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Their sophomore album, Love and Grief, embarks on a surreal journey through the collective lives of Baltimore, where shifting rhythms mirror the city’s seductive chaos. Sienna Cureton-Mahoney’s lyrics reflect her quest for balance between bliss and mania, celebrating loved ones lost and cherished within the city’s pulse. Through metaphor, the album becomes an homage to those who have shaped her life.

Mahoney observes the shift toward a more inclusive punk scene, where young artists confidently forge spaces for authentic creativity, radiating optimism for genuine change. Their music serves as a mirror to societal struggles and a rallying cry for justice, underscoring their commitment to authenticity and connection. In a world filled with digital noise, Hutchison reflects on how technology creates pathways for young voices to rise and amplify change, a sentiment he hopes will inspire solidarity.

As the band explores their eclectic influences—from Babes in Toyland to early folk—Rouse recalls the fervor of local shows that ignited his passion for music. Ultimately, PEARL embodies the spirit of punk and self-expression amidst a turbulent music landscape. As they forge ahead, they aim to inspire a new generation, fostering belonging and instigating positive change through the transformative power of their art. In the words of Babes in Toyland from the Austin Chronicle, “Being a musician is hard, hard work, but I’ve had a great life. If I died tomorrow, I’d know my life couldn’t have been any more fun”—a sentiment that resonates profoundly with PEARL’s journey.

Jaddie Fang: Can you give us some background on how the band was initially formed?

Sienna Cureton-Mahoney: Our story began around 2016. I was playing bass when Tommy sparked the idea of forming a band with our friend Killian as the frontman. With Tommy on guitar, me on bass, Killian lending his voice, and Amanda on drums, we crafted our initial sound. However, when Killian moved to Hawaii, Flynn and Jesse stepped in to fill those gaps, as Amanda had her own commitments. After a year’s hiatus, we reunited with the lineup we have now.

Jesse Hutchison: Flynn and I were previously in a band called Alone Time, where I played bass and he was the drummer. We had a solid foundation of collaboration, which continued when Flynn filled in on drums for Wet Brain. When Amanda and Killian left, the band disbanded, but from the embers of that experience, our current version rose anew.

Tommy Rouse: As a fan of Wet Brain I had wanted to play music with Sienna for a long time, I was really psyched to have that opportunity when we started playing together in the 1st version of Pearl.It has been even more amazing since Pearl’s reincarnation with Sienna as vocalist and Jesse and Flynn on bass and drums.

JF: As the songwriting process unfolds for you, do you prefer writing with more ambiguity and room for interpretation or a more direct approach?

SCM: Our process often starts with one of us crafting an instrumental riff to bring to the next practice. From there, we weave together a structure, and Flynn adds his unique parts. Currently, I’m focusing on songwriting while the others develop the instrumentals. Each song is closely tied to my personal experiences; I’m not aiming to preach but to share my own journey.

JH: Our sound is heavily bass-driven, which reflects my role alongside Sienna as a fellow bass player. The foundation of our songs often emerges from that rhythmic base.

TR: I believe this emphasis on bass enhances our music. It lends a unique depth to our style, making the songs stand out. While the guitar serves as an accent, the bass remains central to our sound. Though Sienna writes the lyrics and structures, both she and Jesse lay down the bass lines from which we build our compositions.

JF: If you were to apply a metaphor to describe the creation process of your new album, Pearl, how would each of you interpret it?

FD: Reflecting on our previous record, we aimed for simplicity and directness. With Pearl, I’d say we’ve become more intentional—each element is carefully crafted. We’ve thoughtfully arranged the tracklist, considering how the album opens and closes. It’s about creating a seamless flow, enhanced by interstitial moments that bridge the songs.

JH: This time around, there was a greater emphasis on refinement. We spent more time polishing the tracks compared to our last album. Between the songs, we added parts to fill the spaces, creatively deciding which songs needed those transitions and which stood on their own.

SCM: I find myself drawn to titles like “Love & Grief,” which resonate with themes of deep love and intimacy. We’ve pondered these concepts as we considered naming the album, although we’re still uncertain about the final title.

JF: Do you think your music is filled with anger? If so, where does that anger stem from? And do your songs reflect your life changes in any way?

SCM: A few songs may express some anger, but overall, the themes center on love and intimacy. I focus on navigating mental obstacles, transforming those experiences into passion rather than anger. I’m straightforward in my songwriting, so most of the songs reflect my honesty—like one about enjoying a party and others celebrating love. Anger isn’t a dominant theme in our music.

JF: A song “Straight Edge” released by Minor Threat in 1981 became the introduction to a movement that sparked the punk scene at the time and spread to most of the East Coast. The message is: You don’t need to be addicted to any drugs to have a good time at gigs. Many shows have moved venues away from clubs and bars with this philosophy, while straight-edge punk has taken music and lyrics to a more personal level, or sung for kids facing peer pressure. What do you think about being a punk nowadays?

TR: Punk is perhaps the opposite of pretentiousness.

SCM: I agree. It’s about waving your freak flag and fostering an independent music community. It’s great that people are still coming together for music in Baltimore. I’ve been listening to punk since middle school, and that background is integral to my identity. However, the landscape has changed. There used to be many DIY spaces for shows, but many shut down due to the pandemic or unfortunate events like Ghost Ship. Now, there are fewer venues, and Baltimore’s rising costs make it difficult for younger people to host shows.

JH: Punk is about forming a community that challenges the mainstream and political norms. It’s about doing what you want, playing by your own rules, and being part of the scene together. The spirit of punk is still alive, but there are complications now. There’s more scrutiny, and you can face fines for house shows. This heightened awareness has led to many DIY spaces disappearing or halting shows, impacting scenes nationwide. The community remains, but these challenges make it harder for us to thrive.

FD: It’s also about being proud of your self-expression and being honest about who you are.

JF: Do you feel emotional about the closure of The Crown?

FD: I don’t typically dwell on the past, so I didn’t have a lot of emotions about it. However, it did remind me of the amazing memories I’ve had there, and I recognize the significant history associated with the venue.

SCM: I remember when they had those fun round robin shows upstairs, where bands would play back-to-back in different rooms. It created a lively atmosphere and brought together diverse groups of people who might not normally interact. The recent expansion to a single large space sometimes made it hard to fill, which changed the dynamic. It’s sad because The Crown was heavily impacted by the pandemic, and it was a place that truly fostered community.

JH: Losing another venue definitely hurts the scene. We’ve already seen places like Joe Square and Wind Up Space close, which is another blow. It feels like a significant loss, not just for those who played there but for everyone who considered it their spot. Personally, I hadn’t been to The Crown in a while, but knowing its impact on others makes the closure feel disheartening.

JF: Do you think that after the pandemic, with more shows being held online, the energy and spirit of live performances can be transmitted through the internet?

JH: While online shows are great for those who can’t attend in person, they don’t compare to the experience of being there live. Nothing matches the energy of the crowd and feeling the music in person—it’s a completely different vibe.

SCM: We’ve recorded a few live performances with a talented videographer, and I appreciate the clarity of those recordings. You can hear the vocals and everything distinctly, which isn’t always the case at live shows. However, having an audience in front of you and feeding off their energy makes a significant impact on my performance. When the crowd is engaged and interacting, it revitalizes us and enhances the overall experience.

FD: Shout-out to Treetop Studios, where we recorded! They host local bands for in-studio performances, which feels very DIY and embodies the punk spirit. It’s a fantastic initiative that brings live music to people in a personal way.

JF: Do you think the integrity of the song itself is activated through performance and audience interaction?

SCM: Absolutely. Performing in front of a crowd that isn’t engaged can be nerve-racking. However, even the smallest audience can bring immense positive energy if they’re really into it, making for a rewarding experience.

JH: It’s a symbiotic relationship between the band and the crowd; we feed off each other’s energy.

JF: Do you prefer playing on stage or without a stage, with no distance?

SCM: I prefer no stage and no distance. I enjoy being with the audience. Sometimes being elevated on a stage can feel lonely, like all my friends are down there and I want to join them. A low stage or no stage at all allows for closer interaction, which I really appreciate—it doesn’t feel confrontational, but rather engaging.

FD: The last time we played at Metro, the stage was quite high, and Sienna spent most of the show in the crowd. We missed that connection. While a high stage helps those in the back see, it can create a sense of separation between the band and the audience, which can feel symbolically anxious.

JF: Have you ever felt an energy at your shows that made you feel confrontational?

FD: Generally, I find that people don’t get angry at our shows. It’s not about aggression; we aim to create a party atmosphere where everyone can move around without getting hurt.

SCM: I definitely have a lot of energy, and I want to move around, but I wouldn’t define it as confrontational. I’m not saying I’m not a confrontational person in other contexts, but when it comes to our music, it’s all about having a good time at a party.

JF: Speaking of influences on your music, what are some key influences that have shaped your sound today? Do each of you have a unique sound you’re eager to evolve?

SCM: My biggest influences include Babes in Toyland and Flux of Pink Indians, along with a mix of metal and high-energy dance music. I’m drawn to aggressive and passionate styles that get people moving.

FD: When I joined the band, I shifted from more showy musical projects to aiming for direct simplicity, focusing on catchy hooks that encourage movement. I want our music to be accessible and engaging.

TR: I got really into music as a teen in the ’90s, so some guitar influence comes from bands like Bikini Kill and Nirvana. I started playing and listening to old-time and folk music not long after, and I also began playing banjo, which influences how I play guitar. The energy of early folk music and local ’90s post-punk bands in Baltimore, like The Great Unraveling and Universal Order of Armageddon, really inspired me, especially Tony Joy’s guitar playing. Jesse and I went to see Unwound in Philadelphia last year—they are definitely an influence for us.

JH: I draw inspiration from bands like Rage Against the Machine and Korn, whose unique blend of funk and punk shapes my musical style.

JF: From your perspective as a band, what kind of management methods do you hope music labels can implement to create a win-win situation for both bands and labels?

SCM: Labels can significantly help with album promotion and distribution, which is crucial. They should also assist with organizing tours and facilitating opportunities to reach international markets. This support would create a win-win scenario while allowing us to focus on our music and art.

FD: I agree with Sienna. Labels should aid in promotion, distribution, and touring, but without interfering in our music or image. Maintaining our honesty and authenticity is vital, as both our music and our image are important to us. It’s essential that we retain control over our artistic representation while receiving the necessary support from the label.

JF: Do you think selling records is less important than touring and performing live shows nowadays?

FD: I believe they hold equal significance, especially for us, as our culture revolves around our live shows. We want vinyl for our performances, with Sienna creating the art that reflects our identity—it’s a piece of art itself. Fans are interested in buying vinyl and attending our shows because we express ourselves so passionately in person, providing an experience that is much more engaging than watching online.

TR: In an era of streaming services, we hope to find people to work with who can help us create meaningful experiences beyond that system, which is inherently unfriendly to artists. When we first tried to get our music on streaming platforms, the digital distributor rejected our name, claiming it was too common. We had to fight for our right to keep it, which highlights a significant issue in the streaming landscape. It’s funny that there are so many artists with similar names on streaming platforms and that this falls on artists to resolve. We want to work with people who understand and respect the realities of being in a band beyond the streaming economy.

SCM: Our audience is very supportive, often buying shirts and records. However, our shows are truly our bread and butter. We save a significant amount of what we earn to fund our tours and cover transportation costs, so we’re not constantly out of pocket.

JF: These days, politics and music are increasingly intertwined. With young people more interested in change and equality, do you feel encouraged about the future of art and music? Why?

SCM: Yes, I see a shift where punk, which was traditionally dominated by white males, is becoming more inclusive. There are a lot of young people confidently creating punk and DIY music and putting on shows, which is reassuring. While not everything is perfect, I’m optimistic about people striving to create positive spaces. Music has always been a tool for protest and social change, and I believe this spirit continues today.

FD: I read a quote that said culture reflects music and politics at any given time—it’s a triangle of politics, music, and culture.

JH: I think the intersection of politics and music is more prominent now due to technology and social media. Today’s youth have access to more information than we did, which can have both positive and negative effects. While this amplifies communities’ voices, it can also overwhelm them.

SCM: It truly is a lot to process, especially when tragic news is followed by unrelated ads—it’s a confusing experience. Music has always been a medium for protesting against oppressive politics, and that remains a core aspect of punk and rock and roll.

TR: Politics have always been intertwined with music. I don’t feel there’s more of it now; it depends on what’s happening in the world at any given moment. While political context can be interpreted in various ways, I don’t find hope in believing it’s more intertwined today. I’m reminded of a book called The Revolution of Everyday Life, which discusses how politics are present in everything. It also brings to mind another text, The Medium is the Message, which examines the implications of technology in our lives.

It’s a strange time.

PEARL’s is performing next on July 12 at The Foto Club in Philadelphia.