How photographer Kristi Knupp became indie pop’s newest storyteller.
After years spent side-stage, capturing the raw energy of acts like Nahko and Medicine for the People, Kristi Knupp is finally centre frame.
Releasing her debut album as Pretty Little Saturday, Long Overdue, the Asheville-based indie pop artist has transitioned from music photographer to storyteller in her own right.
The record weaves the neon pulse of her former Los Angeles life with the grounded tranquility of the North Carolina mountains, crafting lush, cinematic pop from a lifetime of observation.
In this interview, Knupp reveals the pivotal festival moment that pushed her toward the microphone, how visual artistry shapes her sonic world, and why the closing track became her “vampire song.”
This is the confident, long-awaited arrival of an artist who’s done watching from the wings.
Happy: What’d you get up to today?
Pretty Little Saturday: I was in Venice Beach today visiting my old stomping grounds, visiting the places that were the inspiration for my album art. I also put stickers everywhere I could as my way of guerilla marketing :)
Happy: Tell us a little about where you’re from, and what you love about it!
Pretty Little Saturday: Originally, I’m from a small town in Mount Dora, Florida. When I was younger, I didn’t like it very much because it felt like there wasn’t much to do.
Now, though, when I come home to visit family, it feels like a breath of fresh air to return to my childhood home and revisit the old parks and familiar places I’ve known for decades. I’d say my favorite part is the beautiful lakes and springs—we have some truly stunning sunsets.
Happy: After years as a music photographer in LA, what was the pivotal moment that made you step from behind the lens to the microphone as Pretty Little Saturday?
I attended Berklee College of Music and moved to Los Angeles to work in sound design for video games.
That industry can come with intense hours, and after a few years, I took a step back and dove into photography, encouraged by friends and my partner at the time. I began honing in on a style of photography that truly resonated with me.
While on a trip to Bali, I met the band Nahko and Medicine for the People. Just three days later, back in Los Angeles, they were playing a show—I went, started shooting, and one show led to three, then more.
Before I knew it, I was touring with them as their photographer. Through that experience, I met and worked with many other incredible artists, including John Butler Trio, Trevor Hall, SOJA, and more.
The pivotal moment came while photographing side stage at the Cali Roots Festival. Seeing the crowd, feeling the energy of the show, and witnessing the camaraderie among the bands sparked a strong urge to finally pursue my own dream of making music.
Shortly after, the pandemic hit—a time of major shift and change. With no other outlet to process everything that was happening, I turned to music, put my fears aside, and started with one song. That led to four, and eventually to this debut album.
Happy: You’ve mentioned moving between the “neon pulse of the city” and the “quiet magic of mountain life.” How does living in Asheville now influence your sound differently than Los Angeles did?
Pretty Little Saturday: The energy I feel in Los Angeles and Asheville really complements each other. In Los Angeles—Venice Beach in particular—I’m constantly reminded that anything is possible.
It’s a place where I can fully be myself, try wild ideas, plan spontaneous trips around the world, and dream big. My days revolve around the sun: being outside, honoring the sunsets each night, and waking up inspired and ready for more the next day.
In Asheville, I carry that spark with me into the mountains, but I naturally slow down and hibernate a bit more. It’s where I put in the deeper work of turning those dreams into reality.
The environment encourages humility and honesty—meeting myself where I am on any given day, whether that’s vocally, on guitar, or in my songwriting.
Los Angeles is where the dreamer in me gets to dream freely, and Asheville is where I’ve created a safe, grounded space to bring those dreams to life, alongside my incredible producer, Patrick Doyle.
Happy: The album title Long Overdue feels very personal. What does that phrase represent for you, both artistically and personally?
Pretty Little Saturday: I wasn’t entirely sure what to title the album at first—we just kept making songs, and one of them happened to be called Long Overdue.
The more I sat with it, the more it felt like the perfect fit. I’ve wanted to make music for decades, but fear of failure and not fully knowing how to finish things held me back for a long time.
This album is a tangible representation of finally putting those fears aside and committing to the work. It’s about showing up, seeing something through, and turning a long-held dream into a reality.
Happy: Having documented so many artists’ releases, did that experience give you a specific vision or non-negotiable for your own debut album?
Pretty Little Saturday: Definitely. Seeing how artists shape their worlds through photos, videos, and rollout strategy made me really excited to finally turn those skills inward.
As a tour photographer and videographer, I’ve watched how strong visuals can elevate an artist’s identity, and I wanted to bring that same level of intention to my own project.
I love making music just as much as crafting visuals — they’re simply different forms of self-expression.
The Tangerine music video was shot by my close friend Ben Phan, and I edited it myself, and many of my press photos were shot either by me or with my friend John Farrell.
Bringing everything full circle into one cohesive vision has been incredibly fulfilling. If there’s a non-negotiable for me, it’s quality — in the music itself and in the visuals that represent it.
Happy: Which track on Long Overdue feels like the biggest departure from your initial demos, and how did it evolve in the studio?
Pretty Little Saturday: Too Late For Goodbye — the closing track on the album — feels like the biggest departure from its original demo.
I wrote it about six years ago, sitting at a piano, and at the time it was just a rough skeleton of chords with a melody and chorus. The heart of the song was always there, but it was missing the emotional arc needed to fully land its sense of devotion and urgency.
When I brought it to my producer, we really elevated it in the studio. I added a bridge that was originally an idea for a different song, but it stitched into this one so naturally it felt inevitable, and we finished it with a third verse I wrote in the studio.
The additional textures — especially the Ebow — helped create this cinematic, almost otherworldly atmosphere that mirrors the song’s themes of holding on, choosing love in uncertainty, and refusing to let go.
We joke in the studio that it’s my “vampire song” — like if they ever made another Twilight movie, this would be a great fit for it.
Happy: If you had to pick one song from Long Overdue as the mission statement for Pretty Little Saturday, which would it be and why?
Pretty Little Saturday: If I had to choose one song from Long Overdue as the mission statement for Pretty Little Saturday, it would be “Wildflower Eyes.”
The song is about reclaiming agency after being weighed down by someone else’s doubt — learning to trust your own direction even when you feel unseen or underestimated.
The idea of “wildflower eyes” represents resilience and growth in imperfect conditions, moving forward without needing permission, approval, or rescue.
Rather than a dramatic turning point, it embraces patience and self-belief, committing to the process of finding your way in your own time. That sense of quiet confidence and self-trust feels central to everything Pretty Little Saturday stands for.
Happy: What’s the most “long overdue” thing you plan to do now that the album is complete?
Pretty Little Saturday: Now that the album is complete, the most “long overdue” thing for me is fully committing to forward momentum.
I want to keep writing and releasing music, experiment with how this record lives in a live setting, and continue building it independently with intention and consistency.
I’m excited to connect with like-minded musicians, collaborate with other artists, and keep pushing myself to grow — as a guitarist, vocalist, and songwriter. Most importantly, I’m focused on cultivating discipline in my craft, because that discipline is what ultimately creates real freedom.
Happy: Lastly, what makes you happy?
Pretty Little Saturday: A Venice Beach sunset in January, especially when the light reflects off the sand in that way it always does. Quiet moments of reflection — taking the time to pause and really be present.
And when I’m lucky enough to have it, the company of family and friends who embrace me for who I am and who I’m still becoming, both as a person and as an artist.
