Allison Ponthier on Shaking Hands With Elvis

In Allison Ponthier’s stunning second EP Shaking Hands With Elvis, we find a six song expressive sonic journey of life, death, and the afterlife. Sitting down with Allison, we received an in-depth look at her life as of late and the influences of Shaking Hands With Elvis that makes this already spectacular EP even more heartfelt and connected for her and the world. 

And I'm not passing if I can't focus

And I can't grow up

If I'm not ready to die

Autopilot

“Autopilot” begins the album with a folk rock kickstart trying to get herself out of the monotony of life. Allison takes on the expression of driving a car with no control herself, instead being taken whenever the autopilot car, or world, takes her. The careening and expansive vocals of “Autopilot” take the steering wheel of the track, jerking Ponthier through the ringer of emotions on top of velvet guitar lines. 

Personally, Ponthier seems to have shifted the steering of her life fully into manual, exploring what the world around her truly is, for better or for worse. Vast revelations came about when Ponthier packed up and moved from her hometown of Allen, Texas to New York City at age 20. To make ends meet, Allison worked a variety of odd jobs including a stint at the Museum of Natural History, which she was disappointed to inform us that the Museum is nothing like the Night At The Museum movie series, but has inspired the way she films her music videos to look styled like museum displays. Having moved with no resources or connections, Ponthier certainly struggled at times and stated, “Moving doesn’t heal all of your issues, you have to do the work.”, but she is also very open about the freedom found in living her authentic life openly and being accepted for doing so. 

Kill my devices, no more vices, just me and my thoughts

Memories and jealousy and friendships that I've lost

I pick up fears like souvenirs and step in every trap

And now I'm chasing a feeling

And it's chasing me right back

Chasing A Feeling

Track two, titled “Chasing A Feeling” sits in Allison’s sonic comfort zone of classic indie-folk. Expressing her constant movement and search to feel a high of serotonin rings deeply with the soft ballad nature of the track, allowing Ponthier’s beautiful harmonic vocals to shine through her lyrics of struggle and acceptance of self. “Chasing A Feeling” resonates even deeper with our chat with Allison about ADHD, as she was diagnosed later in her life and now finally has found answers and peace within her diagnosis. 

“Awareness and understanding yourself is so important” stated Ponthier, who was earnest in her discussion on how ADHD can throw her brain in various ways off of her creative process, but her trusted collaborators all know how to help her get back on track. While it can hinder her focus at times, her ADHD also evolves and curates her creative process, empowering her to express herself through her musical outlet in ever-growing heights. Allowing herself to chase the feeling of joy she finds, even if others may find her vices abnormal, gives Ponthier a new modicum of freedom that cannot be understated in the album or in her life. 

So I'd rather die by the truth

And hide away feeling shades of blue

You want tears, I've shed a few

'Cause it's hard being hardcore

I'll cut the lights and cry in the dark more

If you don't feel, then what the hell is a heart for?

'Cause it's hard being hardcore

Hardcore

“Hardcore” furthers Allison’s vulnerability in finding herself and freeing the parts of her that hid throughout her youth. Giving herself the grace to emote, Ponthier’s lyrics recognize how impossible it is for her to keep up the facade of something she is not. The track offers sweet and shimmering vocals, almost giving the album a soft caress of introverted calm as she lets down her walls and leans into her own vulnerability. 

“Oh my god, I’m going to hydrate before I cry” laughed Ponthier as she took a sip of water when asked what advice she would give her younger self. Now free in her home of NYC, she would tell young Allison what the world is like outside of her hometown bubble, reminiscent of the mask worn when attempting to be “hardcore”. Diving further, Allison said she would also tell her younger self that there are so many ways that you can live, elaborating that you can be queer and happy, a truth she didn’t know until moving away from her hometown. 

Put your stage name on your tombstone

Did Norma Jean die long ago?

Even in death, you put on a show

At Hollywood Forever Cemetery

Hollywood Forever Cemetery

Track four explores fame and its misfortunes, aptly titled “Hollywood Forever Cemetery” Referencing the celebrity of Norma Jean turned Marilyn Monroe, Allison comments on the harsh criticisms and loss of self often found in fame. Ponthier finds interest in the blurred line between icon status and objectification, watching as stars in history like Marilyn Monroe sit at the status of object over a person. Allison is incredibly aware of the caricatures she creates within her work, which often borders campy, yet wants to ensure she honors the respect of the people she mentions throughout the record. In the discussion of legacies found throughout the lyrics of “Hollywood Forever Cemetery”, Ponthier finds beauty in the real Hollywood Forever Cemetery that pays respects and upkeep of the graves of Hollywood’s brightest stars post-mortem and seeks to do the same throughout her own track.

Late to the party

The party will wait

We saved you a seat

No one is taking your place

Keep taking your time if you're on your way

Late Bloomer

Penultimate track “Late Bloomer” discusses Allison’s acceptance of herself as she came out as queer, finding explanations for the confusions of her youth and entering the comfort of other’s acceptance of her. Sonically “Late Bloomer” holds a bit more of the rock feel found on “Autopilot”, emphasizing the changes she has undergone in her confidence and personal expression through her second puberty of coming out. Living as her authentic self has granted Ponthier uninhibited freedom of expression, stating, “There is something celebratory about singing and talking about yourself and your growth.” 

Allison strikes a storytelling chord within “Late Bloomer”, and this expressive detail is entirely on purpose for the singer-songwriter in every song she writes. She loves the hook of being pulled along for the ride, aware that each of her tracks might not be your exact personal story but, like a movie, you can relate to the sentiment and find comfort within her interpretation and expression. Ponthier loves to write about herself and her identity, utilizing her music to express her problems out loud and find resolution within her riffs and hopes that you can do the same through her strong songwriting. 

You may not be in Memphis but you're shaking hands with Elvis

Living at his theme park where it's always spring

I'm gonna be selfish, say you're with the man in velvet

Know he may not be God but he's sure as hell The King

And his rhinestone angels sing

Shaking Hands With Elvis

“Shaking Hands With Elvis” closes the EP with the deeply personal grief Allison went through in accepting the death of a close friend. Using the interesting euphemism for death of shaking hands with Elvis, Allison found herself singing through the pain just a week after her loss without having processed it, and also without even wanting to write the track in the first place. Once she found the euphemism turned title, Ponthier admits she knew she had to write out her feelings in tribute, and the resulting lyricism is soul-shattering as she remembers and misses her friend. Waltzing through lilted vocals and painful comments on how she and her friend will meet up again one day, “Shaking Hands With Elvis” pays respect to the memory of her friend while also discussing her own personal growth and evolved version of self. This multi-layered meaning rings true throughout the entire Shaking Hands With Elvis EP, as her woven story applies to the various celebrities mentioned, the world at large, and even her own growth through life, death, and the afterlife.

Recently, Allison had the opportunity to open up for Bleachers and play some of her music on select show dates, including a show in her hometown of Dallas. The last time Ponthier was playing music in Texas she wasn’t out, so she laughed to us about her nerves stepping out on stage in her home state as her authentic self for the first time. Allison certainly had nothing to worry about, however, as the crowd enveloped her in love and sang along to some of her favorite tracks. She also recently played some headlining shows, including performing at Hollywood Forever Cemetery, and adored the energy of getting to headline and control the energy of the show. Allison loves getting to interact with crowds and experiencing their reactions to her music, mentioning it as the best part of performing and what she looks forward to doing more in the future.

As for what comes next, Ponthier says she wants to push new styles into her repertoire, stating she hopes to surprise even herself with what she creates next. This constant evolution is a comfortable stasis for Allison, allowing her creativity to pull her whims and desires into an already expansive sonic and artistic library. Allison doesn’t allow outside influences to impact the art she creates, and she hopes that if she is remembered for anything, it is her unwavering ability to create art that is authentically her without compromise.

I certainly haven’t been able to stop thinking about how genuine and authentic our chat with Allison was, reinforcing just how integral her honesty is to her life and her music. Without a doubt, I firmly believe the world needs more of Allison Ponthier, and I am incredibly excited to see her next evolution as she continues to tell the world exactly who she is with each further “late bloom” of her life.

You can catch up with Allison Ponthier on instagram and twitter, and make sure to stream the indie-folk masterpiece that is shaking hands with elvis, out now!