Q&A: Gavin Turek Finds Her Groove on ‘Diva of the People’
GAVIN TUREK RADIATES - and it's not just the shimmering disco ball energy that pulses through her sophomore album, Diva of the People, but a genuine warmth and grounded optimism that pours from every note. This isn't just a nostalgic throwback to a bygone era of dance floors and glitter; Turek crafts a sonic landscape that feels both timeless and emotionally immediate.
Diva of the People is a testament to the power of transformation. Inspired by the likes of Donna Summer and Robyn, Turek takes the raw materials of heartbreak and uncertainty and spins them into pure, radiant joy. From the liberating post-breakup anthem "Disco Boots" to the hypnotic allure of "Anybody Home?," Turek explores the complexities of modern life with an open heart and an irresistible beat.
This is an album that begs to be experienced on the dance floor, a space where vulnerability and empowerment intertwine. And that's precisely where Turek thrives. A seasoned performer who infuses her live shows with infectious energy and free-flowing movement, she creates an immersive experience that transcends the role of passive listener. With Diva of the People, Turek invites us all to step onto the floor, let go, and embrace the transformative power of music and movement.
We sat down with Gavin Turek to discuss the creation of Diva of the People, her unique approach to disco, and how she balances shimmering soundscapes with heartfelt vulnerability.
LUNA: The press release mentions Diva of the People being inspired by the "ridiculousness" of your dating life. Can you share a specific experience that sparked a song on the album?
TUREK: Well, maybe ridiculousness is the wrong word. I guess more the whole kind of approach to the album and approach to my life at the moment is finding the humor in these awkward moments, in the painful moments, in the ridiculous moments at times, and yeah, a lot of the songs are kind of about me getting back on the on the streets, per se. And I think many of the songs are clearly about that. But I think it's definitely from the perspective of being a woman, being a millennial woman, navigating dating apps, navigating all of the changes that have happened.
I was in a long term relationship, so I was getting thrown back out there with a lot of learning to do, and it is a big learning curve. I thought it would be more fun to kind of make fun of it and to make fun of the process. And it came out through songs so organically. Because literally, every time I would go to the studio, I would have a new story for my producer, and he would be like, “You just need to put this in the song.” I'm like, “You're so right.” So it wasn't super intentional. It just was the place that I was in, making fun of that.
Instead of making like a sad girl album, it's more of like, let's make fun of this. Let's laugh at it. And I feel like there's enough like toxic dwelling when it when it comes to musicians, writing about relationships and writing about their bad habits and other people's bad habits, and it's not that I'm not addressing that like I have my own bad habits, and I'm acknowledging other people's bad habits as well, but I think I just wanted to approach it from a lighter disposition. And I didn't want anyone to listen to the album who may be single or who may be going through a breakup and have, like, a negative heaviness about it, I think music is really powerful. I did that my last album, that was all heavy. So if you want that, go back to that. But I'm not in a place of wanting to create that atmosphere and that energy for people when they're listening to my music, I just want them to feel light in general, even if they were wronged or even if they were done wrong.
“IOU” is one of the first songs on the album, and I'm talking about someone kind of doing me wrong, more in a business sense, actually, but it's all with a wink, and it's fun. You have to just look at it as: Let's make light of this shitty situation.
LUNA: You describe your music as "sonically nostalgic but emotionally available." How do you balance those two elements on Diva of the People?
TUREK: Sonically nostalgic is obviously how I approach production. I'm always going to take things that either I grew up on or music from—I mean, I obviously love music that was made in the '70s and '80s, that's all over my music. But taking those as inspiration, and owning that I have that vibe, I think, like Victoria Monet also kind of can be categorized as sonically nostalgic, like she clearly has references and inspirations from a time before her.
Then the emotionally available is me taking that inspiration and really making it my own through my lyrics, my experiences and in my melodies. I think my melodies and my lyrics are unique to me, and I try to own my approach to that. I referenced so many people from Janet to Roshan Murphy to Diana Ross, Donna Summer, on the album, but it's how I sing, it's how I express myself. It's very me, and it's very present, so emotionally present. Emotionally available is just me being available, showing up and not feeling like I have to make disco and 80s funk, I'm not. I don't feel the pressure to make a karaoke version, or a direct copy. It's very me as well.
LUNA: What's your songwriting process like? Do lyrics or melodies tend to come first?
TUREK: It depends. For the majority of this album, it was probably ideas, like concepts, first. And sometimes concepts come to me by way of a situation or a story I'm telling, someone in the moment. But sometimes concepts just land in my head and I start singing something. I've heard other artists talk about this, but it's almost as if that idea was implanted, like I didn't think of it, like it was always there, just waiting for me to sing it out of my mouth.
Lyrically and production wise, I really just wanted to go with what felt good to me and like my kind of natural instincts. I felt like the process was often very quick.
There's a song that I wrote called “Off The Wheel”. It's the last song on the album, and it's the most unique because it's straight up like a house song. And I just wanted to make a house song that day. That writing process was really unique for that one because I was just doing my dishes and I was struggling with so many different things, and thinking to myself, “Oh, man, I really need to release control, but I really don't know how to do that.” As I was washing my dishes, the idea just came in my head, like, “Hands off the wheel. Take your hands off the wheel.” And that's why I was singing to myself. Then I happened to go to the studio maybe an hour later. I came in with that melody, that hook over and over again. I could hear the song in my head. So that process was very organic and very quick, because it was already kind of in me.
A lot of the songs were kind of like that, and then maybe two of the songs that I wrote were inspired by the demo of the track that I was sent and I created something on top of that.
LUNA: The album is described as having a "shout-from-the-rooftops" energy. Was there a particular song or moment during the recording process where you felt that energy most strongly?
TUREK: “Off The Wheel” for sure. And I make people shout that song when I perform at live so that was definitely a shout from the rooftops moment. It was like, in a healthy way, being really over my own BS.
LUNA: You've been creating music since you were six years old. How has your relationship with music evolved over time?
TUREK: When I was young, I didn't think coming up with song ideas was unique or special. It felt so natural that I assumed everyone did it. My six-year-old brain couldn't comprehend it any other way.
It's wonderful to look back and listen to those early recordings. I didn't write them down as much as I recorded them. I'd sing into anything I could get my hands on – even just tapes – to get the ideas out. I loved sharing those songs with my friends and family, even if it annoyed them. They were patient with me.
I'm not sure if I was actually good as a kid, but I had this strong self-belief. As I grew older and pursued music professionally, that trust in my instincts faded. The industry, with its constant opinions and advice on how I should sound and present myself, led me away from the natural gift I had as a child.
It's only in the last few years that I've begun to reclaim that confidence. It's a relief, a blessing to reconnect with that innate part of myself. I'm still self-aware, don't get me wrong, but when it comes to songwriting and expressing myself through music, I no longer second-guess myself. That's a huge victory.
Of course, there are ebbs and flows in any career. New challenges arise when you work with different people. Being challenged creatively is positive. I've collaborated with people who pushed me to be my best, and those experiences have been invaluable.
If I could talk to any young woman, especially a fellow songwriter, I'd emphasize the importance of trusting your instincts. You already possess a unique gift. Surround yourself with people who offer constructive criticism, those who encourage you while being honest.
I had to learn the hard way, facing negativity and feeling beaten down before finding my way back to confidence. Criticism can be healthy, but only when it comes from the right place – from people who genuinely want to see you succeed as your most authentic self.
LUNA: You're about to embark on a headlining tour. What are you most looking forward to about connecting with fans on the road?
TUREK: Gosh, I love performing live. The best part about getting to do it is really getting to meet the people who have sent me messages and stuff on Instagram or on TikTok or wherever. It's like you see, these names consistently pop up that maybe aren't their government names, but like nicknames or their handles. And it just really delights me thoroughly when I get to meet, like, hotgirl22, . Like, "Oh my god, it's you! I read all your messages." Even if I don't respond, I see them. If their energy is good and is kind, I love to engage and have a little banter. So it's really, really nice to take it out from the DMS and take it into real life give them hugs and thank them for supporting me.
They're a small group, they're a mighty group. They're very encouraging, and they don't let me stop. So it's really nice to just connect with them in person.
I also love performing “Disco Boots”. I've already started performing it, but it's so fun. It's so sassy, and I just act like a different person, and I really like getting into that version of myself. So that's probably best.
LUNA: What's next for Gavin Turek after Diva of the People? Are there any dream collaborations or projects you're hoping to pursue?
TUREK: Yeah, I really would love to do these headline shows and kill it. And then I would love to go on tour, my dream tour, would be opening for Roshan Murphy or opening for Chromeo. I would love that. And then an even bigger hoop dream is opening for Bruno Mars, like any of those three people would be wonderful.
And I just would love to get Diva of The People as an album out to the whole world through a live experience. I think it kind of sells itself when it comes to the live show and having something that is so uniquely disco feeling and dance feeling, but also very modern. I just would love to perform it as much as possible. I would love to play Coachella and Outside Land and Lollapalooza and like every major festival overseas and in the States, that would be incredible.
I'm already back in the studio, though, so I'm already thinking about what could be a good follow up in terms of singles. I have a lot of remixes on the table that I'm going to be releasing, most likely starting at the end of this year. After the album is kind of sitting and living with people, I'll do some, some really cool remixes. But, yeah, I would love to use this as a as a starting point. I've been around for a long time. Been making music for a really long time, but this does feel like a new, fresh wave of like a new beginning in some ways for me. I want to just keep this momentum and this sound, and this kind of version of myself - I just want to explore it to the nth degree.
