The Pulse Between Seasons: Gavrielle Talks “melody’s adderall” and “Resonance”

Somewhere between a Broadway curtain call and the pregame chaos of a Friday night, “melody’s adderall” finds its pulse. The track evaporates, warping the midpoint of “Resonance” into a liminal blur where seasons shift and structure dissolves. No topline. No lyrical tether. Just texture, nostalgia, and the kind of sonic fragmentation that suggests meaning without declaring it.

Gavrielle’s approach is about arrangement, sensation, and the subtleties that happen when narrative steps aside. “melody’s adderall” behaves like an intermission but functions as a pivot: half memory, half momentum. The party at the end isn’t an afterthought; it’s the point. But don’t take it from us; let’s see what Gavrielle has to say about it in today’s interview:

“melody’s adderall” stands alone in Resonance with no topline. What led you to make that creative decision?

Being that Resonance is 15 songs, I knew I wanted a piece that felt like an intermission. Similar to watching a Broadway show, you get up, stretch your legs, and wander back in when the lights start flashing. “melody’s adderall” marks the middle of the album, a sonic transition between winter and spring. I love the element of it being an instrumental track because Gavrielle, as the front-facing performer, takes a back seat as well :) I imagine when I do perform this song in the future, there will be a lot of dancing!

Can you walk us through the production process behind “melody’s adderall,” from the first idea to the final master?

I love this question. The song went through so many iterations. The idea was always there. It originally was called “adderall,” then “addy,” then finally “melody’s adderall.” From a production standpoint, at first, it featured the notorious Broadway male voice saying, “Please return to your seats; the show is about to begin,” giving it a theatrical feel. I also tried a different approach, taking a poem I discovered on YouTube about adhd / adderall, and mixed it in similar fashion to the Fred again.. tracks “Sabrina” and “Tate,” but it felt a little too on the nose. The final master was a personal triumph for me. Each sound that I integrated gets its own solo encore on the way out. I loved incorporating the party sounds at the end with the guitar as well because it was reminiscent of my personal experiences.

Is there a visual component or memory you associate most strongly with this track?

Haha, yes. Several, in fact. I actually see my friends very clearly. I made dance music with two of my best friends for several years, and I hear them in the drums, shakers, etc. The tag “I like to go out, I like to party party” reminds me of one of my girlfriends who refers to herself as a ‘bulldozer’ when corralling us all to go out. My favorite part of the song is when there’s a breakdown, and I visualize a dance circle where everyone is losing themselves in the music. It’s an extremely nostalgic experience for me, and that’s what I love about it the most.

How do you approach instrumental storytelling differently from vocal tracks?

Ah, another brilliant question. I’m able to express myself so differently when I remove my lyrics and vocals. It becomes more about what the song feels like, rather than what I’m trying to say. With “melody’s adderall,” the feeling is putting on a song to listen to while getting ready to go out, or to throw on in the Uber, or to vibe to at the clubs, after-party, etc. It becomes more of a soundtrack rather than a message. My hope is that everyone who listens to it forms a happy memory associated with it.

What was the biggest challenge in letting the instrumental speak for itself?

Well, this entire album is my debut as a producer, and this particular track highlights that. In that regard, it was important for me to pay homage to all the producers who shaped my sound (and continue to do so). Female producers make up only about 1-3% of the industry. It’s a true boys' club, and I was originally very intimidated by that. But truthfully, I love being one of the boys, so here we are :)

Have you ever felt like your production instincts conflict with your melodic sensibilities as a vocalist? Or do they dance well together?

I typically try to produce in keys that complement my vocal range if I’m singing on the song. I love that I’m finally in control of that element.

Do you feel more exposed releasing an instrumental than a lyric-laden track, or is the vulnerability just a different flavor?

I feel naked every single time I release a song, be it an instrumental or a song that features my lyrics and vocals. The whole experience is just so vulnerable. In the past, I really enjoyed being a featured vocalist on a song that wasn’t mine or writing for other artists, because it took the pressure off. Now everything is on me, 100%.

What do you feel is missing from today’s electronic or pop production landscape that you’re trying to bring back or highlight?

My favorite question so far :) Personally, I actually feel like dance music is in a really good place right now and feels reminiscent of the peak 2014 sound. I’ve really enjoyed the freedom of producing without any rules. Whether it’s following the structure of a song—verse 1, pre, hook, verse 2, pre, hook, bridge, out, etc—or a certain time limit that’s meant for radio play (usually 3 minutes or under). I broke all the rules on my upcoming album. I also love producing for the experience, like a ride you’re about to go on, or how it feels to hear it live at a festival. I have a few songs on the album that exceed beyond 5 minutes, and at first, I was afraid people wouldn’t make it past 30 seconds. I also lean into so many genres. I started in this industry as a singer/songwriter girl at the piano playing at the hotel cafe. It’s crazy seeing the evolution, still writing as her but able to produce and let the lyrics shine in such a different way.

What’s one piece of advice you’d give to artists who want to take more control of their sound?

Just fucking go for it. I had to be reminded by so many of my friends who are musicians and producers that there is no “wrong” or “right” way to make music. For me, disconnecting and unplugging from the matrix was pivotal to my journey in becoming authentic to my sound. Taking breaks is important. Finding other hobbies that bring joy and peace while I was making the album was crucial as well. It helped keep the tank full.

What’s up next for Gavrielle?

I have one more summer single dropping on August 22nd. I’m finalizing the album as we speak. It’s an incredibly exciting time. I’m just so happy that my songs are being released into the world and grateful they are resonating ;)

Find Gavrielle on Instagram