The music of Phantogram is comprised of chopped samples, big, emotive vocals, intricate guitar riffs, catchy hooks, and at its core, memorable bass lines that indisputably make you move. The person responsible for the danceable low end is Sarah Barthel, the frontwoman and one half of the band’s duo alongside guitarist/vocalist/songwriter Josh Carter. The two have been best friends since preschool, who have been making music together in an upstate New York shed since 2007. Their first release, 2010’s Eyelid Movies, produced a number of singles that garnered them widespread attention and five albums later their popularity is still on the rise. Their latest, Memory of a Day, captures the essence of the band’s mojo, as they channeled their early days of songwriting in creating it.

Having always been the creative force behind bass in the band, Barthel decided to ditch her confining synth stations in favor of the electric bass back in 2018, when she discovered short scale models and fell in love with a sparkle-clad Fender Mustang. Now her playing is the propulsive pulse of the new album as she shifts from gritty, effects-laced picking riffs to deep, kick-drum locked grooves and layers of seismic synths. Her lifelong obsession with bass is only intensifying as she brings the instrument into the spotlight during Phantogram performances, which are already aesthetically and sonically grandiose, to say the least. Sarah’s ultimate goal is to make her listeners move through her playing, which is a feat that she always accomplishes thanks to her fearless, and sometimes unconventional, approach to low end.

Memory of a Day is very cohesive album that merges all of the stages of Phantogram together. What sparked this album for you personally?

The driving force was going to a place where there are no expectations, kind of going back to day one when we didn’t have any fans and we wrote songs that we enjoyed. We just wrote for each other and because we enjoyed doing it together. We also did it in hopes that people would hear them and like them. This record brought us back to the OG Phantogram and the reason why we do it in the first place. Taking that pressure off enabled us to let loose and experiment, and allow ourselves to do whatever we felt in the moment. It was very cathartic. We were free agents without a record label, so we didn’t have a budget to go into a studio or hire a co-producer, but luckily our best bud, John Hill, who produced Voices, invited us into his studio. We went in and hung out and made samples and beats, and it turned into Memory of a Day, which has become our favorite album.

What was the writing process like? 

Josh has a studio and so do I, so we go back and forth with ideas. When we’re working on new material we work on our own and we have a shared folder that we throw everything into, and it’s always available so that we can give feedback to each other. A lot of the songs start from those ideas. Sometimes we’re in a room together and we’re jamming, sometimes we listen to other artists, and we get inspired and come up with lyrics or titles of songs. It’s different for each song, but it almost always starts with a beat that Josh makes and that’s where my bass influence will come in.

When did you first take on the bass?

I learned how to write on keyboards but I’ve always been influenced by the bass parts of songs. I don’t have any music theory training to know what I’m actually doing, and I think like it was kind of the best way to get into songwriting because the feeling comes first that way. My go-to idea of starting with an idea is when Josh sends over a beat with an interesting sample, like for example “Fall in Love.” He made that and it was strictly chopped up samples with the beat. When he sent it to me I instantly found pockets of where I heard a movement of bass, which I ended up writing on a synth. I use bass as a top melody in a weird way. If you listen to our music you’ll hear that the bass moves around, but not in a root way of just adding low end onto a song. It has a whole different space and I feel like that’s part of the uniqueness of me not knowing what the fuck I’m doing. For me, music all starts with bass and its movement and tone.

When did you start integrating electric bass?

I never had a bass guitar because they’re so massive and I wasn’t able to play them because my arms are too short. My boyfriend at the time had a Hofner short scale bass, and my favorite bass player is Paul McCartney. I obviously love the way he plays where everything has a melody and stands out. He could write the tops of all of the songs, but instead he finds any pocket and makes the most of it. I guess I don’t have to explain to your readers what Paul McCartney does [laughs]. Anyways, I picked up the Hofner bass and I could actually play it. I had no idea there were short scale basses and it was fun for me. I started learning how to play and wanted to write with it. A lot of songs we have gravitate towards super low end distorted bass, with grit and effects. I also really wanted to get the hell off of my synth station onstage and be able to move around and connect with the audience more, and with the other band members. That’s how I started playing bass. Now the songs I play electric bass on are my favorite ones to perform live.

What were the initial shows like once you started playing electric bass live?

Luckily, I started real soft serve and played songs like “Mouthful of Diamonds” and other songs that are super simple on the bass. After a certain number of shows I wanted to step it up a little bit and I took on a bunch of other songs. I loved that I didn’t have to be tethered to a synth. I could move and I could express myself more. Honestly, it felt very natural for me to play it onstage. 

You started with the Hofner and now you play a Fender Mustang bass live. What do you like about that bass?

The Mustang was comfortable right away. Once I learned that short scale basses are a thing I was like, Well damn, let’s do this. Fender has been great and they’re always down to give us whatever we want to use. I asked if they could make me a super, silver sparkly bass to play live and they said yup, and I’ve been playing it ever since.

Playing bass and singing at the same time is a difficult thing to pull off. Was it natural for you?

Oh God no, it is so confusing. It takes a lot and I was a bit too ambitious wanting to learn the bass and vocal parts for some of the songs in our live show. It’s a weird, wild process. You have the time feel in your head, while simultaneously thinking about the timing of your hands, while also focusing on your voice. Now when we write in the studio I’m aware that I’ll have to pull off both parts live, and I kind of hate myself for it.

In addition to playing with a pick, you play fingerstyle, too. Tell us a little about your technique.

That’s the only way I truly felt confident to stay in rhythm. When I first picked up a bass I knew I wanted to use my fingers and it felt good moving the lines like that. It helps me lock in with the drums and everything going on around me, and it makes me groove more. For this album I switched over to using a pick on songs like “Happy Again” and “Attaway.” I’ve transitioned to holding the bass differently to use a pick and everything has changed. It’s so much fun to switch back and forth between pick and fingers.

Which songs do you get most excited to play live on electric bass?

“Futuristic Caskets” is fun to play. That was one of the first songs I started playing live. Also “Don’t Move,” which was written on synth bass. Live, we have our keyboardist playing bass during the verses, and I double it and it sounds huge. I love layering bass like that. Also “Answer” is probably my favorite song to play bass on live.

You and Josh have been friends your entire lives. What is it like collaborating at this point?

We’ve been so connected since the beginning. We’ve always had the same vision and we’ve always wanted to make music that didn’t fit into any mold. It’s an ongoing thing. If something sounds like something we’ve heard before we quickly pivot. We think the same way and we have the intention of having the songwriting being just as important as the psychedelic production. The feelings can come from all different parts of songs, and we try to find the parts that will make people feel things. I don’t know what it would be like to be a solo artist because it’s always been the two of us. I can’t imagine doing it without him. He’s my best friend.

Your shows have evolved over the years into the huge performances they are now. What is a Phantogram show like from your perspective?

This past tour we were the openers, and you set out to win the audience over. The adrenaline before going onstage playing an arena where maybe not many people know who you are can be intimidating. The winning over of hearts is what Josh and I have always set out to do since the beginning. Sometimes people just stare at you. But it’s all about connecting to new fans and being different from the other bands on the bill. We only have a certain amount of time so we need to choose the songs that will move people. We’re out on a headlining tour now, so it’s a different ballgame. We can come out with some swagger and play whatever the hell we want.

What is it that you love about bass and its role in music?

My first love of bass came from hip-hop and the way the low end rattled my ribcage. The feeling of its depth of it made me obsessed. Long ago when I purchased good headphones and could really experience it, it changed my life. I got deep into the tone of songs and the EQ-ing of things, and I always turned up the low end on everything. The most passionate I get when it comes to music and production is bass. I need to feel it. The bass brings me to the escapism that music can give you. That’s what bass is to me.

Hear Her On: Memory of a Day, Phantogram [2025, Neon Gold Records] 

Gear

Bass Fender Mustang 

Rig Fender Bassman 800, 4×10 cab

Pedals Fractal Axe Fx 2+ (“We use that so MIDI can control pedal changes while she sings.”)

Strings Ernie Ball Slinky Flatwounds

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