Madeline Kenney Summer Quarter

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About

On her self-produced EP, Summer Quarter, Madeline Kenney untangles moments of existential doubt and experiments with genre. After touring was cancelled following her album Sucker’s Lunch, Kenney was confronted by an extended period of unplanned time, sending her down a rabbit hole to reflect on where she ended up. She thus shifted her focus to conducting a study of new sonic interests and experimental production, a rare opportunity that could only present itself as time slowed down. The songs on Summer Quarter echo and ripple as she meanders between worldly questions and intimate observations, recording the loops that occur when you have almost too much time to think.

Kenney’s career has been notably dotted with collaborators like Jenn Wasner of Wye Oak and Chaz Bear of Toro y Moi, but this work is the first that is entirely produced by Kenney herself; all recorded in her windowless basement in Oakland, CA. With Summer Quarter, she is able to showcase her musical curiosity, letting herself experiment with soft synths and vocal treatments previously unassociated with her catalog. She stitches together dreamy sounds that both harmonize and contrast, pushing against the constraints that genres inherently assert. As she explores deeper into new musical territory, she unpacks the profound realization that life hasn’t turned out the way she expected. On the track “Wasted Time” she sings “So far/I’m going over everything /I care/But only when I’m suffering,” looking for ways forward through an existential fog.

Madeline Kenney can make the most intimate and introspective of subjects still articulate the universal feelings that hide in people’s minds. Summer Quarter is not only an exposition of Madeline Kenney’s curiosity for music, but also a means to pause and wonder about how the world seems to just carry on, no matter how hard we try to catch up.

Artist Bio

Madeline Kenney has always followed her creative instincts wherever they lead, crafting a musical career marked by constant evolution. Raised on piano and with a background spanning neuroscience, dance, visual arts, and baking, music ultimately became her primary artistic outlet. Since her 2017 debut Night Night at the First Landing, co-produced with Chaz Bear (Toro y Moi), Kenney has built a reputation for her intricate songwriting, layered production, and collaborations with artists like Jenn Wasner (Wye Oak, Flock of Dimes) and Kurt Wagner (Lambchop).

Her latest album, Kiss from the Balcony, is a testament to both personal and artistic growth. Created in collaboration with Ben Sloan and Stephen Patota, the record emerged from two week-long studio sessions in Oakland, where the trio transformed sketches and fragments into a fully realized album. Originally conceived as an EP, the project expanded as the chemistry between the three musicians brought unexpected depth to the songs. Sloan, with his background in experimental percussion and sound design, added an electronic texture to Kenney’s songwriting, while Patota’s guitar work provided a grounding warmth.

This record sees Kenney refining her exploration of love, power, and self-discovery. Songs like Slap and Scoop examine the complexities of identity and resilience, while They Go Wide reflects on both romantic and professional struggles. Though deeply introspective, Kiss from the Balcony embraces playfulness and hope, capturing the fearless curiosity that defines Kenney’s work.

Throughout her career, Kenney has maintained an adventurous approach to music, balancing meticulous craftsmanship with an openness to spontaneity. Whether directing music videos for artists like Hand Habits and Boy Scouts, collaborating on other musicians’ projects, or pushing the boundaries of her own sound, she continues to evolve, embracing each new phase with curiosity and conviction. With Kiss from the Balcony, she reaffirms her place as a singular voice in modern indie music—bold, thoughtful, and always willing to take risks.