Meg Remy is a woman of many lives. Juno and Polaris Prize-nominated musician. Author of the book, Begin by Telling. DJ. Film composer of the horror-comedy Dead Lover. Mother of two. At this year’s SXSW, she wore almost all of those hats at once.
Taking the stage at the SXSW Music Opening Party at Mohawk, Remy, alongside Jack Lawrence (of The Raconteurs, The Greenhornes), played a set of unreleased material from her upcoming LP—bold, raw, and untouched by audience expectations. But that was just one part of her Austin takeover. She was also there to promote her original score for the surrealist horror-comedy Dead Lover, directed by Grace Glowicki.
For an artist constantly shifting between disciplines, this kind of creative juggling act was nothing short of thrilling. “I had a blast,” Remy says. “It was the best SXSW experience I’ve ever had. Low stakes, no expectations—just fun. I left Austin thinking, ‘What can’t I do?'”
Testing the Waters With Unreleased Music
Dropping new, unheard songs on a live audience is a power move. But for Remy, it’s part of the process.
“The inspiration really came from this new backing band from Nashville,” she explains. “These songs wouldn’t exist without them. I fell in love with their sound, and that fueled the writing.”
Bringing fresh songs to a live set creates a kind of electricity that doesn’t exist once an album is out in the world. “No one knows these songs yet, so no one has any preconceived ideas about how they should sound,” she says. “That makes for a really open performance. It’s a limited and precious time—when the songs are still infants, still forming in the live realm.”
From the Studio to the Screen
Writing a film score is a completely different beast than making an album—less personal, more about serving a director’s vision. For Dead Lover, Remy embraced that shift.
“I was invested in it, but my personhood wasn’t tied to it,” she says. “So it was way less stressful than making my own record. I felt totally free to make mistakes, to learn. In the end, the pressure wasn’t on me — it was on Grace.”
That kind of freedom changed the way she thinks about collaboration. “It was different to be helping someone fulfill their vision rather than strictly my own,” she says. “I learned so much about communication, collaboration, and courage working with her. I would love to explore more film projects — and I plan to.”
Toronto: A City That is Transforming Her As An Artist
Originally from Illinois, Remy’s move to Toronto was more than just a change of scenery—it was a creative rebirth.
“Moving to Toronto changed my entire life,” she says. “I was exposed to a whole new set of musicians, different cultures, histories. I had never even recorded in a proper studio until I got here.”
Would she be where she is today without that move? “Honestly, probably not,” she admits. “Toronto professionalized me in the best way possible. And now, living here with my family, I feel safe and supported, which means I can take great risks with my art.”
For those unfamiliar with Toronto’s arts scene, she has two essential recommendations:
- The Tranzac Club – “There are shows there every night. It’s one of the great dependable houses of music in this precarious city.”
- Dorothea Paas – “A legendary singer-songwriter from here. She is the living embodiment of music. Cannot recommend her work enough.”
What’s Next?
Remy has a new album dropping this year, followed by a tour to support it. But after that? You won’t find her chasing industry accolades or grinding out more projects for the sake of it.
“I’ll be at the park with my two kids,” she says. “Or in bed with a book.”
