goodheart Explores the Bittersweet and the Beautiful on Debut EP, Blue and Other Colours, Featuring Wry, Reflective Focus Track “Silverspoon Sunday”
Toronto-based indie-pop artist goodheart captures the quiet ache of emotional in-betweens on her debut EP Blue and Other Colours – a self-produced five-track project that explores disconnection, heartbreak, longing, and self-reckoning through shimmering melodies and honest storytelling. With elements of indie-pop, folk, and alt-rock woven through its sound, the EP invites listeners to sit with sadness – not to wallow in it, but to understand it.
From the friction of fading friendships to the numbness of everyday apathy, Blue and Other Colours traces deeply personal experiences with a diaristic sensibility and cinematic edge. Whether it’s the drifting isolation of “Casey,” the quiet resentment of “Funeral,” or the dreamlike malaise of “Stuck in a Cloud,” goodheart doesn’t shy away from emotional complexity. Instead, she leans in to build lush, dynamic soundscapes that feel both intimate and expansive.
The focus track, “Silverspoon Sunday,” is one of the EP’s most biting and buoyant moments. With crisp drums, layered guitar work, and bright vocal delivery, it offers a sugar-coated critique of privilege and passivity.
“It’s about comfort becoming a kind of cage,” says goodheart. “Some people are handed every opportunity and still feel stuck. They coast instead of confronting the real stuff.”
Despite its polished surface, the structure of “Silverspoon Sunday” subtly shifts throughout, avoiding traditional pop repetition and instead offering a dynamic chord progression that mirrors the unease beneath its brightness. “I love songs that sneak heavier truths into something that feels fun. This one is a bitter pill with a sugar coating.”
First off, care to introduce yourself to our readers?
Hi, I’m goodheart — a singer-songwriter and producer based in Toronto. My music lives somewhere between indie-pop, rock, and folk, with a singer-songwriter thread running through it all. I write and produce everything myself, and I’m lucky to work with an incredible band and creative team who help bring these songs to life.
Congrats on your debut EP! What does Blue and Other Colours represent to you as an artist and as a person?
Thank you! Blue and Other Colours is a really personal collection. Each song explores a different shade of sadness or introspection, but through a palette of sounds that also make room for beauty, movement, and sometimes even joy. As a person, it’s been a way for me to process the harder parts of growing up and looking inward. As an artist, it represents stepping into my sound more confidently and being able to say what I want to say, on my own terms.
The EP has elements of indie-pop, folk, and alt-rock. How did you shape the sonic palette for these songs? Did it come naturally, or were you intentionally blending genres?
It was a bit of both, honestly. I’ve always gravitated toward artists who blur genre lines, so it felt natural to do the same. Some songs started on acoustic guitar, others with a beat or a synth patch, and then I’d build around whatever emotional tone was at the heart of it. The songs ended up pulling from a range of sounds, like the intimacy of folk, the energy of indie rock, and the lush textures of pop, but I think the throughline is the emotional honesty and the vocal storytelling.
You’ve said, “comfort becomes a kind of cage” — how did that idea show up in your own life, and how did it shape the writing of the song?
That lyric comes from Silverspoon Sunday, which was written as a reflection on people I’ve known growing up; individuals who had every advantage but still felt deeply stuck or dissatisfied. It’s about the way privilege can create a sense of inertia, where comfort becomes so familiar it starts to feel like a cage. There’s this tension between what we inherit and what we actually do with it, and how that disconnect can lead to apathy or self-doubt. I wanted the sound of the song to mirror that contradiction: the lyrics are heavy and introspective, but the track itself has this upbeat, driving energy, like something trying to push forward but still tethered to the past.
As a self-produced artist, what was the most rewarding — and the most challenging — part of making this EP on your own terms?
The most rewarding part was the freedom to follow the songs wherever they wanted to go. I didn’t have to compromise or explain myself in the early stages, and that let me really trust my instincts. The most challenging part was definitely wearing so many hats; switching between writing, arranging, tracking, editing, producing… it’s a lot to hold at once. But I did have amazing collaborators who helped elevate everything: David Matta on mixing, Kristian Montano on mastering, and my bandmates Mitch, Ryan, and Connor– they each brought something special to the table.
What artists or albums have influenced the way you think about songwriting and production? Any surprising inspirations?
Matt Corby has been a big influence; I love how he uses space and rhythm, especially in his drum grooves, which always feel laid back but still push the song forward. I also really admire artists like Phoebe Bridgers and Maggie Rogers for the way they fuse emotional depth with great production. And Joni Mitchell is always in the back of my mind, especially in the way she writes about internal struggle with such vivid detail. Outside of that, I grew up on a lot of early 2000s indie and folk, and I think that DNA sneaks in whether I mean it to or not.
Now that Blue and Other Colours is out, what’s next for you? Are you working on new music, collaborations, or maybe live shows?
Yes! I’m already working on new music. Some of it feels like a natural continuation of this EP, but I’m also experimenting a bit more with sound and structure. I’ve got some collaborations in mind too, with possible live shows for 2025. I also have a few more stripped-back / live versions of the songs coming to my YouTube channel, which you can check out at youtube.com/@soundslikegoodheart.