Hana Vu is new. Notice I don’t say young. "Everyone, everywhere, at any time, is like, “She’s young!"," she says, as we linked up on the phone two days before the release of her debut EP, How Many Times Have You Driven By. “The last song I did, the press came out for that, every single article that came out was like, “Hana Vu is 17!” Every single one.” With my free hand I quickly pulled up my own post (we previously selected Vu's 'Cool' for Track of the Day) - second sentence! I declare my little victory. “Well, it was still in there!,” she laughs.

Vu clearly doesn’t feel as young as she is. Especially not as young as the buzz around her makes her out to be. She’s graduated high school, she has her own place. She’s getting by. Still, as annoyed as I’m sure she’d be with me for saying so, Vu’s youth informs everything she does. She hasn’t grown accustomed to interviews, and enjoys simply chatting, freely offering opinions, a candid honesty present in her every word. She often speaks in multitudes of 'I Don't know's' and 'sort of's'. “Did you listen to my music?,” she asks. Perhaps having been relegated to speaking with disinterested parties one times too many, she’s pleased and seemingly a bit surprised that I have.

Yet, to portray her as wide-eyed would be far from accurate. She’s assertive, sure of herself, far more than most of us were right out of high school. She’s chosen to ditch long term college plans (at least on the part of her parents) for music, and seems completely unperturbed. She has a dry wisdom, remarkably self-aware one moment, a teenager the next.

The greatest impression speaking with Vu is her sense of what she hasn’t done. I was intrigued by the seemingly Channel Orange-esque LA life portrayed in press releases, but she found little interest in the topic. “I haven’t been out,” she says, bemoaning her sheltered worldview.

While she’s excited to tour, her changing life at home has left her isolated at home. “I don’t really go outside anymore,” she offers casually. As you’ll read below, she eventually reflects on her communities “backyard” scene, returning there, only to realize some imperceptible change had occurred. She’d graduated, and there was no going back. Some feelings have been caught alone the way, and she knows it, and it’s unnatural to her.

“Low key Drake vibes,” I quip.

“High key Drake vibes,” she sighs, and she’s only partly joking.

With the impact How Many Times Have You Driven By is surely about to make, Hana Vu is sure to catch more icy glances, but I think it’s safe to see she’ll be able to get out of LA and see America.

******

[Skipping introductory chatter]

So, the origin story. You’ve always lived in California?

Always. I was born in San Francisco, and then we came here after a little bit, and...yeah, so I went to school in the Valley and live in LA.

For outsiders that can create quite the image. Depictions of LA always seem to range from fantastical to hellish, with little in between, but I’ve gotten the impression you feel it’s all more mundane?

I don’t know...people always ask me this, ‘it’s so exotic to be from LA’, it’s just a place. I guess it has more things to do than your average place, and there’s more scenery, and events downtown, but I feel like it’s all sort of tired. There’s a lot of different things that you can be, and a lot of different people, so whatever you are, you sort of fit into that scene. It’s a niche.

No Channel Orange vibes, I take it.

To be fair, I’ve never listened to Frank Ocean. (laughs) Yeah, I don’t know, I just really never...when people talk about things a lot I feel sort of deterred and get unmotived. But there are definitely the stereotypical rich kids a la Channel Orange. There’s a whole subliminal class system in LA, and you kind of get like...growing up here you’re very jaded and yet blind to the outside world. Especially, like, a kid in the valley. The Valley is where people go to raise their kids. I don’t know, you get to where you think LA is what the world is, so it makes people sorta ignorant and superficial. So there’s the stereotype of LA. Because you don’t know anything else! And you think because LA is one of the epicenters of America that, “This is the world!,” but it’s not. It’s sort of annoying. Especially in…(trails off) I’d really like to, you know, have a better perception of people outside of LA.

I think all of us in America have to reckon with our perception of the outside world to some extent. I’m from Atlanta, so I have the city view as well, if on a smaller scale.

Oh, really? Yeah, I’ve never been there. I think there’s America and hyper-America. People say the real America is the Midwest or so on, I think America, or American ideals, are, like, hyper-emphasized in big cities like New York and LA. I want to go to a lot of places. But I often sit down and think about...what people are. (Laughs at herself) In, um, America and how they see themselves. Americans in general, this idea we have of them, are very individualistic and, I don’t know...LA is the hyper-intensified version of that personality.

Is there a particular moment you can point to that triggered your fascination with other’s lives? [Relating my own childhood experience traveling in Alaska]

I don’t know what it is, I just kind of like...see it. Alaska is weird, the sun doesn’t go down in the summer, and the sun doesn’t come up in winter. And, like, all the people are going deaf because they don’t have...technology. They shoot things, they shoot a lot of things, their whole lives so they just...go deaf.

[Unsure if she’s joking] I didn’t know that. Taking quite the leap in another direction, but what’s the first deep connection with music that you can remember?

When I was in 5th grade I wrote this song about this girl I didn’t like. It was sort of like a bully-ish song, not like a bully, but kind of making fun of her because she was really awful. It was just a little jingle, and then I sang it to one of my friends, and they were kind of like singing it, and I’m like, “Stop! I’m gonna get in trouble or something, or she’s gonna hear.” And she’s like, “Oh but it’s so catchy!” Then I was like, ‘Wow’, I was like, ‘Wow, you can write songs, and people, like…

Respond to it?

Yeah. (Laughs)

Have you always felt like you knew what you wanted? Was music always a passion, or more something you discovered?

I didn’t know...I still don’t know. Who know what they wanna do. I just think it’s what I can do, right now. It’s the most fun, and what I spend most of my time with. I mean, in high school, I did a lot of visual art, so I thought...I don’t know, I was always sort of like ‘visual art and music’...I always thought that was what I was gonna do, and then, I was in this visual art intensive program at Cal Arts, and I realized that I hate painting. And that I don’t care about visual arts. Yeah, so I thought, ‘Oh, I like visual arts, but I don’t love it, I love doing music’, I don’t know, it just feels the most natural, s that'd what I’m doing right now. But I don’t know, there’s so many different things a person can be now.

So music isn’t necessarily something you see yourself following long term?

I think you just caught me in my creative stuff, so now I’m, ‘Oh no, I don’t know what I’m doing!’ (laughs) No, I mean, I love it. It’s just really hard, and there’s lot of phases, so I just wonder if I’ll always be as good as I think I am at it.

I think it’s natural to have that fear.

I have no back ups, so there’s that!

Knowing you started out on Garage Band in your early teens, has anything you wrote or recorded survived in evolved form to present day?

Well, actually, my title track for the new record, How Many Times Have You Driven By, is one of the first songs I wrote, when I was like 12. And then I, I don’t know, I was sort of just writing this album and redid it, tweaked some of the lyrics, yeah, produced it and I um...yeah, that was one of the first songs, or “real” songs, that I’d ever written. I like to go back, and listen to it and think about my old songs...maybe I wanna re-do them, because I do like them, I do cherish them. Because my work that I would do when I was younger…I would do it sort of annually. So every year I would record something, sort of life of times, and so I listen now and think, ‘Oh, this is what you were feeling at the time, and this is what you were doing.’ It’s interesting to see how different, or similar, it is to what I do now.

How did your early recordings, or even Garage Band itself, shape how you work now?

I use Logic now. Which is just, like, Garage Band. (laughs) It’s the same, they’re both made by Apple, the same visual interface, I just know a lot more...I don’t have Garage Band anymore, but if I did I could probably still make a sick song on it.

So in those early days, you were recording songs just for your friends, your audience. How did their reactions and opinions influence the sound you were developing at the time?

I just sort of made things, and then, I had friends. Like, maybe two. I would make things, and I would share it with them, and they’d go, “Ehhh”, they were always kinda just like, [disinterested voice], “Oh, this is cool.” But, yeah, no, I made things for people’s approval. I think I probably still do. To, like, at the time, look like I was doing something and had some sort of hobby. Now I make things and I send them to my friends to get their opinions, and sometimes, you don’t know if it works, and then...I’ll write a bunch of songs and someone will tell me if they like something, and I’ll say, “I didn’t really see it, I didn’t see that in that song,” so I get second opinions. I know what they’re about, I just don’t know if they sound good. After a while, you just can’t hear.

It’s certainly hard to judge your own work - so, moving on a bit, How Many Times Have You Driven By, where does the title come from? I have my assumption, but let’s hear the real deal.

What’s your assumption?

My assumption? Oh gosh, I took it as someone, a romantic partner? Just always passing by instead of just coming in and telling you how they feel. More broadly, not doing something that you should just do.

That’s the sentiment that I guess people...that it emulates. But really I used to eat at this cafe every day before school, and they have this marquee-sign-thing that says ‘How many times have you driven by?’, and I always thought that was really interesting, because that was a really romantic, poetic thing to say, but it was just for this cafe sign basically saying, “Come in, eat our food.” I think about it a lot. (chuckles) But, um, yeah. And they have this sort of transportation focus, that’s the theme of this album, I mean.

I love that, I think most folk are reading into it the way I did.

Well, it’s changed since. I also feel like I find a lot more meaning in Los Angeles signage...than intended. Ya know? I don’t know. (laughs)

So, as a new artist: you know how it goes when you’re showing a new band to your friends. You choose that song to sell them with. As hard as it may be, which song would you choose to define yourself, in this moment?

Oof. Alright, did you listen to it?

Of course!

Did you listen to all ten of the songs, or just six of them?

I think they’ve only sent us 6.

Yeah, they’re only sending people 6, but on Friday all ten of them are coming out.

[dramatically] Why are they deceiving us?

[Laughing] I don’t know. But I think ‘Subway’ is my favorite song on there, production-wise, and lyrically it’s a stretch for me. I think that song’s a reach for me, composition-wise, I often try to get back into that zone, but I don’t know, it just feels like I didn’t make it. Which is probably why I like it. But there’s this song on one of the four extra tracks, ‘Team’, and I think that’s a real mood song. I texted someone about it yesterday like, “‘Subway’ is the bop, but ‘Team’ is the mood”.

I’m stuck on these extra tracks now, you’re blowing my mind.

Did you like it, the EP?

Of course! But the thing I’m wondering now, do you not consider it an LP at 10 tracks? Did you go with an EP in name as it was your debut, or are the 6 tracks the EP with 4 bonus cuts?

My publicist was like, “You can’t release an LP out of nowhere!” And I was like, “Ok.” (laughs) But I was like, I don’t want to cut any of the songs, because I wrote this album before I signed on with Luminelle and my publicist, and I was like, if I wanted to write an EP, I would have written an EP, but I wrote this album to be an album, but it’s being pressed as an EP. So they were like, “Ok, take the 6 that you want to go to press, and we’ll release the rest when it comes out.” I don’t know.

Interesting. I’m used to artists debuting with EPs, but I haven’t quite heard this one before.

I don’t like EPs as a concept. But I get why press-wise they’re better, but I’ve never made EPs, I just make albums. Wait, what was the question? [laughs]

We got off on a good ol’ tangent, you asked me if I liked the EP, which, of course, I do.

I ask you if you liked it, and you have to be like, “Yes!” Imagine if you were like, “No, I didn’t!” [laughs] Well, [putting on a goofy voice] thank you.

So, ‘Cool’ was the first track I heard from you, I found Satchy on Bandcamp after, how did you two link up? Was he your classmate by any chance? I am guessing, sorry.

[Laughs] I never went to school with him. I think he’s two years older than me. I don’t know where I met him. I think we were playing a show together, I don’t even know how I met him. At all. I was feeling, I don’t know, uninspired, and so I asked him if had any work that we could do together, and he just sent me a bunch of beats, and I chose one. I chose a few, and then I made some stuff, and that was the one we both felt good on. But I don’t know, I met him playing shows, mutual friends, just in the scene. But he’s so talented, he’s cool. We’re not super close, he and I don’t know each other that well, but I remember listening to one of his songs on Soundcloud like a year ago, and thinking, ‘Wow, this is so good.’ He’s doing a trip hop thing now I think, but I produced ‘Cool’, he sent me the vocals, I think his vibe is more lo fi than mine.

So who would you want to collaborate with, moving forward?

St. Vincent. St. Vincent.

Which album are you into the most right now?

I’m always on either Actor or Marry Me, but I don’t know, one of those. She had, like, David Bowie’s pianist on that one.

I stan Strange Mercy.

Oh, really? They’re all great. I’m not so hyped on her self-titled, but all the other ones. I love her. She just did this song with Sheryl Crow. I don’t know why. It’s really...it’s not good. So I was wondering, she didn’t put her [moniker] on it, it says featuring Annie Clark, not St. Vincent, so I was like, ‘Is it because she also doesn’t think it’s good?”

Were you a fan of the album with Byrne?

I did not. I don’t know if David Byrne is as interesting as he seems, ya know? I love the Talking Heads, but I can’t get so into late period David Byrne. I actually think Annie Clark, or St. Vincent, is the next David Byrne. She’s super talented and sort of known for being uniquely artistic.

I’ve seen Bowie comparisons tossed at her, but I can see the argument for Byrne, too.

I see the Byrne. I wanna do an album with her like how she did with Byrne. Except it’ll be good.

So would this be her playing to your style, or vice versa? It’s your fantasy, go for broke.

It would just be both of us! It’d be so eclectic. It’d be so many layered vocals. I think, in a collaboration, I don’t feel like we’re collaborating unless we have layered vocals together. Um. Because I just think that’s so cool. Like a Carpenters type, layered vocals. I don’t know what direction she’s going in now, but she seems to get more synthy every album.

I suppose we ought to discuss your music again, no? I’ve been curious to ask; your songwriting, is it more autobiographical, or do you delve into characters? Is it a mix?

No, they’re all just about me. Come on now. I’ll send a song to someone and they’ll say, ‘What’s this about?,” and I’m like, ‘It’s about me.’ They’re all about me, because I’m an insane narcissist. Not just about me like I’m talking to myself, but I feel like, you know, if I’m referencing another person it’s about how I feel about them, not really about another person. You know? I don’t think that you can really, like...I don’t think I can write about another person. Because I don’t feel like I know anybody too well, but I know myself, pretty well. That’s what I know. But I want to get into, like, doing things, writing other things that are not just myself. Because I feel like I’m getting bored with it. I know myself, and I know all these songs. I want to be like [Sufjan Stevens’] Illinois. He’s just, like...none of them are about himself, they’re all just about Illinois. I want to challenge myself to write about things that I don’t necessarily have immediate insight into.

What have reactions been like from the people written into your songs?

No one cares. No one cares. [pauses] No one cares. I mean, I only write songs about people who I charmingly dislike, if you can tell. No one cares. I think, in my brain, subconsciously, I think that if I get enough attention, or reception, for my music, people in my personal life will, like, respect me more. I feel like everyone assumes that, ‘Oh, the bigger I get, the more people will notice me.’ Subconsciously, I mean, that’s not like my first inherent thought. I think...people don’t care that much. Which is good. Like, I don’t wanna do things just so I can have attention from people in my life. Especially don’t wanna have friends because, um, I’m doing better in my career.

Of course, I was more asking how your music has shaped your interactions with the people in your life. Has anything changed?

I don’t know. I don’t really go out that much anymore. But I feel like, sometimes when I like walk into a show, I used to do a lot of backyard shows and that sort of scene. I don’t really do that anymore, but when I go to them, or my friends are playing, I can sort of feel a vibe that I’ve graduated...that. [pauses] Yeah, it feels good.

Can you pinpoint a moment when you ‘graduated’?

I don’t know if there is one. The scene itself that I used to be just sort of, or is sort of, deteriorating. There’s not really...either people in my music scene that I was in younger, in high school, has either moved on, moved up, or stopped. After high school you either go to college or you do something else...so, people would leave. It just feels like that sort of background, playing in houses, and going to parties, has sort of died down. I feel like my time within that died down with it.

Has being young in music “mattered” so far? Have you had any condescending experiences or anything?

No! But everyone, everywhere, at any time, is like, “She’s young!” I counted. The last song I did, the press came out for that, every single article that came out was like, “Hana Vu is 17!” Every single one. No one ever lets me forget it. “Hana’s 17. Blah blah blah.” When I first started...okay, so, when my record label signed me, they sent me a contract and I called them a couple weeks later like, “Hey, I don’t know if I can sign this, because I’m not legally an adult.” And they were like, “Oh.” It’s funny now because being 17 is, like, my most exploited factor, and they’re like, ‘We didn’t even know you were 17 when we picked you out.’ I don’t know. I think the only difference between being young and being older...I think when you’re older and you’re doing music, you’ve probably struggled more. I think my struggle...you know how there’s the artist, and they’re on some sort of grind before they sort of get signed and get a lot of attention, and so, I guess for me that was when I was in high school, but I didn’t really notice that was happening because, well, I was in high school. I guess I haven’t had a lot of, like, “this is the next step” immediately after being in a band in high school. Because not a lot of people who are in a band in high school make that their career. [Laughs] Everyone’s in a band in high school. I just never stopped being in a band in high school.

I checked my writing for your track, it was the second sentence, not the first!

[Laughing] Well, it was still in there. Sometimes they’re the headline. “HANA VU IS 17…...and here new song is out.” And I’m like [bemused laughter]. I definitely feel like that’s what my publicist leads with.

"She’s 17 and she knows Willow Smith."

Yeah. I get the [jovially] “What’s it like to be 17?” questions and then “How do you know Willow Smith?” question. And then I got really tired of it.

[Laughing] I figured. I specifically wasn’t asking about Ms. Smith, if you hadn’t noticed.

It doesn’t matter if you had asked me about it, because I would have told you a lie. [Laughs] I decided that every time someone asks me about it I’m gonna make up a different story. I told, I think it was Enemy magazine, that I was skydiving and she was...also skydiving, and on the freefall we were vibing and tryna work out bars. I told someone else she hit my car, so she owed me one.

You gotta get more over the top with it.

I hope more stories come out soon, so no one ever knows. I have an identity crisis every other week. Because I’m like, ‘Hana Vu is 17 and she knows Willow Smith,’ that’s my identity now.

So, moving forward, what are you excited for?

We’re gonna go on tour this year. I’m excited to start touring. I’m excited to, like, just do more stuff. I’m gonna do another…I don’t like EPs. So we’ll probably do a debut album, next year, at some point.

Why don’t you like EPs?

It’s just...I mean, I get why they exist. If you’re a new artist, no one wants to listen to your record. [Laughs] Like your whole, 10 track record. It’s easier for the public to digest if you only have 6 songs. But I’m just such a firm believer in albums that, I don’t know, I don’t listen to EPs. I’m just gonna write albums, and keep going, until I feel like I can’t do it anymore.

Where did the album art come from, by the way? After you mentioned the sign, I imagined that might have made for solid album art, what made you go with the blackberries?

I did try the sign. I didn’t really like...I don’t know, graphically, I didn’t really like it. I didn’t think it was that interesting. It’s just words. So I was always tryna change it so that it was more interesting. I don’t know, I think the title is for the heart, and then the cover is for the aesthetic. There was a time, I think last year, during this album, I was having a lot of anxiety, I thought a lot about the food I was eating, because I just ate horribly, and had anxiety all the time and was just lethargic, I was like, ‘There’s gonna be a week where I just eat fruit. I’m only gonna talk to my friends, and I’m only gonna eat fruit’. So I just bought a bunch of fruit, and then they were like, “You have to eat berries, or else your digestive system is gonna explode.” So I would eat berries. I did that for a like a week, it was like a cleanse because I was being manic. I would take a picture of the fruit every day, and I just liked that picture. It doesn’t really have an inherent meaning in my heart, I just liked it.

It’s nice to hear where things come from, meaning or no.

I don’t like...my graphic design skills are anywhere near where I want them to be. I don’t think I could make anything graphically that I would like.

The main impression I get from talking with you, if ya don’t mind my saying, is your sense of the things you haven’t done. I know you’re excited to go on tour, is it almost more about getting out?

Yeah. I was gonna go to college. At 18...when you’re 18, or 17, or however old they want me to be, you and the people you know either move on to college, I mean, I moved out of my parents house, so, there’s that. But I still feel the same, and it’s the same everywhere. Yeah, I just felt like I needed to...I like making friends, and want to experience more things, but I don’t really like school. School’s not my thing. I just wanna, like, see things and make friends. At all times. It’s kinda hard to do when you stay in the same place. It almost makes me feel like I wish I’d grown up somewhere else, then moved to LA. Because LA’s the place to be for musicians...this would be so great, if I didn’t already live here. I lived here for 15 years...I’m just kinda done. I just stay inside and do work. Kids my age are all in college. So...yeah. The other day I went to the post office and I was like, “I’m an adult.” [Laughs] I liked it. I don’t know. Does it sound pretentious? I make my own way and go to the bank. I don’t know. Sometimes when people ask me, “What are you doing?,” and I say I’m working, I feel like I’m lying. When you’re young that’s weird to say, if it’s not food service or a retail job, people think you’re lying. It’s just like, how old were you when you started your life?

You’re asking me? I went the more regular path, college. Sometimes wish I hadn’t. [Hana proceeds to inquire about my life for a time, I will spare you]

Yeah, I feel like, if you’re entering liberal arts I don’t think you need to go to college for it. My parents were like, “You’re gonna go to college.” I think that’s something people inherently...especially males, upper class, it’s norm. I was just like, ‘I’m gonna go to college.’ That’s what I always thought. It wasn’t until this year that it was like, “Are you gonna go to college? Because it doesn’t feel like you are.” If you can afford it, and you’re not doing anything else, like, go ahead.

I’m glad you got out.

Everyone says, “You’ve figured it out,” I’m like, ‘Did I figure it out?’ I was gonna go to NYU, so that’s a whole chunk of money. When you’re 17, you can’t make any decisions! I’m like, ‘Yeah, we can go to NYU! I don’t care about debt!’ I thought it would be cooler if I could just be a musician, and...not go to college. I was gonna go to music school, but I thought, am I really gonna use this degree? [jokingly] I feel like musicians aren’t supposed to go to college now, is that the norm? Technical skills maybe would have helped, but otherwise...it’ll take me a while to not be bitter about it. I’ll have to wait until like 23 and see people graduate saying, “I don’t really know what I’m doing,” to feel I made the right choice. Yeah. Sorry. Tangent.

We’ll recover via lyrics. So, on ‘Shallow’, you say, “I am king now,” what place is that coming from?

My ego. [Chuckling] I’m just...my ego. I think I’m the king sometimes. ‘Shallow’ is funny, because, I mean, I never expected to be asked about that song, like, on a press-level, because I wrote all these songs by myself in my bedroom, and just thought, ‘I’m gonna release these on bandcamp again’, but now people really ask me about them. I’m king now, yeah, I’m king. It’s sort of denial, not denial, I don’t know what the word is...you know when you, like, hype yourself up so you don’t feel bad? It’s sort of that. You like give yourself a pep talk, “It’s ok! You’re the king!” But I am. That’s my answer.

When you say, “Lost, I’ll carry you home,” is that familial, romantic, a friendship?

I just feel like people have a inherent, I dunno, attraction to, fixing people. So I think, like, in that moment I was very inclined to, like, saving someone, helping someone, and that’s a complex for some people. Yeah, I think that’s what that is. I always feel like I need to be in control of...like, my feelings. So being in control of other people’s feelings is also something I think about.

You want to be in control?

Yeah. All the time.

I have to ask, on the title track, what did you hear?

It’s just, like, what people say. I know you’re trying to get a specific thing, but I don’t have one. Especially since I wrote that song when I was 12...in my, like, little niche scene, I get talked about. It’s sort of like that thing where people talk about you, but you don’t know them, so it’s background. My friend will be like, “Oh, this person said this about you”, I go, “I don’t even know them!” Or something like that. Just like, I hear things. [Laughs] I hear things. They hurt me, even if I don’t know the person that well.

Low key Drake vibes?

Yeah, high key Drake vibes.

Is that disheartening? How do you feel about it all as the attention increases? Is it exciting?

I don’t know. Like one time my label manager asked me, like a month ago when the singles were coming out, and he was like, “Oh, just wanna check in with you, make sure you’re not overwhelmed,” and I’m like, “I am underwhelmed.” I put all my eggs in this basket, so I want this to be like a full on, consuming endeavor. I know Grimes said this, everyone says this, ‘Oh it’s different when you’re signed, you have a publicist, and an agent, things just move so slow, you can’t do whatever you want, wherever you are’, I feel that, everything is waiting and I’m sort of lethargic. I just want to be occupied and consumed at all times by this work. But no, I’m really excited, it’s exciting, I just have no control. I have no control and I just sit around and wait for things. It goes against my personal habits, but it’s really fun and exiting having a team of people behind you helping you achieve your dreams.

It’s like you’ve been in stasis, when the EP, the LP, whatever, comes out, and you go on tour, I’m sure you’ll be much more in the zone.

I hope so. My mom asked me the other week, “How’s your record doing?” I had to go, “I don’t know.” I have no concept of what is good, and what is doing well. I have nothing to compare it to. In my brain, I think it’s going alright, and my label tell me it’s going really good. So far it’s just little things that get me hyped.

How do your parents feel about the path you’re taking?

I don’t know. I think they’re sort of disengaged in a way. Because I think they wanted me to like not...have such a strong idea of myself and what I wanted to do. I think they wanted me to go to college. Because I know what I want, right now, is to not be there and work on this...I don’t know what they think. We’re not super close. I’m sure they’re excited for me, but, yeah, I think they’re scared for my future.

Are they not musically inclined?

No. They’re not. My mom used to be a fashion designer, and my dad used to be a graphic designer. I don’t know what they do now, now they’re just, like, sad people. When you follow your dreams, and then you have kids. Yeah. Well, millennials don’t have children anymore, because no one can afford it. But no, we all just wanna wait around to get married. Someone to take care of us. I just feel like I’m so in distress all the time, I think, ‘Wow, I’m the only person taking care of me right now.’

Well, soon you can enjoy life on the road. When do you head out?

September! A lot of waiting. I had to get my passport.

Oh, are you hitting Europe?

No, we’re just touring in the US, but they were like, “You might go at some point, get your passport!” We’re doing East Coast and the Midwest, it’ll be fun. I don’t have my license, and I don’t want it. I just don’t wanna get my license, I don’t wanna go through the bureoractics of it. I might be lazy, it’s just not worth whatever it is. ‘At an intersection, do you turn left at the bla bla bla?’ I don’t care! I’m not gonna drive. Can you give me an honorary license for...I don’t know? I’m gonna make my band members drive. They’re not pissed, it’s just “Oh...Hana doesn’t drive.”

I wish them luck with that. And you with everything! Great chatting, I’ll look forward to what’s next and hope to catch you guys on road.

Thank you so much!

How Many Times Have You Driven By is out now via Luminelle Recordings. Catch Hana Vu on her first American tour later this year.