Motherwise: How a Solo Act Became a Stellar Band
Lead vocalist Kris McCarthy of Motherwise; All photos courtesy of @fiona.dimensional
In the humid basement of an Allston house, the Boston-based band Motherwise prepares to play their set as the second act of a killer lineup. Attendees migrate in from the outdoors after a brief smoke break and begin to fill the basement, ducking beneath the bubble-wrapped pipes that cut the venue in half. The band tunes guitars and tests the drums, interrupting the chatter that ensues between sets.
The band members show no signs of nervousness, as if they had been performing together for years. Their fans and partners call out songs they want to hear before the set even starts. Band members take their positions and the lead singer, Kris McCarthy, steps up to the mic. As they introduce each musician, McCarthy’s soft voice prepares you for an acoustic set. But then, an unexpected blast of drums and electric guitar proves otherwise.
Motherwise has invaded the Boston music scene this year with similar force. The entirely nonmale band consists of Berklee College of Music students: Kris McCarthy on vocals, keys, and guitar, Soph Reyes on bass, Rianna Kopcho on guitar, Daisy Soper on drums, and Kalika Reese on trombone. The name Motherwise first originated from McCarthy’s thoughts in an English class, but eventually took on a deeper meaning when they discovered their tendency to treat their songs like a mother, nurturing them while also trying to let them grow organically.
What started out as a solo project for McCarthy has blossomed into a captivating group performance. McCarthy created Motherwise’s most recent album release Shark Teeth with only the help of their friend and producer Darcy Milligan. But to perform live, McCarthy needed more people, and assembled this skilled group of musicians.
Prior to forming Motherwise, McCarthy’s musical journey began with learning piano. As a baby, they would sit beneath the piano and stare upwards in awe as their brother played through his piano lesson. They later trained as a classical pianist. Just before high school in Norwell, MA, McCarthy was recruited for a rock program at their local conservatory, where they learned how to be a part of a band and play live shows. This program led McCarthy to their first band experience as a part of the band Not Today, and got to play at a local festival and open for Sublime. That time was also when they discovered their desire to write and perform their own songs, and tell their own stories.
Trombonist Kalika Reese grew up with deaf parents and little musical influence. Reese’s dad suggested they listen to The Beatles because his friends said they were cool. Their parents also introduced them to the children’s music icons, the Wiggles, which inspired their parents’ purchase of Reese’s first instrument, a toy Wiggles guitar. When it came time to choose an instrument in fifth grade, Reese wanted to play the tuba, but the mouthpiece swallowed their lips and Reese ended up with the trombone. Reese met McCarthy in one of their first classes at Berklee.
Recommended to McCarthy by Reese, bassist Soph Reyes had only picked up the bass for Motherwise. Growing up in the Bronx, Reyes attended a private school that also functioned as a conservatory where they learned to play the flute at a near professional level. Although feeling tentative about playing bass live for the first time, Reyes’ appreciation for McCarthy would not allow them to turn the opportunity down. After spending much of their time in performance and jazz groups, Reyes was ecstatic to join a band and discover the versatile Boston music scene.
Daisy Soper bounced around between instruments before committing to the drums. She received her first real drum kit freshman year of high school and let her admiration for emo music drive her to practice. After playing with bands in high school, Soper was eager to start her next chapter at Berklee. In McCarthy’s search for a drummer, they posted an Instagram story asking for a female or nonbinary drummer. Soper was eager to turn her list of bands she was in from four to five and replied to the story as soon as she saw it.
Rianna Kopcho was the final piece in the Motherwise puzzle. After two guitarists came and went, Kopcho eagerly joined the roster despite her very demanding schedule. Kopcho first started learning guitar from her sister when she was eleven, starting out with a classic: “You Belong With Me” by Taylor Swift. Kopcho found nirvana at School of Rock, a program that teaches students what it takes to be a professional musician. There, she had opportunities to play on the radio and on large stages at festivals, and fell in love with music.
After hearing Motherwise perform, Kopcho was blown away by the performance and only hoped she could be a part of the band. McCarthy considered her interest and offered her a spot as soon as it opened up. McCarthy couldn’t wait to hear their songs played by such a talented guitarist.
(L to R) Guitarist Rianna Kopcho and bassist Soph Reyes of Motherwise
You can see the connection between the band the second they start playing at the house show. They smile at one another after noticing how well their talents can work together when performing. Reyes stands behind the keyboard and pulls at the strings on the bass with their eyes closed, nodding to the hushed bassline and visibly channeling McCarthy’s captivating vocals and lyrics.
McCarthy’s poetic songwriting skills and ethereal vocals are just one aspect that distinguishes Motherwise from other acts. Chase Lipman of Boston-based band Women In Peril describes McCarthy as a master of formulation. “They come up with really intricate progression and melodies to go on top of them…every line and every chord have a purpose,” says Lipman.
The instrumentalists of the group also bring some noteworthy talent to the table. Kopcho can fill an entire room with the hypnotizing sound she emits from her guitar, making sure every ear in the audience is focused on each pluck and strum. Producer Milligan insists that you can feel her playing. Even when he can’t see who’s playing, he can always identify her shredding capabilities through the amp. Soper possesses standout drumming skills, specifically her ability to adjust to continuous changes of time signature and writes her own stellar parts. “She created the pocket…She invented the pocket,” bassist Reyes jokes. To be in the pocket means to excel at timing, groove, and performance as a drummer, and Soper sits deep in the pocket.
Though Reyes hadn’t played bass prior to joining Motherwise, you’d never know it. They perform with confidence and not a visible moment of uncertainty. Reese enamors the crowds with their trombone playing skills, exposing listeners to intriguing moments from an instrument that does not make many appearances in the local music scene. McCarthy admires the ease at how all of the group's individual talents combine to create radiant performances. They are blown away by how each member has taken their songs and made it their own in the most delightful way.
The group of musicians has also been working hard on splitting their dedication and time between school work and outside projects this year. Every member of Motherwise plays for another project, including Boston acts Women in Peril, Cameron Lane, Serena and the Starlight, Jesse Detor, Sam Anderson, and Slumber Party. Soper, who plays in five bands, has been working out the kinks to find the balance and focusing on her own motives. “I figured out that ultimately, school is important. But what I love is a little bit more important,” says Soper.
The band also unanimously agrees that communication remains a huge factor of maintaining a solid relationship between school and life outside of it. When planning rehearsals, McCarthy consistently aims to ensure that the project does not become stressful and no longer enjoyable. Fortunately, the band has found a lot of enjoyment preparing and practicing their album Shark Teeth for live performances.
Shark Teeth emulates a glittering journey through the mind of McCarthy. Each track tells a different story that belongs to McCarthy, but they can also be interpreted by listeners as they wish. McCarthy discusses coming to terms with identity, repairing relationships, and self-image, and other personal, yet relatable topics.
In the basement, the audience seemingly processes the lyrics as they leave the speakers. You can almost see attendees thinking about someone they admire while hearing “I try to keep it lowkey/ but my name sounds so good between your teeth” during “Great White Shark.” People sway back and forth as McCarthy softly sings about unexpectedly falling for someone and Kopcho creates a soothing atmosphere via guitar.
The album stands out as an indie alternative record, containing unique moments like laughter from Milligan and McCarthy, a trombone solo, and striking time signature changes. The LP lays out a kaleidoscopic adventure for those who experience synesthesia, which in this case is the experience of hearing colors. Friend of Motherwise, musician, and photographer Atticus Crowley heard the colors upon his first listen. “I was up in the middle of the night listening to the album after it dropped and I was seeing things so clearly,” says Crowley.
Strong lyrics have a strong role in the visual interpretation of each song. In “Bitter Pill,” the ominous words and killer electric guitar work together to form the image of a powerful villain: “Penicillin is a bitter pill/I am slicker than an oil spill/I’m a cartoon villain with an arctic chill/You’re a spotted puppy and I’m Deville.”
Live, Kopcho makes the solo in “Bitter Pill” so powerful that it feels as though the ground might crack underneath you. The audience notices her skill, praising her with their hollers cutting through the epic riff. Her fingers look as though they are running a marathon on the fretboard, perfectly landing for each note. The live version of the song begs to be played on a festival stage, but will amaze basement show patrons for now.
Although the album can blow the minds of those with high musical intelligence, it is also very digestible to those who don’t recognize things like time signature changes or modal interchange. The album consists of a calming collection of work that can make listeners search deep into their own thoughts.
McCarthy and producer Milligan began recording in January of 2022. They went to Milligan’s house in Vermont and constructed a serene environment. When they weren’t recording, they would take his dogs on walks, cook meals, and spend time with his friends and family. They also did most of the work in his bedroom, which helps to emulate the cozy sound they were aiming for. Milligan hung blankets on the walls and scattered pillows to absorb the extra instrumental and vocal noise and improve sound quality.
This was their first time spending significant time with one another after a falling out that occurred a couple years prior. This time of reconciliation was the driving force behind the song “Talk to You,” an upbeat tune that details the reunion of the pair and their communication habits.
Drummer Daisy Soper of Motherwise
Milligan also experienced many breakthroughs in the recording process, such as only needing to record certain parts once and successfully playing instruments he hadn’t played in a while. The process was the perfect way to repair the friendship that they both wholeheartedly value. Milligan ensured that everything that he did contributed properly to the vision that McCarthy had for the album. “I kept this in mind as much as possible: to make it as validating of a record for Kris as possible,” he says. The album turned out to be exactly what McCarthy wanted it to be, and the current members of Motherwise have somehow turned it to something even more enchanting when performed live.
Each Motherwise rehearsal and performance fills McCarthy with awe. “Every time I play with them, I’m just blown away by the way you guys have interpreted this record and made it into something that has been really cool to see live,” McCarthy tells their bandmates through a smile. During the group’s live performances, they add unexpected elements to each song that make them even better, such as speeding up “Talk to You” to make it three times faster and having Reese contribute some trombone to the “Bitter Pill” guitar solo.
“They have such incredible stage presence and they have such good chemistry that it’s so difficult to not be completely enthralled with the music” says Lipman. Serena Jade of Boston band Serena and the Starlight finds that the band’s onstage demeanor shows their kind-heartedness. For instance, Kris smiles as they speak to the audience, showing they are just happy to be performing with their best friends and sharing their personal experiences.
As much as they love performing in Boston, the band recognizes the competitiveness that has marred the local music scene. The abundance of bands from Berklee and other Boston colleges have been scrambling to secure places to perform and make a name for themselves. While the number of basement show venues grows, the number of artists increases simultaneously.
Connections and networking often appear to be a major part of navigating the scene, but not everyone does it properly. Making connections just for the sake of having them influences a tone of superficiality that will sometimes fill the air within these basement venues. There are also certain venues that have better equipment, staging, and lights than others. Booking shows is easier when artists genuinely know someone involved with selecting lineups. Authentic connections are what fuels the scene and helps artists receive the success that they deserve.
Boston musician Christopher Normann says that success comes from when musicians stop comparing themselves to each other. “You'll eventually realize, it’s important to just spread positivity, clap and wait your turn, and there's always going to be somebody doing something better than you, something cool or new, something more crazy,” he says.
Motherwise adores attending shows and supporting their friends within the scene, which helps to boost the success of others and give the scene a supportive atmosphere. The artists’ mutual support towards creativity remains a driving force behind the next generation of music, Jade says. “It feels kind of like the ground floor of it or the basement for this beautiful building we are creating that is the future of music,” says Jade.
(L to R) Trombonist Kalika Reese, McCarthy, Kopcho, and Reyes of Motherwise
The queer community within the Boston music scene functions as a safe space for queer artists to feel welcomed and accepted, which the members of Motherwise deeply appreciate. The community creates a sense of comfort when it comes to sharing personal queer experiences through music. “Being around that energy and space, you realize we've all been through shit and everyone's there for each other,” says Kopcho. The community also makes a great effort to advocate for one another by boosting each other's work on social media and attending each other's shows for support.
McCarthy shares their own experiences with being queer and non-binary through song and often feels comfortable when doing so in the presence of the queer community. Lipman of Women In Peril, who identifies as queer and non-binary, feels comfortable when they know the space they are walking into is occupied by the queer community. More house venues are also aiming to ensure they prioritize getting queer or female-fronted bands on their lineups to help the community flourish.
Just two weeks after Shark Teeth was released, McCarthy began writing for their next album, which doesn’t have a designated release date. McCarthy had a spate of anxiety surrounding the thought of releasing this new record to the world this past summer, fearing the reactions to their vulnerable lyrics. This is also the first time that everyone in the band is working on the record. McCarthy’s anxiety eased while teaching the band some new songs that the group has recently been performing live. The bandmates accepted these new tracks with open arms and blew McCarthy away as usual. McCarthy feels that this record will take time and come naturally, but will be released when the time seems right. The entire team working on the album identifies as queer, which poses a gleaming opportunity for representation.
In the final minute of their basement show set, Motherwise’s stage presence reaches a high. The group of musicians showcase their individual talents with a noticeably high energy. While Soper sends articulated booms and crashes throughout the basement and Kopcho shredding on guitar, the crowd dances around and reflects energy back to the band. As the song ends, McCarthy expresses gratitude on behalf of the band for everyone who watched their set. The audience, equally as grateful, claps and hollers for the group. With a growing fan base and a new album coming, you can expect that Motherwise will continue to rock the Boston music scene.