The single comes with a mostly black-and-white, wistful one-shot music video filmed in a handheld style by Didier Pigeon-Perreault. The video follows Lennon and her reflections while she takes the train and watches the countryside slowly pass her by. Recalling the quieter moments of black and white films like It’s A Wonderful Life, the video then shifts near the end into vivid colour as the character bursts from the dream and breaks free.

This illusory imagery is scattered throughout Lennon’s upcoming album, Desire Days (out June 20 via Mothland), the follow-up to 2021’s wonderful psychedelic dream pop album, Sounds From Your Lips. While Desire Days does continue Meggie Lennon’s play with the genre, this new album is more of an evolution of an artist, perhaps a bit wiser, coming to terms with self-acceptance, resilience, and the complexities of modern life. 

We spoke with Lennon about the shooting process of “Running Away,” some of the themes of Desire Days, and sometimes wanting to “disappear into the background of your own life.”

What are you running away from, and can you ever truly escape it?

Ah, this question! I’m not exactly running, but I definitely have those moments where insecurity kicks in. Suddenly, everything feels terrifying, and escapism becomes less of a luxury and more of a survival instinct. So no, I’m not running… but I am occasionally speed-walking emotionally.

What message or feeling did you want the audience to take away from watching the video?

At its core, “Running Away” is for anyone who’s ever wanted to disappear into the background of their own life… but with a string quartet. It’s a bit of a dramatic anthem for quiet inner battles, and a reminder that asking for help can be a form of heroism.

I love how near the end of this video the colour slowly returns from black and white. Where did that idea come from?
It’s actually the opposite! The whole video lives in black and white until, just after the spoken word moment, colour slowly creeps in. That was 100% Didier (Pigeon-Perreault)’s brainchild. It’s the big emotional reveal, like the curtain lifting. This character’s been searching for an escape the whole time, and when they finally break free—Bam! The whole world turns vivid.  

Didier was inspired by Fiona Apple’s “Across the Universe” video, the Beatles cover, which, funnily enough, holds a special place in my heart too. It was actually the first song I ever performed live, during a talent show in Australia while I was studying there. Full-circle moment, right? That song’s always stayed with me: dreamy, vulnerable, timeless, kind of like what we were aiming for with this video.  

What was the shooting like? 

The shoot was super fun. Didier and I form a great team! We’re both big on planning. He took the train ride the weekend before to scout everything and make sure the logistics were locked in. I had the “acting” pretty much choreographed in my head, and he came in with all the gear dialled and this amazing vintage Soviet lens that gave the whole thing its distinct look.

Since it’s one-shot, did you have to do multiple takes on the train to get it right?

If I remember correctly, we did it six times total. Originally, the shot started with me entering the train, but the doors had other plans. At one point, they nearly crushed Didier and the camera, which made for some very tense vibes with the train operators. They warned us never to do that again because we were delaying the train, but when we explained to them what we were working on, it was all good. Crisis averted and bonus: gained a few new IG followers.  

Did you have to make sure there was no one else on the train, interrupting the shot?

Nah! During scouting, Didier made sure to pick a time with minimal traffic. Turns out, no one’s exactly rushing to St-Jérôme on a Sunday afternoon. People were surprisingly chill about it. They’d clock the camera, give us a curious glance, then quietly move to another seat like seasoned extras.

You’ve said there was a Roy Orbison influence on this ballad. Can you dive more into that?

Roy Orbison. The king of heartbreak and dramatic longing. I’m a fan. So, “Running Away” was definitely inspired by his timeless sound: think sweeping strings, melancholy piano and that cinematic vibe that makes everything feel bigger. I was listening to “Crying” one day, and when he hits that “cryyyy-yyy-yyy-ing” note, my heart pretty much melted into a puddle. That’s when I knew I wanted to bring that same emotional intensity into my own vocals. So, I started stretching out certain vowels, like when I sing “Yes, the sweetest dree-eee-eee-eee-eam.” It’s my own little way of channelling that Roy O. magic!  

How does the video fit into the larger story or theme of Desire Days?
The album is packed with those deliciously awkward moments where desire and fear have a tête-à-tête, and “Running Away” is basically the soundtrack to that inner struggle. It’s a ballad for anyone standing at a metaphorical crossroads. The video is like the visual embodiment of that tug-of-war, shifting from black and white to colour. It’s a moment of reckoning, and like much of Desire Days, it digs into that beautifully messy space where you want something more, and you look for the strength to grow and become your best self!