Kaylee Federmann Explores the Colors of Human Emotion on Debut Album 'Color Theory'

Nashville-based alternative pop singer-songwriter Kaylee Federmann has released her debut album, Color Theory, delivering a ten-track collection that explores love, heartbreak, personal growth, and the complicated emotions that come with being human.

Inspired by artists like Wild Rivers and Sabrina Carpenter, Federmann brings a refreshing perspective to alternative pop, using color as the foundation for an album built around honest storytelling and personal interpretation.

The concept is clever without trying too hard. Each track represents a different color, giving listeners ten emotional perspectives to explore. Opening with “Mr. Fix It (Orange),” the album moves through “Even If You Won’t (Red),” “I Couldn’t Hate Her (Green),” and “I Would Take It All (Yellow),” before introducing “Color In My Life (Baby Blue)” and “Busy, Busy (Pink).”

The second half features “Mine (Purple),” “Still Ours (Black),” and “Don’t Go (Gray),” featuring Willy Sinclair, before closing with “Holy (White).” What makes Color Theory worth paying attention to is Federmann’s understanding that emotions aren't universal. Something that represents happiness to one person might carry an entirely different meaning for someone else, and she leaves enough room for listeners to make those connections themselves.

Originally from Boston, Federmann studied at Berklee College of Music before establishing herself in Nashville. Alongside her recording career, she operates Rose Pond Music and Last Dollar Studios.

With Color Theory, Kaylee Federmann introduces herself as an artist with something meaningful to say, proving that sometimes the strongest creative concepts are the ones that allow listeners to find their own stories within the music.

'Color Theory' connects individual songs to specific colors and emotional experiences. What inspired you to build an entire album around this concept, and how did you decide which colors best represented each story?

I knew I wanted to make some sort of concept album, but I also love writing different stories and exploring diverse sounds, so I didn’t want it to follow one consistent narrative. My brother actually gave me the initial idea. He’s a graphic designer and works with a lot of color palettes. He explained to me that color theory explores how certain colors can resonate with certain emotions. I found that really fascinating and started playing with the idea of pairing songs and stories with different colors. The colors on the album right now are the ones we felt best fit each song. They’re the colors that come to mind when I sing those songs or think about those emotions. The best part about this album, and music in general, is that everything is open to interpretation. Someone else might listen to the same song and see or feel a completely different color. My hope is that the album gets people thinking about the way color can shape emotion, storytelling, and music.

You've mentioned wanting listeners to feel something rather than experience your songs exactly as you intended. Has anyone ever interpreted your music in a way that completely surprised you or changed how you viewed your own writing?

I don’t know if there’s ever been one specific interpretation of a song that really surprised me, but I have had people tell me that certain songs reached them in ways I never expected. Sometimes it’s older songs from my catalog that I assume no one is listening to anymore, so it’s really special to know that the music still made a mark. That’s one of the things I love most about music - it’s timeless.

Your musical influences include Wild Rivers and Sabrina Carpenter, two artists with distinct approaches to storytelling and pop production. How did those influences shape the sound of Color Theory, and where does your own artistic identity come through most strongly? I love the simplicity of Wild Rivers’ songwriting, as well as their natural sonics, and I wanted to bring some of that into my own songs. I really feel like the best songs are often the ones that are told simply. I’m also a pop girly at heart and listen to Sabrina all the time, so naturally, she found her way into the album too. I really admire her production choices and the risks she takes. I love her melodic choices and the boldness of her lyrics.

You attended Berklee College of Music before leaving Boston to pursue your career in Nashville. Looking back, how did that decision influence your development as a songwriter, and what has Nashville taught you about building a sustainable music career?

Funny enough, I’ve found that Berklee and Nashville are pretty similar. A lot of musicians, a lot of dreamers. I had been visiting Nashville for years before I moved here. I think Berklee helped me understand that your network is everything.

Learning how to collaborate and work with people is one of the most valuable parts of this business, and also one of the most fun. Nashville has taught me that there are so many different ways to get where you want to be, and more often than not, it’s the most unexpected opportunities that lead you to “success.” Keeping expectations low, staying open, and letting surprises happen is always a good mindset.

Alongside your recording career, you operate Rose Pond Music and Last Dollar Studios. How has working on the business and production sides of the industry changed your perspective as an independent artist, particularly while preparing your debut album? Oh my gosh, it has changed it so much! First, getting the opportunity to work in a high-quality recording studio has taught me so much about the process and art of recording, and the importance of doing it right. I’ve learned so much from watching my business partner and producer, Willy Sinclair, produce and mix.

I’ve learned not to overcomplicate production. It’s easy to keep adding layer after layer and think you’re making something sound “bigger” or better, when most of the time you’re really just adding noise and taking away from the actual story. I’ve also learned how experimenting with sounds can lead to finding your own “sound.”

Through running Rose Pond Music, I’ve learned how to hear the difference - or at least somewhat recognize - the kind of music, production, and musical storytelling that can fit visual media. These days, almost anything goes, but there is still a formula to sync. Although I didn’t intentionally incorporate that “formula” into this record, I now have a better understanding of where these songs could fit when pitching them.

Moving forward, I can also choose to incorporate those elements when I want to direct the music toward a specific sync opportunity. I’ve also learned how to shift songwriting and pacing to fit a visual narrative and support a storyline, which is something I’m super excited to continue doing in future projects.