MAINARD LARKIN | INTERVIEW + TRACK REVIEW
- Mar 25
- 4 min read
Mainard Larkin’s upcoming album Rattlesnake Boy tells the story of a down-on-his-luck pro wrestler trying to find purpose outside the ring, but beneath the character and concept sits a much more human story about identity, heartbreak, and reinvention. The latest single ‘Empty Street’ shifts the focus from the wrestling narrative to something more universal — the quiet aftermath of a relationship ending and the strange feeling of having to rebuild life from scratch. Blending alt-country storytelling with indie textures and cinematic songwriting, Mainard Larkin is building a world rather than just releasing songs, and Rattlesnake Boy feels less like a collection of tracks and more like a story unfolding.
TRACK REVIEW - EMPTY STREET
Mainard Larkin’s ‘Empty Street’ immediately washes over you with warm indie-folk tones, where banjo textures sit comfortably alongside shimmering guitar lines that feel both nostalgic and slightly futuristic. When the vocals come in, there’s a cadence that recalls artists like Lisa Mitchell, particularly the storytelling style heard in ‘Coin Laundry’, where every line feels conversational but deeply intentional. Lyrically, the track walks the line between grief and acceptance, inviting the listener into a quiet, reflective space rather than overwhelming them with heartbreak. It’s poetic without trying too hard, and emotional without becoming heavy — a song that feels like a late-night walk through a town that suddenly feels unfamiliar.
The album centres around a wrestler trying to survive outside the ring. Do you see heartbreak and life after wrestling as similar battles in different costumes?
Absolutely, I think both situations are confronting because one has to ask themselves “Where do I direct my energy now?”As humans, we feel purpose from both work and personal relationships, so both involve navigating change and finding a new way to live a full life.
‘Empty Street’ feels very personal, but the album is built around a character - how much of Mainard is in the wrestler, and how much of the wrestler is in Mainard?
Perhaps, the answer is a lot. The wrestler is the perfect character to hide behind and it kind of feels like wearing a mask. It’s easier to be vulnerable when you can pin all emotions on the Rattlesnake Boy!
You moved from hip hop into alt-country, which is a pretty big sonic shift. Did that feel like a reinvention, or more like coming home to a sound you’d always had in you?
It felt natural, my approach to writing rap bars was always a bit unconventional, and I guess a bit alternative. I think making country was sort of about proving something to myself. That I could step out of my comfort zone and use my voice in a way that felt super new. I never really considered myself a singer prior to this project, so it was fun and challenging to sing on the whole project.
There’s a line about feeling like a ghost after a breakup. If the wrestler character is a ghost in the real world, what haunts him the most?
I think feeling out of place, having a more “normal” and conventional life but not really feeling like he’s living. That’s what he’s afraid of more than anything,
Concept albums often feel very cinematic, if ‘Rattlesnake Boy’ was a film, what would the final scene look like?
The final scene is the wrestler, standing on a beach in San Diego, California. He is staring out at the water, and into the unknown.
You’ve worked with Shannon Fowler across different genres. How does your songwriting process change when you’re writing hip hop versus alt-country?
It always feels fun and very natural writing with Shannon. I think writing the album felt extra special because we were taking on the challenge of creating a world and crafting a story. We really thought about what pieces belonged in the puzzle and how they all fit together.
Alt-country often romanticises the outsider or the drifter, do you think the wrestler character is running from something, or running toward something?
I think that’s what he’s trying to figure out, you sort of see him at both stages throughout the album including the middle ground. There is a track called “One Headlight” which lyrically is basically about self reflection.. being honest with yourself and naming your fears, but doing so with self compassion.
Being on a label like Lil’ Chief alongside artists like Princess Chelsea and Jonathan Bree, do you feel like you fit into that world, or do you enjoy being the odd one out?
I like to think I fit into the Lil Chief world. When you look at the artists and alumni that have been involved with the label, it’s impossible not to notice how each of these artists have a super original and unique style. I like to think the music Shannon and I have created is exactly that, very original and rather unique.
If the wrestler from ‘Rattlesnake Boy’ could listen to only one song while driving down an empty highway at night, what would it be?
Tom Petty - I Won’t Back Down
A lot of your work seems to deal with reinvention - musically and thematically. Do you think artists need to lose who they were to become who they’re supposed to be?
I think most if not all humans often need to lose who they were to become who they’re supposed to be. Whether you’re like an accountant going through a divorce or that kid from High School Musical who just wants to sing and dance but it’s painful because he’s so good at basketball and everyone will be so shocked and maybe disappointed when he goes to theatre school or whatever.
What’s something people misunderstand about you or your music?
Maybe in the past people have thought I was a bit too irreverent in my lyrics. I try to focus on the positive though and I’m really grateful anyone wants to listen to the stuff I make. If art and music can bring joy or even meet listeners at more difficult emotions, I think it’s serving its purpose.
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