Remy Bond Brings Retro Fantasy to Madame Lou’s in Seattle
BY SOPHIA KINGSLEYRemy Bond brought a fun, vintage-inspired show to Madame Lou’s in Seattle on June 24 that pulled the crowd into her dreamy, eclectic world. With a clear love for ‘60s and ‘70s aesthetics, the night blended playful theatrics, standout visuals, and unfiltered charm.
Fans showed up in cute dresses, a few with Hawaiian flowers pinned in their hair or subtle retro hairstyles, perfectly matching the vibe. Remy took it further, wearing a dress printed with the Breakfast in America album cover by Supertramp, styled with a ‘60s bump and a flower pinned in her hair. One of the evening’s most talked-about moments was her performance from inside a giant Dita Von Teese–style champagne glass, surrounded by soft lighting and cheers. The show featured multiple costume changes and props, keeping the energy lively and engaging. Olivia, Remy’s sister, opened the night with a solo set and later joined as one of two backup dancers, creating sweet onstage chemistry.
Here’s the full interview we did before the show:
Sophia: Hi, let me introduce myself. I’m Sophia, and I’m a writer and photographer for Out Jamz, which is a music publication based in New York for queer creatives. Thank you so much for taking the time.
Remy Bond: Of course!
Sophia: So I read that you grew up in New York—in the Chelsea Hotel—surrounded by music and art. What was one early moment that made you realize creating music was your path?
Remy: I think it was finding out about the Omnichord because I saw that David Bowie used it. I don’t know why—I just never caught on with learning piano or guitar, and my parents never made me stick with it. When I got an Omnichord, I was finally able to come up with melodies I’d been wanting to play on piano and guitar for so long. It’s kind of an easy, kid’s instrument. Honestly, now I can play other instruments, but I still mainly use the Omnichord.
Sophia: How did the Omnichord shape your songwriting and sound?
Remy: I wrote “End of the World” on it. It just has such a cool sonic soundscape. Every time I pick up a guitar, I feel like I’m writing a country song. The Omnichord feels so much prettier than any other instrument—although I really like synths too. I go to the synth museum in L.A. a lot and play around with their synths, but that’s more of an hourly thing. I only own a Juno, so the Omnichord just has this great soundscape to it.
Sophia: Your music has this really dreamy retro vibe that feels both nostalgic and modern. What draws you to that kind of aesthetic?
Remy: I’m just not very inspired by music that comes out today. A lot of people think I’m anti-pop music—but I’m not. I just hate most of the pop music on the radio right now. I really hate all of it, actually. But I’m a big fan of pop music from before the 2010s. It was just better.
Sophia: “Summer Song” was a breakout track for you. How did that song come to life, and what does it personally mean to you?
Remy: That song was such a random experience. My sister and I used to DM producers or artists on the internet as birthday presents for each other. I remember she once DMed Julian Casablancas—she didn’t know who he was (laughs)—but his Instagram said he was a conductor. She was like, “Hi, I love your work,” because she wanted to work with a conductor.
We had just watched The Virgin Suicides and she DMed Air on Instagram. JB (Jean-Benoît Dunckel) responded. So I flew to France to get coffee with him. I didn’t want to seem like a freak, so I didn’t say I was flying there just for coffee. I looked up his tour schedule and told him I’d be there in two weeks. I literally went to Paris just to get coffee—I hope he’s not reading this! (laughs)
Then I came back to Paris with my sister, but she got stranded in Istanbul because she traveled with an expired passport. Originally it was just going to be us, but I brought in Jules, the producer I work with most—his favorite band is Air. I wanted to be nice and also he’s so talented. So it ended up being all of us: Jules, his girlfriend, my sister, me, and JB in a room in Paris. We wrote the “Summer Song” verse there. The bridge was originally going to be the chorus, but then we went back to London to finish the song. I woke up in my hotel room with the idea for the chorus, recorded it in my voice memos, and we made that the chorus the next day.
Sophia: Do you often find yourself feeling inspired on the spot and recording directly into your phone?
Remy: Yeah, except Voice Memos sucks. So it’s mostly just videos of me driving—it’s the worst. Once a month I set aside time to go through it. It’s so bad. So many (videos).
Sophia: Your visuals are so cinematic and playful. How do visuals and music influence each other in your work?
Remy: I just associate songs with visuals—or with random things. That’s why I love the song “Goodbye Stranger” so much, which I’m covering on tour. I remember being at my babysitter’s wedding, and her dad played the song. He was really depressed, and it really resonated with him. Every time I hear it, I think of him. Songs just have visual connotations.
Sophia: You mentioned in an interview with Notion that you like your fans more than some of your friends and even play games like Dress to Impress with them. How does that close bond influence your creative process?
Remy: I don’t think it really does. I just remember I used to DM artists around my size on Instagram when I was a fan of them, and they’d never respond. Now that I’m in that position, I’m like—dude, you have time to go through your DMs, you know? That’s what makes me want to respond to everyone.
Sophia: You’re currently finishing up your debut album and touring. What kind of world are you trying to build with this new body of work, and what do you want the live experience to feel like?
Remy: I haven’t really thought about having a theme for the album. I think anything I come up with kind of has its own world. I don’t think about it too much. I don’t like that much music, so anything I make sort of fits in with the rest of what I do.
Although—I will say, I could’ve put out two EPs instead of an album. One with the “Summer Song,” “Star-Shaped Baby,” more ’60s stuff—and one with “Movie Star” and some more ’70s stuff. But now they’re both just going to be on the same album.
Sophia: And lastly, let’s say you’re throwing a Remy Bond–style dinner party. What’s on the menu, and what’s the vibe?
Remy: Super tropical. Oysters are on the menu. I really like chili‑lime flavored seaweed. So basically just oysters and seaweed. That’s the dream.
Final Thoughts:
Remy Bond’s Seattle show wasn’t just a performance—it was a window into the mind of an artist whose humor, nostalgia, and spontaneity shape everything she touches. From a giant champagne glass to chili-lime seaweed, she’s doing things her own way—and fans are happily along for the ride.
