After the runaway success of her debut Mad Twenties, singer-songwriter Taylor Rae returns with The Void — an introspective, genre-blurring album that dives deep into themes of heartbreak, personal growth, and emotional reckoning. With Grammy-winning producer Eric Krasno at the helm, Rae expands her sonic palette while staying grounded in the heartfelt storytelling that has earned her a loyal following.
Below, Rae opens up about the creative process behind The Void, the unexpected inspirations behind standout tracks like “Cologne” and “Maybe I’m the Villain,” and how she’s learned to embrace uncertainty as a creative force.
You’ve described The Void as your most personal album to date, written during a time of constant change and introspection. How did diving into that emotional space affect your creative process and the way you approached songwriting for this record?
Writing The Void meant sitting with emotions I’d usually try to move past quickly – grief, doubt, identity shifts. But I didn’t want to just write about those things; I wanted to write through them. That meant being patient with myself and the songs. Some took years to finish because I had to live more life before I could understand what I was really trying to say. Letting the process unfold naturally, rather than forcing anything, became its own kind of therapy.
Working with Grammy-winning producer Eric Krasno on this album brought a new sonic depth to your music. How did his influence — and your detailed production references — help shape the eclectic sound of The Void?
Eric brought this incredible blend of musical instinct and technical expertise to the table. I came in with playlists and references for almost every track – down to specific drum tones, bass lines, or even emotional textures – and he was totally receptive to that level of detail. But then he’d add his own flavor, which pushed the songs into a more expansive sonic space than I could’ve achieved alone. We played with everything from rubber bridge guitars to vintage synths, and the result is this layered, analog warmth that still feels deeply personal.
“Cologne” has been charting for seven straight weeks on AAA and Americana radio — congratulations! What’s the story behind that song, and why do you think it’s resonating so deeply with listeners?
Thank you! “Cologne” is about scent memory and the way something so small can bring back a flood of emotion – especially in a long-distance relationship. The hook lived in my head for years, and the final push came after a funny moment on a date when I realized we were both wearing Nemat Amber Oil. I think the song resonates because it’s both specific and universal. Everyone’s had that visceral, sensory moment of missing someone. And sonically, it’s lighter and groovier than some of the heavier tracks on the album, so it gives people a doorway into the deeper themes without dropping them in all at once.
The title track, “The Void,” opens the album with a slow build and rich instrumentation. Why did you choose to begin the record this way, and how does that song set the tone for what’s to come?
“The Void” is the emotional centerpiece of the record, so it felt right to start there – to let the listener drop into the deep end with me. The slow build mirrors the way personal change often feels: disorienting, heavy, but eventually illuminating. It sets the tone for everything that follows – each song is another layer of the journey out of that dark, undefined space and toward clarity, acceptance, and maybe even joy.
Your album navigates a wide range of genres — from reggae to soul to roadhouse rock — yet still feels cohesive. How do you balance stylistic exploration with maintaining a clear artistic identity?
To me, genre has always been secondary to storytelling. I grew up loving artists who blended styles effortlessly – like Bonnie Raitt or Norah Jones – so that gave me permission early on to follow the feel of a song rather than box it in.
You’ve said you made playlists for each song before going into the studio. Can you share a few surprising or standout inspirations that helped guide specific tracks on the album?
Absolutely. Creating playlists was a huge part of the pre-production process. It helped me really focus on the mood of each song rather than trying to chase specific sounds. For example, for the title track “The Void,” I was inspired by how songs like “Let It Happen” by Tame Impala or “Come Back to Earth” by Mac Miller opened their respective albums. One of my favorite left-field references was Steely Dan’s “Jack of Speed” for “Cologne.” That groove really stuck with me. I also leaned heavily on rock references for “Maybe I’m the Villain,” like “R U Mine?” by Arctic Monkeys and “Future People” by Alabama Shakes. That whole second-track energy of being dark, punchy, and unapologetic was something I wanted to tap into. “Telluride” was guided by road trip songs like “Mary Jane’s Last Dance” and “Going to California,” and I always imagined it featuring mandolin.
Looking back on the journey from Mad Twenties to The Void, how would you say you’ve evolved both musically and personally — and what does ‘coming out of the void’ look like for you now?
Mad Twenties was about documenting the chaos of becoming an adult – touring, heartbreak, figuring out who I was in real-time. The Void is me pausing long enough to process what it all meant. I’m less afraid now to write about things that aren’t tied up in a bow. Personally, I’ve gotten more comfortable with uncertainty and learned to find strength in vulnerability. Coming out of the void doesn’t mean I have everything figured out – it means I’ve learned how to sit with the unknown and still create something from it.
Tracklisting:
01) The Void
02) Maybe I’m The Villain
03) Cologne
04) Telluride
05) Undertone
06) Celebrating Alone
07) Not Mine
08) Hi
09) Trapped
10) The Airport Song
