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Spotlight: Sykamore
There are some artists who naturally become part of a publication’s story, and Sykamore is one of them. In Spotlight: Sykamore, we reconnect with the most featured artist on Hidden Beats, whose journey has unfolded alongside the platform itself. Each release and conversation has revealed something new, and this time around, we dive into her latest chapter, the evolution of her sound, and the perspective she has gained along the way. It is a conversation shaped by familiarity, creative trust, and a shared history that makes this one feel a little more personal.
First off, welcome back to Hidden Beats. You’ve become one of our most featured artists over the years. Looking back on your journey since your first Spotlight with us, what stands out as the biggest moment of growth for you?
Thanks a lot! I think the biggest growth for me has been learning that there really are no rules in this business, and that means you should do whatever makes you happy as an artist. I think when I was starting out, I had the impression that if I wanted to be successful, I would have to compromise on some things when it came to the creative side – and maybe conform to what others were doing. But I know now that the music only works if your heart is in it, which is all the more reason to just embrace yourself and your art, and let that inspire you instead of the opinions of others.
Your new single “He’s Mine” explores a perspective that isn’t often highlighted in wedding songs, the emotional experience of a mother during the mother–son dance. What first sparked the idea for this story?
As you might’ve guessed, I was at a wedding. And it just occurred to me that there isn’t a song that’s ever been written specifically for that dance between the mom and the son. And so I tried to write a song not just for mothers and sons, but just for parents in general who are doing their best to make space for their children as they grow into adults and start their own families – never letting go of them completely, but understanding that the dynamic is meant to change over time, and that’s okay.
You mentioned the song was inspired by attending a family member’s wedding. When you started writing it, did you already know it would become such an emotional centerpiece for listeners?
I think I always knew it would be a little emotional, but I didn’t understand the way people would connect to it as I started playing it in my live show. It’s far and away the most asked about song in my set. Even before it was released, it had a life of its own. I have mothers and sons DM me and tell me it’s moved them in some way or another – so in a lot of ways, it feels like it belongs to the listener now, it almost doesn’t belong to me.
This track was produced by Bobby Campbell. What did he bring to the recording process that helped shape the final sound of the song?
Bobby and I are longtime collaborators, and the secret sauce with him as a producer lies in the ‘less is more’ mentality. He and I are very intentional about what should be on the track, how many stacks of vocals there should be, and what instruments need to be featured – we never want to slap something on there that doesn’t need to be in the mix. And I’m so grateful we are on the same page about that, especially with this song that is so pure and simple, and lyric-focused.
Your debut album Pinto resonated strongly with fans and has already surpassed 10 million streams. As you release new music now, how do you feel your songwriting has evolved since that record?
I think I’ve improved on being able to say more by saying less – I really try to make every line count for something in a song, and I will do my best to trim all the fat off of a lyric and find a way to just say exactly what I mean without having to fill it with a bunch of stuffing that doesn’t need to be said. I also think I’ve settled more into myself and my voice, and I don’t try as hard to sound like someone else the way I used to – there was a time when I thought if something sounded like me, it sounded bad. I wanted to sound like the artists I admired – but I found I lost something valuable by doing that. So I do my best to ignore that instinct now.
You’ve always balanced classic singer-songwriter storytelling with a modern country-pop feel. How conscious are you of maintaining that balance when creating new material?
Honestly, I don’t find that I am conscious of it at all! Haha. It tends to just come out with those features, I think, because that’s just what is in my head already. I listen to a lot of pop and a lot of country, so it doesn’t surprise me that the output is pretty similar to the input.
“He’s Mine” has already become a fan favourite at your live shows. What has the reaction been like from audiences hearing it in that setting?
I’m always very honoured to hear fan stories about how the song applies to their lives. Sometimes it’s young moms who have 3-year-old sons, and they’re already looking ahead to the day they’ll have to let him fly from the nest. Other times it’s adult sons who want to use the song for their mother/son dance at their own wedding. Whatever the story, I’m always just grateful that the song touched them and got them to feel something. That is my job as a songwriter: to build a bridge between my experience and the listener’s life.
Songs that revolve around family and personal relationships often resonate deeply with listeners. Have you heard any particularly meaningful stories from fans about how this song connects with them?
I have a good friend who lost his mom about ten years ago, and he’s often expressed to me how much he likes the song and how it keeps her memory alive for him – that is very special for me to hear.
You’ve had some exciting milestones over the past few years, from touring with Eli Young Band to being named part of CMT Next Women of Country. Which of those experiences has had the biggest impact on you as an artist?
I think they all teach me something different and equally valuable! I think moving to Nashville from Canada was the biggest impact on my career, not just from a geographical standpoint but also being able to learn from the greatest songwriters in the world multiple days a week – I don’t know how you can’t improve as a writer in that circumstance. You can’t help but get better at your craft when you have such amazing, generous teachers.
With new music rolling out, can fans expect a larger collection of songs or a new project in the near future?
They can! I can’t guarantee when it’s coming, but I am actively working on a new project that’s very personal to me, and I’m very anxious to share it when the time is right!
Because this isn’t your first time with us, we’ll switch it up a bit, what’s something new you’ve discovered about yourself creatively over the past year?
In recent years, I’ve gotten back into drawing! I blame my niece and nephews for this, because they are very big on drawing pictures and colouring them in with markers. So when I visit them, I always wind up drawing about five or six new pictures – I used to draw a lot when I was a kid, and I forgot how much I liked it and how grounding it is for me. I quite enjoy it. Now I have a sketch book that I keep at home, and when I get the feeling I’ve stared at too many screens that day, I’ll pull out a pencil and try to draw something.
For someone discovering your music for the first time through “He’s Mine,” what song from your catalogue would you point them to next?
I would point them to Go Easy On Me, from the Pinto record. I think it’s pretty three-dimensional and does a good job of showcasing all the different sides of my craft. Or Highway Towns, from my EP ‘Through the Static.’
Finally, what’s the next chapter for Sykamore as we move through 2026?
I’m pretty focused on this next bundle of songs, so that is something to look forward to. I’m also gearing up for some live appearances this summer! I think it will be a good year.
