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Uh Oh

Uh Oh

What is life but an endless series of “uh oh”s? From our earliest childhood accidents to our most overwhelming adult anxieties, it’s a little phrase that looms large throughout our existence. Just ask Montreal indie-pop maestro Patrick Watson who was recently faced with the biggest “uh oh” a professional singer could endure.

One morning in the winter of 2023, Patrick woke up to discover that his voice—the angelic instrument that propelled 2006’s carnivalesque art-rock opus Close to Paradise to the Polaris Music Prize winner’s podium —had gone completely kaputt.

“Obviously, I like singing for people, but I was really enjoying my Modular [synth] and diving into instrumental music”—a natural inclination for Patrick, who’s composed over 15 film scores to date. “But then I was like, ‘Oh, it’d be cool to write songs for all these different singers that I really want to hear sing—I’ll find my way out of this situation that way.’ Because my voice wasn’t supposed to come back. And when it did, I just thought having all these other singers was still a cooler idea for a record than me singing.”

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Uh Oh

What is life but an endless series of “uh oh”s? From our earliest childhood accidents to our most overwhelming adult anxieties, it’s a little phrase that looms large throughout our existence. Just ask Montreal indie-pop maestro Patrick Watson who was recently faced with the biggest “uh oh” a professional singer could endure.

One morning in the winter of 2023, Patrick woke up to discover that his voice—the angelic instrument that propelled 2006’s carnivalesque art-rock opus Close to Paradise to the Polaris Music Prize winner’s podium —had gone completely kaputt.

“Obviously, I like singing for people, but I was really enjoying my Modular [synth] and diving into instrumental music”—a natural inclination for Patrick, who’s composed over 15 film scores to date. “But then I was like, ‘Oh, it’d be cool to write songs for all these different singers that I really want to hear sing—I’ll find my way out of this situation that way.’ Because my voice wasn’t supposed to come back. And when it did, I just thought having all these other singers was still a cooler idea for a record than me singing.”

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What is life but an endless series of “uh oh”s? From our earliest childhood accidents to our most overwhelming adult anxieties, it’s a little phrase that looms large throughout our existence. Just ask Montreal indie-pop maestro Patrick Watson who was recently faced with the biggest “uh oh” a professional singer could endure.

One morning in the winter of 2023, Patrick woke up to discover that his voice—the angelic instrument that propelled 2006’s carnivalesque art-rock opus Close to Paradise to the Polaris Music Prize winner’s podium —had gone completely kaputt.

“Obviously, I like singing for people, but I was really enjoying my Modular [synth] and diving into instrumental music”—a natural inclination for Patrick, who’s composed over 15 film scores to date. “But then I was like, ‘Oh, it’d be cool to write songs for all these different singers that I really want to hear sing—I’ll find my way out of this situation that way.’ Because my voice wasn’t supposed to come back. And when it did, I just thought having all these other singers was still a cooler idea for a record than me singing.”