There’s something about the way emerging singer-songwriter Noa Kemp describes writing “No Blame” that feels like watching someone work through therapy in real time. Her new single, released today, captures the raw emotional process of letting go—something the 23-year-old Montreal-based artist knows intimately.
“The day I wrote No Blame I was processing a lot of anger and resentment. It felt as if the song wrote itself in a couple of hours,” Kemp recalls. “At the time I was petty, and the song was more aggressive. As the production went on, No Blame became sort of a medium for me to better understand my feelings, and eventually I started letting go of my anger. Since No Blame grew with me, it somehow withholds that growth as well.”
This introspective track explores the emotional tensions of a relationship strained by ego, where frustration slowly gives way to an act of letting go. It’s a fitting introduction to an artist who has spent the past year finding her voice in Montreal’s diverse music landscape, performing regularly at venues like Café des Habitudes and Turbo Haüs—two spaces that couldn’t be more different in their energy and approach.
“It is true that these rooms have incredibly different vibes, and each became a stepping stone in my musical journey,” she explains. “Turbo Haüs was one of the first open mics I attended in the city. It got me back on stage and reminded me how much I love performing. And Café des Habitudes… that place really healed a part of me. Its energy, so raw and vulnerable, resonates with me most. This gave me the courage to pour my soul into each of my performances.”
The contrast between these venues taught Kemp an important lesson about connection and artistry. “The discrepancy between these venues also taught me something important: everyone experiences and receives music in different ways. This eases the pressure when you write, because you know there will always be someone that will connect with what you put into the world.”
Finding her place in Montreal’s eclectic music scene—which spans everything from indie pop to experimental jazz—has been both liberating and isolating for Kemp. “I think I am still figuring out exactly where I fit in in the Montreal music scene. A part of me does feel at home at Café des Habitudes, where the community sees music as an emotional outlet. But at the same time, I often feel like I’m walking my own path,” she admits. “A lot of the musicians I connect with are instrumentalists rather than singer-songwriters, and many of the singers I’ve met don’t necessarily share the same artistic direction or long-term ambitions. It makes sense to me though, I write alone, and my sound is introspective and emotionally driven. You can only fit into a scene up to a certain point when your work is that personal.”
Her musical influences reflect this deeply personal approach. Drawing inspiration from artists like Lauren Spencer Smith, Gracie Abrams, and Holly Humberstone, Kemp has crafted a sound that balances vulnerability with sophistication. “I am drawn to Lauren Spencer Smith because she writes so openly about what she goes through while keeping an intimate, yet big dramatic sound. She reminds me of Adele and Demi Lovato. She has a strong impact on how I handle emotional sincerity when I write,” she says.
“For my melodic and narrative approach, I draw a lot from Gracie Abrams because she has great melodic lines that are catchy and original. This ‘story-like’ writing style is really enjoyable and definitely influences my writing. Holly Humberstone’s vibe really matches with the kind of music I have been writing this past year. It feels just intense enough to pull you in, but still light enough for you to ‘have a good time’ when you listen to the song.”
Recently, Kemp has begun exploring her Belgian roots through songwriting in French, finding inspiration in artists like Stromae and Angèle. “I am fascinated by how Stromae and Angèle write, not only because they are Belgian like me (though it definitely plays a part!), but because their lyrics are clever, they include wordplay and precision I admire.”
Her dark acoustic aesthetic, anchored by orchestral moments that feel cinematic, comes from an intuitive place. “I usually rely on instinct when building the arrangement, it rarely feels like a conscious decision. If it feels right emotionally, I follow that. Especially if I think about these things too much, I get stuck in a loop,” she explains. “Someone once pointed out that my melodies tend to follow the lyrics, if I sing ‘down’, the melody literally drops. I wasn’t conscious of it at first, but now I notice it more. I think the lyrics guide the production more than I realize.”
The themes Kemp explores—ego, frustration, the process of letting go—speak directly to the challenges facing her generation. “I think we are a tired generation. While I am only 23, there is a constant pressure to excel at everything: prestigious job, social life, side projects, online presence… It feels like we’re trying to prove ourselves in every direction, and we’re still told it’s not enough. And with social media it’s impossible not to compare yourself. Add to that the climate crisis and today’s polarizing political climate, it is impossible not to worry for our future.”
Despite these pressures, Kemp has found solace in the French concept of “lâcher-prise”—letting go. “The one thing I’m slowly learning is to let go, or as we say in French, ‘lâcher-prise.’ We can’t do it all, and we’re not supposed to. One step at a time is enough.”
This philosophy of releasing control has become central to both her personal growth and artistic evolution. While she’s been writing songs since her teenage years, the decision to pursue original material seriously came naturally. “I started writing songs when I was a teenager, especially when I was going through something really intense emotionally, but it was never consistent. More recently I started writing songs again, and realized that releasing them is one of the only ways to build a music career. Along the way I came to really enjoy the process of making music—from creation, to collaborative production. You can create something from scratch, and have something that is truly yours when done.”
Montreal has played a crucial role in Kemp’s journey toward artistic authenticity. “For me, claiming I wanted to be a singer felt a bit like coming out—admitting something vulnerable that people might not take seriously. And honestly, Montreal gave me the space and courage to do both. The city has this energy that encourages people to be unapologetically themselves, and that really shaped me.” However, the pivotal moment came during a vacation in Greece, where she “met people who gave me the courage to go after what I truly wanted, that moment clicked something in me, and I’ve been owning it ever since.”
As she prepares for her September 13 concert in Montreal, where she’ll debut “No Blame” alongside several unreleased tracks, Kemp hopes her music will provide connection and catharsis for listeners. “I hope that people can find a reflection of themselves in these new songs. I hope to bring a cathartic, reassuring feeling that they are not alone in how they feel. Each track has its own energy, emotionally and musically. Some are more intimate, stripped down—just piano voice, others will have more of a groove. They are all different, so I think there is something for everyone to connect with.”
Despite the vulnerability required to share such personal material, Kemp embraces the challenge. “Honestly, I did not have the time to overthink it yet, there is so much to prepare! But the fact that I won’t be alone on stage helps a lot. I’ll have my band with me, and that already feels grounding. I also try to disconnect a little from the fear of being vulnerable and focus instead on what I would want to feel if I were in the audience. If I saw someone share something real on stage, I know I’d be moved. And to be honest, I kind of love the adrenaline when you’re singing something raw in front of people… It’s terrifying, but it’s also the best part.”
No Blame is out now.
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