MARVIN Exclusive: Remy Bond Invites Us Into Her Off-Season Dreamworld
Remy Bond doesn’t just release music — she drops portals, each one opening into a world that feels half–old Hollywood mirage, half–off-season boardwalk fever dream. She’s stepping deeper into the universe she’s been quietly sketching in neon for years, all washed-up glamour, rain-soaked casinos, and fantasies she’s already living in. It’s the kind of era-shift that feels both meticulously styled and completely unhinged in the best way.
Fans know Remy’s gift isn’t nostalgia — it’s resurrection, taking retro touchstones and spinning them into something uncanny and current. After a year of cult-status tours, viral breakouts, and fans showing up in full Bond Girl armor, she’s learned exactly which parts of her world hit hardest. Now she’s inviting everyone backstage at the Tropicana, where the tea cups are spinning, the lights never fully turn on, and the next chapter is already pulling itself into focus. Welcome to the Remy Bond multiverse — population: expanding fast.
MARVIN: Your new project just dropped — and it feels like the next chapter in a universe you’ve been quietly building. Where does this project sit in the story of Remy Bond so far?
REMY: I’m always finding inspiration in vintage or retro aesthetics, Backstage is a distant memory that I’m ready for the world to live. I’m already living in the next fantasy. Can’t wait for you to meet me backstage at the tropicana……coming to a city near you soon.
MARVIN: You’ve often mentioned being drawn to the washed-up glamour of places like Atlantic City, Las Vegas, and Golden Age Hollywood. How does that fascination shape the sound and storytelling of this new era?
REMY: I love going to places during the off-season. I think Atlantic City specifically is a simulacrum of my experience there. It was very… exactly what I imagined it to be. I went on a rainy day- the second time I went it was raining too- and I spent a while spinning on the tea cups overlooking the casinos. Crazy, they just let me break in. I guess I just write about what I’m seeing. Hollywood is washed up, but if it were at its prime, I’m sure I’d be writing about that. Anyways, I’m much more into Atlantic City and I’m due for a trip back as I left my phone at Rainforest Café- the one at Cesars.
MARVIN: There’s a cinematic quality to everything you do — from the staging to the visuals to the lyricism. Do you think of your music as part of a larger film you’re directing in real time?
REMY: I’ve thought about doing album concepts before. Like Xanadu- the movie- it reminds me of Atlantic City- so I thought about maybe doing an album around that. To be frank though, each song is so different visually and a lot of the times sonically that I’ve given up on thinking about an overarching theme for the whole album.
MARVIN: Who are the artists — past or present — that you find yourself returning to for inspiration? And what is it about their work that speaks to the world you’re building?
REMY: ELO and Abba. If I’m focused on harmonies and feeling like I’m on a mountain in Austria I’m referring to a lot of Abba. I’m quite into synths now though, so ELO is a big reference point. I do think the two bands are similar though because they both kind of elevated classical music. Pop music doesn’t start as pop music and I’m sick and tired of hearing the same four chords in a session. I spend hours testing out chord patterns; other people should too. Kidding, do whatever you like but actually, yeah, some people should- melodies are everything.
MARVIN: “Summer Song” exploded earlier this year, introducing you to millions of new listeners. How did that moment — and the response to it — change your sense of who you are as an artist?
REMY: No, I’ve always been the same.
MARVIN: The Star Shaped Baby Tour had a kind of cult magic to it — full of dancers, props, and fans showing up in “Bond Girl” looks. How does performing live influence the way you write and create in the studio?
REMY: I think it’s helpful to see what feels awkward on stage, what doesn’t hit the way you thought it would. I also get bored easily, so whenever I’m like dreading a moment in a song, or nodding off, I usually take that as a cue to cut it.
MARVIN: You’ve built an audience that doesn’t just listen — they participate. How does it feel to see people interpreting your aesthetic and turning your music into a shared experience?
REMY: It makes me so happy to see people connect with my world and my vision, I trust my fans’ opinions and ideas just as much as anyone. I am always talking and sharing with my fans
MARVIN: Nostalgia runs through your work, but it never feels retro. How do you pull inspiration from the past without getting stuck in it?
REMY: I mostly listen to retro music, the authenticity and simplicity are what I crave but I use my real life moments to keep me current.
MARVIN: Between sold-out nights at The Roxy and festival stages like Rock Werchter and Lollapalooza Berlin, your live presence has become a phenomenon. What moments from touring this year still linger with you?
REMY: I think Lollapalooza in Berlin was the most memorable for me. Seeing people in another country singing my songs and dressing like me was a pinch me moment.
MARVIN: You’re known for crafting worlds around your releases. What does the visual and emotional world of this EP look and feel like?
REMY: For this project I’ve been creating a Hawaiian dream like fantasy that lives in my head. My favorite part about creating these worlds is bringing all the elements of the music, visuals and fashion to my fans in a “real” way.
MARVIN: Looking beyond November 7th — where does the story go next? Are you chasing a new sound, a new city, or a new version of yourself?
REMY: I’m going to Atlantic City to discover Atlantis.
