Stella and the Very Messed – “Keds With No Laces” (Video Premiere)

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Today is a great day to share the latest single from Austin Alt-rock band, Stella and the Very Messed, called “Keds With No Laces.” The song comes from the band’s sophomore LP, that dropped today via Double Helix Records, called Big Familiar. This band blends crisp hooks, lush melodies, and offbeat humor with ‘90s alt-rock and modern indie. Think Veruca Salt meets XTC, with flashes of Paramore and Squeeze. If you’re enjoying the new single, you can stream the rest of Big Familiar here.

The video for “Keds With No Laces” features a sweet and amusing face-off between an older man and a toddler — both dressed identically — over a popsicle stand, ending in unexpected harmony. Where did the concept for this visual come from, and how do you feel it ties into the song’s message?

”Keds With No Laces” is a reflection on my childhood and how distorted my black-and-white view of the world was back then. It’s also a love letter to my dad, who I think deliberately kept himself from trying to change my perspective back then, because he knew that if he tried to explain all the nuances, it would’ve crushed my little heart. The man in the video is my dad, and the child is my son. The idea for this very simple video came to me as soon as I heard the song recorded, so I leaned on my husband, who carted me around on the back of his e-bike while I filmed my dad on HIS e-bike. (My dad always dresses like a 1930’s golf caddy, so we got an identical outfit for my son because LOOK IT’S SO CUTE!).

There’s such a distinct balance across the album — between humor and vulnerability, hooks and experimentation. Was there a track on Big Familiar that really surprised you during the process, either lyrically or sonically?

”Are We There Yet” surprised me a lot. It’s kind of long, and when we were writing it, I was afraid it was too monotonous at times, and then too weird at other times. Like, the chorus has no words and there are two bridges, but it still has this really smooth vibe, you know? I also hate how overused the word “vibe” is, but it works in this case.

You’ve said you’ve stopped worrying about fitting into a specific genre or lane — that the band “just ends up sounding like us.” How did embracing that freedom shape the writing and recording process for Big Familiar?

It made us go faster. I’m pretty self-critical as a songwriter, and I compare myself to others left and right. With this album, we were writing on a deadline, and it didn’t allow us a lot of room for questioning ideas. We just tried stuff, and some of it stuck, and we didn’t fuss over anything for too long. It’s like when you’re working with something mushy like dough or clay, you can only mold it in your hands for so long before it gets warm and melty and you’re left with a clumpy, uneven ashtray instead of a beautiful vase. We made an album of beautiful, magnificent vases.

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