There’s a slyness in the way she works, too. “Running Home,” which started as a slow guitar song, turned into an upbeat rush of love and momentum, a reminder that LeMac isn’t bound by her own expectations—or yours. Her voice slips between intimacy and performance, playful one moment, urgent the next, always careful not to overstay in any one emotional corner. It’s Always At Night is a way of moving through life at maximum feeling, fully awake while everyone else sleeps, and somehow making it feel effortless.

The EP is called It’s Always At Night. What made you land on that title?

I’m a very emotional person. Throughout my whole life, as soon as the sun goes down and it’s dark out, I get into my head a lot more, and I overthink a lot. It used to be a lot of sad emotions, like heartbreak or just, you know, being upset about something, and I would feel it so much stronger at nighttime. But as I’ve grown older, I’ve realized that it was more than just the bad emotions. If I was excited about something, I would be thinking about it all night long. If I had a crush, I’d be thinking about them all night long. I just realized that 

I feel everything one hundred times stronger at night. There’s so many different emotions on this EP, so I called it It’s Always at Night. 

At what point in the process did that name come about?

I think that I really started trying to think of a title a few songs into the EP. “Sleeping With The Lights On” was the first song that I wrote for this project, and that one is very much It’s Always At Night. That was a big inspiration for the title. When the rest of the songs came along, it all just made sense. There’s a heartbreak song, there’s a love song, a song about meeting somebody new. You know, there’s just a bunch of different emotions.

Was it a conscious decision for this EP to span that wide range of emotions? Or did it happen naturally during the process?

It happened pretty naturally. At one point, I remember being like, “It’d be really cool if it actually turned out to be like this,” because with “Running Home,” for example, I didn’t expect it to be the song that it came to be. We completely changed the verses and everything while producing it, it was originally supposed to be, like, a slower guitar song. Now it’s this really uplifting love song. It definitely wasn’t planned from the beginning.

When you’re working on a song, what tells you if it should be an uptempo or a ballad?

It’s interesting because with a lot of songs, for example, “Sweet Dreams” and “Sleeping With The Lights On,” I knew those songs were definitely gonna be slower, more acoustic, kind of gut-wrenching songs. But with “Intertwined” and “Running Home,” I just brought them to my producer. I work with him very closely, and he was like, “I think this would be super cool to try.” So I was like, “Yeah, let’s do it.” Sometimes I know exactly, and sometimes it’s just experimenting until it feels right.

While you were making this project, was there a time where you were forced to confront an emotion that you didn’t necessarily feel ready to at the time?

I did a lot of exploration lyrically with “Sleeping With The Lights On.” That song is very vulnerable, and it’s based on personal experiences. It just felt very real, so that song definitely hits home. It took a lot to write, but it also came very naturally. I also did just a lot of exploring with production. That was difficult, because I’ve never found a specific sound that felt one hundred percent right. Then “Running Home” came along, and it’s super pop, but it’s so cool. It was really cool to watch myself and learn from that song.

Do you think that sound that you found on “Running Home” is something that you want to carry forward for your other projects?

I think that it’s one of those things where if a song turns out to be that way, then it does. I never write songs and expect them to be a certain way, it just falls into place. There’s been countless times that I’ve written a song and we’ve completely flipped it on its head and changed it to be something else. It’s all about feeling for me, so if it feels right, then it’s right. 

Do you want your sound to be more lyrically and emotionally inclined than sonically? Does experimenting, in a way, keep things interesting for you? 

I think I’ll always prioritize having really cool lyrics, but I definitely want to explore more of the melodic and sonic part of music. Even with this EP, I did a lot of experimenting with my voice and used it as an instrument also.