Madeline Kenney The Same, Again: ANRM (Tiny Telephone Session)

About

Following the success of her  fourth album, A New Reality Mind, Madeline Kenney is back with The Same, Again: ANRM (Tiny Telephone Session).

The Same Again: ANRM (Tiny Telephone Session) places Madeline Kenney in a light of which many have never seen before — unless you caught her immaculate mid-pandemic livestream performance for Outside Lands’ Inside Lands at the Saint Joseph’s Art Society, that is. Recorded at Tiny Telephone in Oakland, CA in just one day, Kenney rerecorded her latest studio album A New Reality Mind in full with only a grand and an open upright piano (aside from the occasional inclusion of backing vocalists). 

While touring A New Reality Mind, Kenney faced new curveballs each night —  a lost power cord here, a lack of monitors there — which forced her to adapt and strip down the performance. These random sets of circumstances ended up being a fun challenge and would go on to inspire the recording of The Same Again. Kenney, ordinarily the ever meticulous producer, welcomed the new set of constraints. Using fewer tools allowed her to re-center her focus on communicating the story of these songs.

Using musical sketches from the sessions that brought us her EP Summer Quarter, the recording of A New Reality Mind was prompted by a sudden break-up in 2022. Once she listened back to those recordings, she noticed that she was more aware of the signs than she had realized. The album shows the process of acceptance, self-forgiveness, and a willingness to move forward. In their new format, the songs are even more therapeutic than the original — happy or sad.

A New Reality Mind was Kenney’s first self-produced record having worked previously with Chaz Bear of Toro y Moi, and Jenn Wasner of Flock of Dimes and Andy Stack who together make up Wye Oak. With three records already under her belt, Kenney was ready to do it on her own and A New Reality Mind was also the first written primarily on piano and synthesizer. Full autonomy allowed her to make highly orchestrated, calculated, and formulated productions. 

While A New Reality Mind showcased her ability as a producer and songwriter, The Same Again is proof of her ability as a musician. The Same Again is indeed stripped down, but Kenney’s prowess on the piano still feels magnificently full. There’s also more room for her vocals to shine. Ever the emotive and passionate singer, in a way that feels almost punk, every inflection and extra added bit of breath exerted can be heard perfectly. Limiting herself to 1–3 takes added a new, but welcome, sense of pressure. With fewer instruments to fuss over, she was allowed to meditate more on the lyrical content and how to even more clearly communicate what she wanted to say to the listener. The result is more honest, comforting, intimate, and true. “It was a whirlwind to do it all in one day, but I really enjoy working that way,” Kenney shares, “It feels much more at the base essence of the role that music plays in my own life — urgent expression of the inner self.”

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.