Success in the music industry can be a fickle lover to court. Skill goes a long way — but not nearly as far as timing or simply luck. In the case of Brooklyn-based indie pop trio Little Daylight, the band’s song craft is strong. However, timing and luck seem to be paying off nicely.
“It’s been really fast, and a lot of it was unexpected,” admitted Matt Lewkowicz, the group’s guitarist (plus keyboardist and percussionist), in an interview with The Daily Californian. “We put remixes out first and had our single ‘Overdose’ ready to go a month later, which hit No. 1 on Hype Machine. There was a sudden blog awareness of us that was completely unplanned and unpredicted. Once that happened, we were like, ‘Oh shit, we’ve got to get a live show together!’”
Within months the band was playing SXSW, and it soon found itself opening for omnipresent acts like Bastille and the Neighborhood. Recently, Little Daylight embarked on a co-headlining tour that will bring the band to San Francisco’s The Independent on Monday. Despite their exposure to huge festivals, the band members’ return to more intimate club settings is one they have embraced warmly.
“With Bastille, it was cool to watch a band go from buzzy to exploding in the time that we were touring with them,” Lewkowicz said. “With Terraplane Sun and Flagship, we’re with two bands that are relatively level. This is on purpose because it gives us all equal footing, and that feeling is so nice. We’re talking about 40 people that are traveling from city to city around the same time. We’re totally unified, and we all care about the same shit.”
In addition to a more level playing field, this tour should give Little Daylight a chance to distance itself from fellow anthemic floor-tom-pounders Bastille. The two share some aesthetic similarities — abounding synths, chunky beats and whistle-ready choruses come to mind. But while the latter is more influenced by its own colleagues, Little Daylight draws inspiration from a wider range, including Paul Simon’s Graceland, a quasi-collab album showing “the difference between writing a song and producing it” and “how to listen for other people’s talents.”
Beyond singer Nikki Taylor’s notably smoother voice, this attention to detail sets the group sufficiently apart from its Francophile English cousins. While this sound has the musicians poised for success, they maintain a refreshing level of cautious pessimism.
“If I woke up tomorrow and found out this was all over,” Lewkowicz said, “it’s already been such an amazing experience that I’d be OK with it.”
Contact Erik Weiner at [email protected].