to explore the textures of drone and composition. Her ambient work, including the track “Hinoki Wood” from Romantic Piano, eventually found an unexpected second life as the soundtrack to viral internet memes. While this digital success often occurred independently of her name, it signaled a quiet shift in her audience, drawing in a new generation of listeners.
Now, Margaret is set to release her new album, Singing, marking her first vocal-centric project since 2018’s There’s Always Glimmer. Working alongside producer Guy Sigsworth—known for his collaborations with artists like Rosalia and Madonna—Margaret has crafted a record that retains the intimate, close-quarters atmosphere of her ambient period while expanding into more expansive sonic territories. Tracks like “Good Friend” exemplify this evolution, blending trip-hop sensibilities with Gregorian chants to create a compelling, rhythmic depth.
A New Chapter of Expression
In a recent conversation, Margaret reflected on her creative process and the philosophy behind her work. When asked about the potential for listeners to misinterpret her lyrics, she remained characteristically open-minded. “I think it is a listener’s right to misunderstand lyrics and take what they want from them,” she noted. “Go ahead, misunderstand them.”
Her influences remain as eclectic as her sound. She cites Sade’s Lovers Rock as a foundational purchase from her youth, an album that helped shape her own approach to vocal performance. Similarly, she speaks with reverence about the live performances of Leslie Feist, whose Multitudes tour she describes as a masterclass in sound mixing and theatricality.
Life Beyond the Studio
Outside of her musical endeavors, Margaret maintains a grounded perspective on fame and success. She expresses a preference for the anonymity of figures like Banksy, noting that the ideal situation is one where the work is recognized while the artist retains the ability to live in peace. Her daily life is defined by simple pleasures: walks near the lakefront, journaling in coffee shops, and collecting field recordings on a vintage Sony micro-cassette recorder.
As she prepares for her first headlining tour, Margaret is balancing nerves with genuine excitement. It is a moment of reconnection—not just with her voice, but with the audience that has followed her through her periods of hiding and healing.
