Switched on Pop - How Sombr’s bedroom recordings became his biggest hits

Episode Date: December 9, 2025

Sombr went from crafting raw, reverb soaked songs alone in his Lower East Side bedroom to finding his life shifting in ways he never could have predicted across 2024 and 2025. His biggest tracks kept their imperfections even as world class players at Sound City added new layers, and a disco groove he began as a late night joke transformed into a breakout moment that changed his career’s trajectory. He explains how he writes, why distortion carries emotional weight for him, how he navigates the pull between bedroom recordings and studio polish, and what it felt like to watch childhood dreams come true on national stages. The result is a portrait of an artist whose rise has been so quick and so unlikely that even Sombr is still piecing together how it all happened. Watch the interview on YouTube: https://www.youtube.com/@Switched-On-Pop Songs Discussed Sombr “12 to 12” Sombr “Back to Friends” Sombr “Undressed” Lizzo “About Damn Time” Chic “Good Times” Learn more about your ad choices. Visit podcastchoices.com/adchoices

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It's free for iOS users. Okay, just before we start, if you think you have a winning bingo card from the beginning of this year about our predictions for 2025, send it to us at submissions at switchedonpop.com, and you'll get to hear next week whether or not you're the winner.

Again, send us your bingo card, submissions at switchedonpop.com. All right, here's our show. Welcome to Switched on Pop. I'm songwriter Charlie Harding. And I'm musicologist. Nate Sloan. Nate, what were your biggest dreams as a New York City kid playing music when you were in high school?

I mean, you know, Carnegie Hall, that was a big one. That was on my list. I'd love to see my name on the Radio City Music Hall Marquis, maybe stand in the middle of a Rockette's chorus line, doing some high kicks with them. You know, the usual stuff. Yeah. I too had delusions of grandeur. I wanted to be a rock guitar god shredding. at the biggest venues in New York City.

It turns out there is a musician living our wildest dreams, one who you've not been paying attention to who just totally rocks. I'm ready to be enlightened, Charles. That is somber 12 to 12. Sombor spelled S-O-M-B-R, no E, born Shane Michael Boos, raised on the Lower East Side, went to LaGuardia Arts High School, where he studied classical vocal music, including opera, started making music on his own, on garage. band, writing, producing, and performing everything himself.

He starts putting music out in 2021 online, drops out of high school in 2022, signs to Warner in 2023, and this year, at just 20 years old, he has had three breakout songs, back to friends, undressed in 12 to 12 that we just heard. And one of the things that's remarkable about somber is that he continues to make music on his own, while also roping in veteran producer Tony Berg and the musicians at Sound City to sort of polish things up at the end. And like the girl in the song who was avoiding him at the party in 12 to 12, while you weren't paying attention to Somber, he's gone on to secure a best new artist Grammy nomination for his self-made alternative rock. I want to get to know Somber a little bit better through this song and see if he is fulfilling your teenage dreams as a New York City musician.

I'll try and approach this track 12 to 12 with an objective stance despite the now palpable jealousy. I feel over this young man doing everything that you and I couldn't Charles, but yeah, there's a lot happening in this track. So where do we start? Like, what's the first element that grabs you about 12 to 12? I want to start from the very beginning.

I think it begins a bit transgressive and then gets very funky. Like, where are we? What are these sounds? Oh, piano, disco drums, bass. Fun harmonic progression. Bonos, strings. That is a 20-second intro, a musical gesture that just keeps pushing and pulling.

It grabbed me from the very start, I think especially that riff, those chords that anticipate every beat. It really disproves the theory that we've opined over and over on the show, which is that the intro has vanished from the world of Hot 100 pop music, that artists are more interested in just starting with the chorus because that grabs the attention of a listener in an economy that increasingly demands you, you not let someone's attention waiver for a minute. Here, breaking the mold, kind of old school, really taking its time building up, and by the time those vocals come in, you're on the edge of your seat.

You know, I do want to recall, we've mentioned it many times on the podcast, your high school band function with a K. With a K. Yes. What do you think about the little baseline? And it's cool because one way to play this baseline would be like slapping it. But it's not that in your face. It's still, it's got a little so.

It's got a little bounce. It's got a little low end. You can tell us played by a real bass player because there's all these variations on it each time. I think this is function approved for sure. Part of what attracted me to this song in this intro was that it sounded fresh, but also very familiar at the same time. Fresh because it's kind of this like disco rock thing. But I feel

like I had heard these sounds in other contexts. And it was that baseline that first gave it away. I was like, oh, what is that classic I was like a classic soul or funk track? What am I thinking of? And I realized

it's actually not that old. It reminded me of frankly, Lizzo's about damn time. Which is also kind of like an interpolation of Sheik's good times, so I guess it is old in a way. But it wasn't just the bass that sounded familiar. It was those chords that propelled me along. Those sounded familiar too.

And I was raking through all of my musical mind. Again, I'm like, that must be an old thing. But no, it's actually also quite fresh and familiar. That same chord progression as... Dual Leapas Don't Start Now, itself, another disco throwback. I had to do it, Nate. I had to mash it all up for you. You didn't, but nevertheless you have, and here it is. Here's the bass and the piano of Don't Start Now,

mashed up with the drums and the baseline from about damn time. What's past is prologue, Charlie. Everything old is new. We are in this blender of influence, and I love the fact that you were like, oh, here are these classics soul and disco references, and then they turned out to be from the last five years, but that's so emblematic of how music works right now.

Frankly, I like this mashup, taking these two sort of disco throwback songs, but putting them in a new context into the world, sort of like riff, alt rock, and it captures an entirely different feeling, that feeling of like, I want to be noticed, I want you to want me,

but I'm not sure that you're noticing me. In the first verse, we have this great line. I don't want anyone else from the hours of 12 to 12. I want you around, right? But in the chorus, we heard at the very start, we learned that this love isn't mutual. In a room full of people, I look for you. Would you avoid me?

Or would you look for me, too? Is the story through, do our heart still be in tune? Oh, it's the worst feeling. You're at the party. You see the person that you desire. And they avoid eye contact. I would almost expect these lyrics to have a certain darkness with an artist who chose to call himself somber. You know, I wouldn't expect lyrics of like, you know, oh, as we stroll through the field of daffodils together, I think how happy I am that I know will always love each other forever.

No, it's like, no, no, no, this is, there's some yearning here. There's some unrequited love. Yeah, this is like dark, dark funk, dark disco. Dark disco. It's got those amazing, I don't know what that sort of synthy thing is afterwards. There's really cool production choices, this mixing of dance with these underlying feelings of relationship anxiety. There's some amazing production that happens in the bridge that takes the song in a different direction. I want to get to know this song even better.

In fact, I want to get to know sombers work better. his album, I Barely New Her, is full of all of this teenage angst and these hybrid styles. I feel like there's no better way to get to know what it's like to be a teenage rock star than to hear directly from Somber himself. So, Nate, I got to sit down with Somber in the studio recently and ask him about all of his biggest hits. Here's that conversation with Somber. Somber, thank you for being on Switched on Pop. Appreciate it.

Thanks for having me. All right, so you've said before that you listen to your songs, hundreds of times before we're releasing them. Yeah. Let's listen to Back to Friends one more time. Okay. So when we hit Play Now, what do you hear that tells you this song is still alive,

that it's not overworked, that all of that work that you put into it lets it still exist as the raw original thing that you wanted it to be? I feel like every time I listen to that song, it doesn't get old for me. It's just a really special song to me, and I'm never going to take one of my hits for granted.

I wouldn't be where I am without that song, and it's like, I'm just, like, grateful every time I listen to it. That song is also just, like, such a feeling for me. What's the feeling? The beginning of a life. Like, that song started a new life for me. You went from being a high school student to being a rock star.

Thank you. I mean, you got the bandana, so. Yeah. Where does this track begin? How do you know it's finished? So I started it in my bedroom. And what I did first was I made a drum loop. which is the drum loop you hear on the song today.

And then I laid down those piano bass notes that you hear in the intro and throughout the song. And I was like, oh, well, you know, it's very simple, but this is really viby. What came next is just I picked up my Les Paul and I just played the one chord that goes throughout. So we have that and then I had the... Oh, that you also hear in the intro

and then it also is under the chorus. So I have that, and I'm like, wow, this is a very, like, such a euphoric soundcape. It's just such a feeling. It felt so special. And I really think writing music is like, it just depends on how deep you're feeling. It doesn't matter what comes out. If you're feeling that thing, whatever comes out is going to be the right thing. So I was feeling that thing that I felt whenever I've written a groundbreaking song for me.

and the verse just came like I just mumbled out the verse Do you do like a little mumble track You don't quite have the words And then you write the words Or did the words come at the same moment? So I produce the being all I'll usually like know what the syllables need to be

It started as talking to you mother It was just the first thing I thought of So it's that ta And then it turned into Touch me kind of tender And then it turned into touch my body tender I always have like good intuition like with the syllable that flows the best

or vowel, whatever. I'm sorry, I didn't graduate high school. And then I'll write lyrics that I'm happy with. So you're like, the T sound was speaking to you, the O sound was speaking to you, and that guides the direction. Yeah. Okay, so what we hear on this track is things that you lay down,

but it also goes a whole finishing process. So where does it go from here? Well, once I have one part of a song, and I like it, like I just hear the rest of the song. Like, I, if I have a verse, when I listen to the verse and then the verse ends, and it's, like, I just know where it needs to go. It's just, like, that's the, like, simplest way for me to put it. So I was like, okay, chorus.

It just made sense. And this is actually the, like, one of the only songs I've made where the verse score progression is same as the chorus core progression. And it was just because I was like, this is such a vibey. feeling the kind of atmosphere that I built over the verse. I was like, I don't want the, like, I hear a chorus, but I don't hear this ending yet. And like, for me, it's a big no-no to write a chorus

with the same chord, well, it was a big no-no, with the same chord progression as the verse. It's just like, I don't know, I thought it was lazy. But I don't think that's the case anymore. It's case by case. What does the chorus demand of you if the chords are going to stay the same? A different melody, a different rhythm. And like, you'll notice, like, the verse is one track.

And then the chorus, the lead vocal is three tracks. And then there's also harmony to lead vocal. And then we bring back the Oz. So it's just about like kind of cheating it with the production. And then the vocal layering, I think, definitely helped make it feel like a different section. So you trained classically at LaGuardia High School. You did a bunch of classical singing. And in many of your recordings, we get these sort of dual voices, right?

Verses, a lot of distortion, a lot of reverb. Yeah. In your choruses, often a much purer tone, right? Head voice, big background vocals. Given the training that you did, which often requires like a certain style of performance, certain purity of tone, is there a reason? and why you want to lean towards distortion or lean towards that more pure tone? I feel like for me, distortion on a voice is almost like bringing in some of the emotion

that I can't bring in with my voice. Like I want the listener to feel it even more like trying to cut through. Like you hear the way in some of my songs of distortion, it's just cutting through. And that's like, that's me like, and I did all I can with my voice, I want, I want to I want it to feel more intense. I want to take it to that next level. And then when I bring you to the chorus, it's going to be a beautiful stack of voices and harmonies

and clean, no distortion. I feel like there's a very powerful one voice with all this distortion and then 15 voices with none. Just a beautiful course. I think there's something beautiful about that. An amazing contrast that it absolutely sets up. So this track is just you. Yeah.

most of your work is just you. You write, you produce, and we'll listen to some other tracks where you do collaborate on production with Tony Berg. You have some other session players that join you. Yeah. But, you know, you start off on your own teaching yourself garage band, then Logic Pro, the sort of graduation of garage band. Yeah. How did you develop the sensibility for the style of music you're creating? What would you even, how do you like to refer to it?

I call it alternative or alternative rock. Okay. And sometimes it's pop, but it's mostly alternative rock. Let's see. How did I develop? It's really weird. So I think I've always been alternative indie, and it goes as far as the artists I listen to, how I acted in high school, how I act today. All of my heroes are alternative except for a few exceptions.

Sure. Just playing the distortion on the vocal. Yeah. Feels, you know, strokesy. All kinds. Thank you. If you're going to sing alternative, you've got to have some grit to the voice. Yeah.

Okay. Let's listen to another song. Can we go to, let's listen to Undressed. Okay. Okay. So your early recordings, just you. Here we include production with Tony Burke. One of the great temporary producers has worked for decades. It makes so much beautiful music. Tell me about the process of going from making something on your own to having it fully realized and produced out now.

Me and Tony just have like a special thing when we get in. We're like Tony has been doing this. You know, he's in his 70s. He's been doing this since he was in his, I don't know, 20s. I think that dynamic, like someone that is like so with the older ways of session players and a beautiful student. Oh, Sound City, Nirvana, Fleetwood Mac, whoever the fuck else, Phoebe Bridgers, you know, with those resources combined with my bedroom style and how I kind of came up. Like most of the young producers that come up, you know, from my generation, I think it creates

a blend that you don't hear a lot. Because, I mean, so with undressed, I built the drum loop. I built all the guitars that you hear and the bass. I recorded all the vocals, and then we get to go in with Tony, and then polish everything, add all the atmospheric stuff. Like you hear the in the intro, like the weird reverse guitar, and like, then we build all these layers with the session players like Benny, who's, I think, the greatest keyboardist and sound designer living,

and he plays all the synths under this stuff. and like a lot of it you don't even like notice when you listen but it's just these layers that are kind of paired with with the other instruments that just adds so much more depth than make the instruments like so much bigger but why why do it this way like it's better it makes you think of like you know i've got this bruce springsteen film about the making of nebraska and nebraska for bruce springsteen was this album where he's like i'm not going to the power station. I'm making a record on a little tape deck in a hotel room. It's going to be the rawest thing possible. For a lot of people, that's like the demo, right? A lot of people take the demo and then

go and completely redo it. And here you've kind of done this hybrid method, where it's like, you've got your thing and you've got the big studio thing and you put them together. You could have re-recorded everything on the fanciest microphone on the planet with, you know, every guitar you dream of and every amp you dream of in the studio. Tony and I fight about that a lot. That's like, the main thing we fight about. So I will go into the studio with the full vocal performance recorded on my TLM 103, which is like an $1,000 microphone at home. And he's like, get on the nicest microphone in the world. That's what he has in a studio with all this compression and all this stuff. And I disagree with him wanting me to do that because we keep a lot of my bedroom elements

in is because the album that made me want to start. making music for Sombor was Boney Vares for Emma Forever ago. That is bedroom album with... I think it was in a cabin maybe. In a cabin, yeah. With imperfections. That is like the music that speaks to me so much. Like the imperfect bedroom music,

because I feel like it brings in a different emotion that a perfect studio recording doesn't bring. And Tony does a lot of perfect studio recordings that I love. I think he's one of the greatest living producers, if not the greatest. But my personal taste, I need the imperfection. I might crank the distortion a little too much on the verse, and a critic may not like it,

but I don't care. I need that. It is important to me because it brings a different feeling to me that not everyone will understand and that's okay. So we need the rawness of the home recording, but the studio is also important. Yeah. What is that doing to the recording?

I think it makes it more musical. It makes sounds that you will never get, you know, with VSTs in a laptop and plugins. We don't use plugins in Sound City. So everything that it's happening is real, a real compressor, a real reverb. It's that, and then it's the real instruments and real players with different ideas than me and Tony. We have like our great core that just does everything that I do. And I think having these guys, all of them with different ideas, makes for something special that we would. would have never made just us two or just me.

And I think these guys are like best of the best. And I think it takes it to another level. Attention Spotify. Has arrived on the new Good Girl Jasmine Absolute of Carolina Herrera. A fragrance intense with character Gourman and addictive. Imagine a jasmine emvolventy, tofu caramelized and tonka toasted.

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Tell me about your relationship to space. I'm a child of reverb. I've been messing around on garage band since I was. 10 probably. The first plugin I learned how to use was a reverb plugin. It started with logic stock reverb and then it developed Tofalhala, vintage verb, which is my main reverb plugin now. And I have always just been gravitated towards a lot of reverb, usually too much reverb. What does it do for you? What draws you to it? Just back to that feeling thing that, you know, some people might not like, but for me, a big reverb, you know, makes what you're

saying or playing, you know, last for another couple seconds and it fade out. And I like for, I just, I just, it just makes my brain happy. I can't explain why. Like, either I want something to be really reverbed or completely dry. Let's listen to 12th to 12. Yeah. 12 of 12 is the best. Total vibe shift.

What's your favorite part about this song? I mean, it's the vibe shift. What's my favorite part? Yeah. Favorite element. I'll get you. Okay. I do love that.

That's me. What is that? I can't tell you. That's the sound of you used on Andres and this. Oh, it's a special sound too. It's not a synth. Is it a Columba? I'm not telling you.

Would you not going to tell me? No. Will you tell me if I don't tell anybody else? Stop it. Yeah. What did you do? I'm not telling you. I gave you everything.

I gave you a lot. We're in a different direction. where disco, glam, rock, what pulled you into this kind of groove? I think I started off making this song as a joke. I was like, you know, I was just off the back of two big hits, Back to Friends and And Dress, which are alternative songs. And I was just messing around one night,

and I made a disco drum beat, you know, four on the floor. And I was like, it was like a joke. You know, I was bored. And I just, I just. I started playing on my corg shrichton. That's a throwback. I use it on everything.

I love it. I mean, that's the keyboard that I always associate like Pharrell and Timble and I mean like 2000s, hip-hop and all beat making. It's probably older than you are. And the sounds on it are...

Great. They're great. But they're like, they're cheap, bad replication of something else. but that's what makes them awesome. Yeah, well, that's why I like cheap sounds. And I think that, you know, that keyboard is like a time machine.

You know, when you play it, it'll bring out different ideas out of you because of how it sounds and how it makes you feel, which is why I play it on everything, because it represents, you know, one of the decades that I want to, that I want to my music to feel like. So that's why it's so important to me. So like 2000s indie and 2000s, like party hip hop? Yeah, both.

Huh. Both. What attracts you to that moment? It's just, it's what I grew up on in it. And it makes me feel something and it's, I want to use it to make other people feel that thing. It's interesting, bridging those two worlds because I don't think a lot of 2000s indie bands were using the Core Triton. I think that was very much more in the hip-hop beat-making world. And so you're kind of fusing those two spaces together.

Yeah, because I love both. I love some. But yeah, I was, I picked up. up the corg and I was like, let me find the cheapest piano sound I can find. Oh, yeah. And I just played the bum-fum. Ah, bum-bum-bum. Yeah.

And very reminiscent of the, corg previously had one of the biggest synthesizer of all time, the M-1 and it had like all house music was the sound of that sort of poorly done piano sound. Exactly. And I think it, I don't, I got to, I'd have to fact check myself. I'm not sure if it's the same sound carried over to the Triton, but it, like, it is the sound of house music. I know. I love it. And then I played the bass line. Boom, boom, bum, bum, bum, bum, bum, but bum.

And I was like, oh, this is so good. This is so daft punk. This is so an installer. It can buy that. I'm like, I'm not joking anymore. This felt like it gave me the feeling that like the 2000s and 2010's Best Pop gave me, which is all I ever want to do. It was one of those things where the verse came out of me again

and the chorus came out of me again in the same night. And then I played that post chorus. that you hear that same night as well. And by then I knew it was special. Was there, did you have Duelapal on your mind at all that evening? No, but everyone compares it to Duelepa. So sick. Big track.

I see that one a lot. The recordings are variantizing some really neat sounds. We've got this core Triton. We've got that funky little sound. Yeah. One of the moments that really spoke to me was the way that, you know, you think about a four-to-the-floor dance track, oftentimes you're going to have the same progression all the way through. It's about putting you in an entran state, building layers.

But this song takes a lot of turns in the final third. Yeah. And let's see if I can sort of pull up on those moments. Core change. Woo! Lovely little moment there. Yeah. Switches things up.

it all of a sudden feels like a much more a live song tell me about how we go from you know like little beat in logic to producing this out to feel like we're in like total disco land yeah so about that bridge

I told you how I write all my choruses and verses on like I make a beat I'm writing it on a beat but every time I get to a bridge I'm a big fan of a great bridge that takes you to a different place for a little bit so I when I'm

writing a bridge, I will sit down at my upright piano, and I'll write the whole bridge there, no production, no anything. So that's what I did, and that's why all my bridges always will take. So it's almost like shifting your mindset, like, staring at the computer and like building stuff and software and just going into an entirely different way of

creating. Yeah, because for me, the bridge always has to feel like gluing another song to that song in the same key, and then going back. Interesting. So you're making 12, 12 to 12 at a point where you are broken out as an artist, you've had a bunch of hits. Some of your hits you've literally made in the process of them blowing up.

Yeah. What are some of those stories and what is the feeling of that where it's like it's happening live as people are seeing you make it? All my hits I made in the process of them blowing up because I don't finish songs usually. Like I will post the chorus online. Why do you do that? Is it because you have to?

Do we have to feed the machine or is it? No, it's because I'm not, you know, my, what I, what I like doing is making something that I, that I am really happy with. And then seeing if, if people want it now or later. And if, I love being, being able to A, B, test things, music. Like, when else could you do the A, B, test music with people? Are there songs where you're like, that one didn't hit so you didn't finish producing it out? Yeah. Huh.

And, you know, I don't think everything I make is genius. But if I make some, you know, actually, I think, like, if I make a lot of stuff that I'm like, yo, this is the fucking shit. So I got to find a way to filter that out. So you make it in the process, you post stuff, and then all of a sudden you see people respond to it. Yeah. And what do you do next? If I like the response, I'll finish it and I'll drop it. Does it feel differently when you're producing first for yourself?

and then when you know it's already been heard and you have to complete it. No. Feels the same. It's almost like, okay, there's demand for this. Now I can really show off and do whatever the fuck I want with this. It excites me.

But 12 to 12 was the one song that I didn't test. That was the song that I made, and I was so, so passionate about that song. I was like, I'm not ever going to leak this or test it. I'm going to make sure this works. no matter what, at whatever cost. It's working. Thank you.

A lot has happened for you in a year. I know you've been working on this four years. Yeah. But there was a real turning point in 2025, 24, 2025. You played the VMAs. You recently had the Taylor Swift bump, sold out shows. How has this year felt like for you? Unreal.

I mean, this year, I've done almost everything that seemed impossible and that I would watch other people do as a kid, I was able to bring out Sam Smith on stage, and there are countless videos of me singing Sam Smith songs as a 12-year-old, 13-year-old, 14-year-old, and then I brought Sam out as my peer, and I sang with Sam, and that kind of broke the simulation for me.

I feel like the best way to describe this year is it has broken the simulation, I've done the things that I thought were fake when I'm standing on the stage of the Jimmy Fallon and I'm waiting for my cue and I see Jimmy Fallon in the corner of my eye holding up my cover art and saying and making his TV debut somber

like those are one of those moments where you black out it's like this isn't supposed to happen to people what happened to me and that's how I felt all year and I'm so grateful I imagine it seems as though you've been grinding throughout the entire year. You've had this huge wave of initial success and not just one hit, but two, three, multiple hits. At this moment, as we're recording, you're currently the number one artist on the Billboard songwriter chart. What do you feel like you need to do to keep growing into the music that you want to make next?

Keep following my gut with the songs I make and not try to recreate a moment or, you know, just always make something fresh. Yeah. And I think that's what 12 to 12 was. Your name, somber, implies a certain emotional state, but perhaps 12 to 12 shows us that there are many emotions that we can explore. Do you feel that that framing will always suit your project? I think at this point, I feel like when I say the name somber,

and when other people say the name somber, I don't even feel like I'm saying a synonym for sad. It just feels like a name that has kind of taken a different meaning. It's like a band name that doesn't really mean anymore what the word they took meant. You know what I'm saying? So that's what it is for me. Well, it's been so fun sharing this with you all.

Thank you. Thank you for being on Switchin on Pop. I really appreciate it. Thank you for having me. Switched on Pop is produced by Raina Cruz, engineered by Brand McFarland, edited by Lissa Soap, illustrations by Arras Gottlieb. Our theme music is by Jassy Adams and Zach Tenario of Arc Iris. Remember with the Vox Media Podcast Network and a production of Vulture,

which is part of New York Magazine. You can subscribe at nymag.com slash pod. Find us on social media at Switch on Pop and tell us what are your favorite somber tracks that you're listening to? What other references are you hearing that we missed? We want to hear it, so reach out. And if you want to see the full interview with video, We are also on YouTube.

You can see that at our YouTube page, which is linked in our bio and on our website. We'll be back later this week. You don't even have to wait a full week for more Switched on Pop with a conversation with another Grammy-nominated artist. One of our favorite songwriters in the game right now, Amy Allen. We'll see you in a few days. And until then, thanks for listening.