loraine Turns Ghosted Heartbreak Into Musical Brilliance With The Raw And Unforgettable “901”
- STAFF
- 6 days ago
- 5 min read
Updated: 5 days ago
By: Staff
We got together with loraine for an exciting interview to delve into the stories and happenings behind the making of this and learn more about the artist in "The Cage" Music Blog and we are excited to share it with you!
Here’s how it went:
Cage Riot: Hello loraine, we’re thrilled to have you here for this interview! We've had an amazing time exploring your music and diving into your creative journey. Now, we’re even more intrigued to get a deeper look into both your brand and your personal and professional inspirations.
The opening notes of “901” carry such excellent tension, and we absolutely loved that. We immediately felt transported into an emotional state, almost like the opening shots of a moving scene. It was clarity through music, and what you accomplish with that kind of atmosphere is tremendous. Then, as the song continues, the mood shifts the way a person’s emotions shift after heartbreak, moment to moment, almost like the arrangement is mirroring the mind in real time. Once your lyrics hit, the “I hate” motif becomes another perfect way to capture the emotional core of “901.” We literally became fans before we even got halfway through the song.
Q. “901” comes from such a painfully specific place, being ghosted after a year-long relationship, but the song turns that hurt into something beautiful and lasting. Can you tell us more about that experience, and when you first started writing “901,” what were you trying to understand about that ending?
A: I think I was trying to understand how I felt about the relationship ending, more specifically, how it ended. Getting ghosted by someone who’d been in your life so long is confusing. I had no problem writing the verses. I wrote verse after verse after verse and I really had to edit myself because it was just a list of everything I knew about him. I thought I was writing a song with Alannis Morrisette rage. The song ended up going in a different direction and ultimately ended up being about accepting that the relationship is over, and that the person you thought you knew might not be who they are.
Q. “901” carries the contradiction of heartbreak so well, where sadness, anger, confusion, and even beauty all exist at once. How do you hope this song helps listeners process those emotions, and do you usually use music as a medium for others as much as you use it for yourself?
A: I don’t write with an audience in mind because my songs reflect my real life and help me process my experiences. If I considered public perception, I couldn’t be honest. Hence starting this song with “I hate an entire city.” I hope it helps listeners navigate the stages of grief after a breakup. The verses might seem full of disdain at first, but as you move through healing, their meaning can shift from “I hate you” to “I couldn’t hate this without having loved it first.”
Q. The use of your actual video diary audio makes “901” different. It is truly next level. We are not just hearing the aftermath, we are witnessing the actual carnage. It is not just a performance anymore, it is history. What made you decide to include something that raw and personal in the production?
A: When a man makes me cry, I think of a line from the movie Dodgeball: “Nobody makes me bleed my own blood!”. How dare he make me cry my own tears?! Including the video diary was instinctive, it was one of the first production ideas I had. Sometimes, people need to see/hear the damage they’ve caused.
Q. Do you ever question the decision to share such personal moments from your life with the world? Have you ever vaulted a moment because it felt like “too much,” or is everything on the table when the song calls for it?
A: God, I question it all the time. But sharing experiences can strip away their shame. Getting ghosted is embarrassing, and dealing with the aftermath of getting ghosted can feel isolating. By being open about my grief and the loss of this relationship, I’ve formed meaningful connections and it has inspired others to share their stories. Some songs demand this level of honesty and intensity.
Q. The movement of “901” is as powerful on the human spirit as waves are on a ship. The vocals, sound, and structure really move the listener emotionally. How was the structure of the song created? Did you already have that movement in your head before working with the team, or was it something you expressed and then developed through collaboration?
A: From the start, I knew the opening needed to feel raw and unflinching. Everything I do from the writing to production to visuals, and even Instagram posts is deliberate. I wanted the first verse stripped down, then to build into something bigger by the chorus, almost moving through the healing process in real time. It starts from a meek place, but as the song grows, so does my confidence in what I experienced. Sonically, it follows that shift from being embarrassed you got played to realizing, “I don’t have to be embarrassed for your behavior.” Jared really helped turn the song into a kind of cinematic heartbreak hero’s journey.
Q. “901” does not just tell a breakup story, it captures the strange aftermath, when someone is gone but still everywhere in your mind. When people hear this song, what do you hope they understand or take away about love, loss, and trying to move forward?
A: Losing a relationship is a loss, and loss comes with grief. Grief is messy, healing is messy. You’re allowed to be messy too. You can hate them one day and miss them the next. The important thing is to let yourself feel all of it without punishing yourself for what you feel.
Q. How has Nashville impacted your career and creativity? Does the city’s history, along with its current role as such a major hotbed for music, feel more like fuel for your mind or sometimes like a distraction?
A: Nashville has been an interesting place to pursue pop music. There are opportunities to perform almost every night, and I’ve found the music community incredibly welcoming and collaborative. People genuinely want to write, play, and create together. What the city lacks, though, is support for promoting local talent outside the Broadway circuit. There are writers rounds and open mics happening constantly where artists are sharing original music, and I think tourists want to discover those musicians. They just aren’t really given the resources to find them.
Q. We really want to hear more about your upcoming live events at CMA Fest on June 7th and Chasing Melodies at Nashville Palace on July 15th. With those shows coming up, how are you seeing the next chapter after that? Are you aiming to get back into the studio, play more shows, or move toward something completely different?
A: I’m really hoping to play more shows! I’d love to sing the national anthem at a Nashville Sounds game or for the Nashville Predators, so I’m putting that into the universe. I’ve got a couple more releases coming this year and I’m already working on new music for next year. I’m excited for everything ahead.
Cage Riot: loraine, thank you so much! We appreciate you taking the time to talk to us.
A: Thank you!
We’re happy to have shared loraine’s exciting journey with you and uncovered such inspiring insights about their creative process.
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