DOPE Interviews | Falon Sierra

Powerhouse Singer Commands the Stage

Rundown

  • Facebook: @FalonSierraMusic
  • Instagram: @FalonSierra
  • Twitter: @FalonSierra
  • Soundcloud: soundcloud.com/falonsierra

There are performers you see for the first time and you instantly know they’re going to be a big deal. It’s more than the music — it’s an effortless ability to create an experience for the audience and evoke emotion from otherwise guarded first-time spectators.

In the dimly lit basement that is Barboza in Seattle, Washington, Falon Sierra did just that. With the smooth sway of her figure rocking to the powerful melodies of her vocals, the entire room swayed with her — until the mic went out. Most artists would freeze and the mood would be lost, but not Falon. She didn’t miss a beat. Bellowing each verse with an intensity that could be felt all the way up the stairs, Falon Sierra kept singing as someone from the venue popped on stage to fix what had caused the disconnect.

After a performance like that, we knew we had to find out more about this inspiring artist.

DOPE Magazine: So first and foremost, what an incredible performance! There was one moment where it seemed as though your mic was turned off and you just kept singing/performing until someone came up and fixed the issue. What went through your head in that moment?

Falon Sierra: I was like, “Holy shit, whoops.” I don’t know. Sometimes mess-ups happen, and I’ve always just been taught to just always keep going, always keep performing, because I’d done a lot of musicals as a kid. So, it was kind of drilled in my head to never stop and never let them see that it was kind of a mess-up, kind of make it look like it was on purpose. So, I just tried to just keep going.

Your song “Mr. Prez” has gotten a lot of attention. It’s no secret that our current POTUS is racist. Let’s be real. From calling people from Mexico rapists and criminals during his campaign trail, to his border policies that tore families apart, to the most recent claims by Omarosa that there is a recording with him using the N word. What was the breaking point that inspired you to create this song?

I definitely think the breaking point was him winning the election. At that point, I was really, really, really angry, like, “How did this happen? How did people not vote for Hillary?” I was in shock, so I think at that moment, I was like, “Wow, the next four years are going to be horrible.”

Then I got a beat from somebody, and I didn’t know what I was going to write, but thought I heard gunshots outside right as I was listening to that beat. That’s kind of like how I thought the whole world was going to be for the next four years, so then I started to write that song that night. I think it wasn’t too long after his election that I wrote that song, but I didn’t release it for a few months.

You produced your song “Zero” by yourself, and played on a keyboard from Goodwill — is production also something that you’ve always wanted to do?

Yeah, I’ve always wanted to do it. I never knew how or how to go about it, but luckily, my engineer at the time had told me, “Yo, whatever you want to play, I can help you translate what you’re playing and then put it on the computer. You can tell me what you want exactly,” so he kind of gave me the inspiration and the hope that I could actually do it, because I’m not really computer savvy at all.

So, I got the keyboard. I could play stuff on the piano and keyboard. I could play a little bit of acoustic, but I never knew how to put that onto a computer. So, once he said that I could do that, I was like, “Okay, I’m going to try.”

You were in a lot of musicals until high school. When you were a kid singing in these musicals, did you ever see a future in musical theatre for yourself?

Yeah, yeah. I really, really wanted to be on Broadway. I thought it was really cool to sing, act, and dance and do a local production. That was really amazing to me. I got out of it because I started to just want to express myself more, but recently I’ve been kind of wanting to do another musical. It’s been a while, but I kind of want to do one.

What musicals were you in?   

“The Waves” … this show called “How To Eat Like a Child” was one of my first shows, and “Oliver.” Oh, it was so long ago. “Ida,” I was in “Ida,” and “Hairspray,” “Dream Girls.” Oh yeah, “Little Shop of Horrors.” There’s a lot.

You’ve said that your whole family sings, including your sister and brother — is there any chance fans will hear a song featuring you and your siblings in the future?

Yeah. I think there’s definitely a chance. I think the biggest chance is hearing a song with me and my son, and possibly my sister, because we sometimes mess around. The other day, I was messing around and I was like, “Oh, we should definitely make this into something.”

So what’s next? Are you working on anything new? Any shows or other festivals coming up? Where can people catch you?

I just started to work on an album that I’m kind of nervous about, but I think it’s going to take a long time because I’m really slow at writing, and then [in] November[I’ll be] at Freakout Fest in Ballard, which is a part of KEXP, I believe. So, yeah, I’m expecting this album to release late 2019.

Interview originally posted on EarthlingsEntertainment.com

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Luna Reyna

Luna Reyna believes in the power of journalistic activism and social responsibility. As a writer with DOPE, she tackles many social justice topics that often do not receive the coverage they deserve within the cannabis industry, as well as issues of inclusivity regarding race, gender, class and the LGBTQ communities (to name a few). Luna is also the editor for a magazine called Earthlings Entertainment, serving everywhere from British Columbia on down the north west and pushing east as the progression continues. Earthlings Entertainment challenges the status quo through artistic expression and creative inspiration. EE is committed to curating, highlighting, and sharing only the most intelligent, intriguing, original, and downright edgy releases in Hip Hop and the genres that Hip Hop is a progression of, as well as the umbrella of Electronic music and its sub genres. She also works with The Colossal Collective, a rad group of creative creatures that design larger-than life-puppets you may have seen at one music festival or another.

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