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Dayglow | ‘I think my calling as an artist is to encourage people to look at their life with hope’

Dayglow's third album, People In Motion, is out imminently. We speak to the Texan indie-pop musician about his impressive rise, his work to date and his greatest fear as an artist.

The internet is blamed for many of the world’s ills during the last decade, and not without good reason. But, often, we overlook its upsides. Sloan Struble, who makes music under the moniker Dayglow – his real name like something from a Kerouac novel – has benefited from these more than most. That’s not to say he doesn’t still have qualms.

“Me and the internet have a complex relationship,” he tells me in a hotel lobby in East London. “I owe everything to it. And I hate it. It just gets really hard to be sincere on the internet. It’s the greatest challenge as an artist: to find a way to be transparent using social media. I owe everything to YouTube and the YouTube algorithm, but at the same time, I don’t want to make music thinking about that. So it’s a hard balance, but that’s just the times we’re in.”

And such times have been rather heady for the 23-year-old, significantly since he dropped his euphoric, synth-driven ‘Can I Call You Tonight?’ in early 2018. The breakout hit, the most prominent independent US single that year, has since racked up just shy of 100 million views on YouTube (as well as four times that on Spotify). It also casts an early net on an audience that has since been gifted two albums – which has now been joined by a third, People In Motion . It’s little wonder the burgeoning artist has a fair bit to say about the internet.

His relationship with it goes back further when he would use it to soak up indie-pop and indie-rock artists like Phoenix, Tame Impala, Two Door Cinema Club and MGMT. Born and raised in the “quintessential cow town” of Aledo, just outside of Texas’ Fort Worth (“we had like goats and chickens and stuff”), the internet would be an escapist portal to a world of stimulation and, more importantly, music.

But Sloan isn’t  just  a product of the internet. That would do him a disservice and place too much emphasis on cyberspace. What he’s managed to capture in his music – and in part, the reason why his tracks do so well – is an upbeat output that isn’t tedious, false or anodyne. For the most part, at least by my cynical calculation, joy in art is often designed as a naïve distraction from the reality of life. Sure, there’s a time when switching on  Friends , for instance, with its canned laughter, can provide necessary comfort, but it’s only that, a comfort, a refusal to embrace all of life’s quirks.

Yet this is an artistic tightrope Sloan has walked with aplomb. And one he doesn’t take lightly. “I think it’s the greatest challenge: making honest, optimistic art,” he muses. “I think most art that’s celebrated for being honest or artsy is almost always pretty dark, or deep and emotional.

“But joy is just as much of an emotion as depression is. There’s a time and place for everything, and I think my calling as an artist is to encourage people to look at their life with hope.

“That’d be great if I can manage to do that – and be sincere while doing it. I’m definitely not always a happy person, but I think with my art, I hope to encourage people, rather than the alternative.”

It’s worth heeding the advice of someone with Sloan’s outlook. After dropping his full-length debut album,  Fuzzybrain , the week he began college at The University of Texas – Sloan even made the sculpted self-portrait on the album cover the night before he left. His get-up-and-go is admirable. And as the success of that album began to take hold, “pretty soon I was having a hard time staying in classes,” he recalls, rather humbly.

Ironically, those classes were for a course in marketing. Not that Sloan needed them, finding determined ways to push his work. “I would look on Instagram, like every city I could think of, and find an indie music blog there. I would email them,  ‘Hey, I made this album.’  Three people posted about it, say, out of probably 60 emails. But those three somehow got it to be on Discover Weekly on Spotify, which then [got it] onto Spotify Bedroom Pop, and then everything kind of went from there.”

Pretty soon, the industry turned its nosey head, spotting the success of a self-produced, self-taught, self-marketed newcomer who, crucially, seemed able to generate his own online buzz. And the labels came calling after a few shows in Austin during his first semester, including at well-known South by Southwest, by his second term.

“Somehow a lot of labels and music industry people had found my school email – the email the college gives you – and were emailing me. While I was trying to do my online homework, I was also getting emails from Columbia Records and stuff. It was crazy.”

But Sloan rejected this pull of industry bigheads. After all, he’d come this far, so why would he need anyone’s help now? He’s still keen to hold onto such an independent-minded, self-confident approach.

“I had no reference for anything, which is good. It forced me to focus on my sound and have my own idea of how the music industry should and does work and work. And that gave me an internal compass for navigating things–because some sketchy people reached out to me.

“Thankfully, I just knew how to navigate that, because I was so hyper-focused on doing it myself; I’d made a whole album myself. I’m working with people now, but I’m still completely independent, creatively, and make all my music myself and produce it and mix it.”

To some extent, I bring up in our conversation – trying to at least prise something from his exceptionally calm, rather soothing demeanour – his challenge has been a distinct absence of one. He hasn’t put a foot wrong.

First came his sincere, rosy debut; then his equally heartfelt follow-up,  Harmony’s House , which shimmies and shakes with disco-infused moments and embraces the comedown in other parts, like falling into a sea of cushions. “I don’t know,” he pauses. “I mean, I have really great fans. And I think that’s really important. I try to really focus on making good music.”

Inspired by a lot of ’70s and ’80s yacht rock, whilst cooped up indoors during the pandemic,  Harmony’s House  was Sloan’s attempt to devise a sitcom-style world of the same era whilst drawing on his increasing popularity as an artist.

“I felt like the world was watching me in my house, because I kept doing all these interviews from there. I was gaining fame while just sitting in my house. It felt like a Truman Show-type thing, where there’s a sitcom and people expect me to be scripted while living my life. So I wrote the album through that angle of me being a sitcom character, and then that helped me write the songs.”

And as with building any house, Sloan’s main objective is to ensure strong foundations, to create something that endures for the long-term. “It’s my greatest fear,” he says when asked about concerns of being an artistic flash in the pan, finally breaking away, for the slightest moment, from his steady composure.

“It’s what I’m always working for, just figuring out a way to sustain it. I want this to be my career. I’m not trying to spend all the money I have as quick as possible, buying nice stuff. I want to have a family and not spend it all now.”

Unsurprisingly, family and security are on the young man’s mind. During the process of writing  People In Motion , the 23-year-old couldn’t help but propose to his childhood sweetheart, Reagan. The typical upbeat positivity, so present in his records to date, has therefore become shrouded in that most profound of reasons to smile: love.

“I don’t usually write [my songs] for people. But I guess this was the first album where I directly wrote songs that were about what’s happened in my life. So I was thinking of Reagan when I wrote songs [for  People In Motion ].”

His quip  “What use is a song when I wrote it for no one?”  on the  People In Motion  track ‘Like She Does’, for instance, is an expression of self-realisation as much as anything.

There are a couple more aspects to the record beyond his personal milestone of marriage, too. Initially, the product of Sloan wanting to make a dance album – of which many elements are still present –  People In Motion’s  title is not only a description of “a fun way of describing dancing” but also something heavier. A state of flux that we’ve all experienced in the last few years at least. “We’re in such a quick-paced culture right now. Our memory is horrible. And we forget everything after it happened.”

Another lyric, he explains, this time on the track ‘Radio’, both includes and spells out this concept:  “We’re all just people / People in motion / And we’re always moving / But it seems we’re never growing” .

“I felt like that kind of explains the times. For instance, it’s like there’s so many restaurants around us, but there’s so many scenarios where me and my band are sitting for an hour, saying,  ‘Which one do we go to?’  Or it’s like there’s 20 options on Netflix, but you can only pick one. That’s just kind of how life feels. It’s kind of a little album about the chaos of the world and trying to find a way to navigate it.”

Indeed, the internet can be both a cause and reflective of the troubling world we find ourselves in currently. But with love, a sense of belief in himself and that ever-positive yet realistic mindset, Sloan Struble, aka Dayglow, is finding a way to chart his path. And is doing so with a smile on his face.

People In Motion is out now.

Dayglow is also on tour in the UK in February and March 2023;  click here for more information and to buy tickets .

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Dayglow announce UK/EU headline tour

• Second Nature
• Then It All Goes Away
• Stops Making Sense
• How Do You Know?
• Someone Else
• Like She Does
• Turn Around
• Talking To Light

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Artist Information

“Then It All Goes Away” is the exuberant new single from Dayglow, the project from Austin-based Sloan Struble. Here we see Struble harmonize over catchy claps, piano and even the cowbell gets a moment. In an era of music when most songs take a team of co-writers and producers to create, Dayglow’s music remains uniquely Sloan’s - crafted solely by him. He reflects “I made "Then It All Goes Away" after coming home from my Fall 2021 North America tour. I started writing the bassline during my morning coffee and I finished the full composition by the end of the day. It felt so fresh and natural to write-I was just having fun honestly. It felt like a year's worth of unconscious ideas all came to the front of my brain at once and just spilled out. I was really just thinking of my fans the whole time making it and imagining "how can I make a Dayglow song that feels so familiar, yet feels like a brand new experience entirely?'

Announced alongside “Then It All Goes Away”, Dayglow’s new album People in Motion continues Struble’s joyous quest to create music that makes people feel good. End to end, these 10 tracks—conceptualized, written, played, and produced by Struble—are delightfully pure, hyper-melodic manifestations of Struble’s desire to steer clear of conflict or drama and offer someone something to love.

But People in Motion isn’t all sunshine and rainbows. There is a depth to Dayglow here, a real sense that Struble has faced obstacles of his own and chosen to stand atop them. “I make music because I love making it,” said Struble. “I just love recording and producing.” That is the inarguable takeaway of People in Motion , a record about finding something you love and singing about it out loud.

Since Dayglow burst onto the scene, Sloan Struble has toured the globe—selling out his North American headline tour, a slew of UK/EU dates, and has graced festival stages including Lollapalooza, Austin City Limits, Bonnaroo, and Corona Capital. He has appeared on The Tonight Show with Jimmy Fallon, The Late Show with Stephen Colbert, as well as the iconic Austin City Limits on PBS, a highlight for the Austin native.

Fans around the world haven’t just come out for the shows but they’ve listened and streamed and streamed, more than a billion times in fact. His debut single “Can I Call You Tonight,” from his debut record Fuzzybrain , not only went Platinum but was also 2020’s biggest independent Alternative Hit. The song hit #2 at both US Alternative and Triple A radio. Its official video has become a favorite on YouTube, sparking a wave of fan-made spin offs. Dayglow’s sophomore album Harmony House didn’t disappoint either. With its hard-won and palpable sincerity, it garnered acclaim from Billboard, NPR, Ones to Watch, The Talkhouse, and NME.

The year ahead will see Dayglow continue to reach new highs with a confirmed world tour and more festival spots including Bonnaroo, Firefly, Outside Lands, Reading & Leeds and more.

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Dayglow on april 13, 2024.

James Madison University, Harrisonburg, Virginia

Dayglow has announced the Harmony House Tour which will stop off at SWG3 Glasgow on 30th March 2022!

About Dayglow

Dayglow is the project of Austin, TX based 20-year-old Sloan Struble. The 2022 Harmony House Tour will stop off at SWG3 Glasgow on 30th March!

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Sun 19 Feb 23

+ will joseph cook.

The Dayglow concert, is cancelled. Thank you for your understanding. 

Statement Artiest:

Hey everyone, it’s been a very hard decision to make, but the upcoming shows in EU/UK aren’t going to happen as planned.

I know so many of you were looking forward to being together, and I promise we will be soon. Unfortunately for a list of logistical, financial, and personal reasons this ultimately was the choice I had to make. I'm already working on a plan to get back to these cities, but for now you'll be issued a refund by your point of purchase.

I appreciate your patience and understanding, I really look forward to when we will be dancing together soon. 

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Thousands ‘fuming’ after tickets cancelled for Co-op Live arena show in Manchester

Rick Astley sang for staff, VIPs and press in test event at UK’s biggest indoor arena ahead of opening

Thousands of people due to attend the first event at the UK’s biggest indoor arena had their tickets cancelled at the last minute on Saturday.

Rick Astley took to the stage at the new 23,500-capacity Co-op Live arena, which opens officially on Tuesday, to perform to 11,000 arena workers, VIPs and press at a free test event.

However, it is thought as many as 4,000 tickets were cancelled, some just one hour before the show, leaving people “fuming”.

One gig-goer, Byron Edwards, posted on X: “Invitational tickets to the test event tonight cancelled just 90 minutes before doors open. What kind of shit show is this?”

Alison Stafford-Bentley said: “Thanks for cancelling tickets for tonight less than an hour before event is due to start. Absolutely fuming.”

Other teething problems included long queues for food, rows of seats not being ready and problems moving the crowds around the venue.

A Co-op Live spokesperson said: “We’re busy putting the finishing touches on Co-op Live, and we are looking forward to Co-op Live becoming the pre-eminent arena in the UK upon opening.

“As a part of the opening process, we are in the midst of an extensive protocol of testing critical procedures. To enable us to test the spaces effectively, we have made the difficult decision to reduce overall capacity for today’s test event. We apologise to affected guests and look forward to welcoming them to the Black Keys.”

Sited on the Etihad Campus next to the Manchester City football ground, the £365m venue will officially open on Tuesday with two shows by the comedian Peter Kay, for which there are still tickets available.

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Take That, the Killers, Eric Clapton, Barry Manilow and Olivia Rodrigo are all due to perform in the coming weeks, with plans to hold the MTV Europe music awards there in November.

Construction began in 2021 on the new venue, which is financed by the City Football Group – owned by the billionaire Emirati royal Sheikh Mansour – and the US sports and commercial real estate giant Oak View Group.

Harry Styles, who grew up 30 miles away, has a minor stake and advised on aspects of the design, which features four stacked black boxes with a similarly black interior.

The arena was welcomed by Manchester council, its leader, Bev Craig, saying the venue would “deliver a huge boost for our local economy and result in significant commercial and wider benefits for the city”.

However, questions were raised over whether there was a need for another large-scale music venue just two miles from the 21,000-capacity Manchester AO arena.

The two venues came to blows during the planning process, when the AO arena objected numerous times to Co-op Live proposals, including to what it described as a “simply unlawful” licensing application that would allow the new arena to serve alcohol until 2am at weekends and 24/7 on 25 occasions every year.

Co-op Live’s lawyers argued it was a “ludicrous and disingenuous” objection, at the meeting at Manchester town hall in February.

Co-op Live also faced criticism from the Music Venue Trust (MVT) for its potential impact on live music in Manchester. The venue had previously “declined” to sign up to a £1-per-ticket levy that funds the MVT’s “pipeline investment fund” for grassroots venues.

The MVT recently warned of the crisis facing grassroots music and arts venues, telling the Guardian “the whole ecosystem is collapsing” .

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