Interview: LALALAR

From the buzzing rhythms of Istanbul, LALALAR has been reshaping the boundaries of Turkish sound for nearly a decade. Formed in 2015, the trio initially entered the music world with a dreamy, reflective, and distinctly indie-pop sound. But what began as a subtle, ethereal act has since evolved into one of Türkiye’s most electrifyingly diverse forces.

LALALAR’s albums, Bi Cinnete Bakar (2022) and En Kötü Iyi Olur (2023), signalled an evolution in the band’s musical focus. Melding traditional Anatolian influences with electronic beats, gritty punk riffs, and urgent political commentary, LALALAR has shed its indie-pop skin, emerging as a powerful voice of social discontent .

The band’s name, LALALAR, is an Ottoman reference to the wise teachers of sultans. It’s a fitting moniker for a group whose music dances between ancient foundational roots, futuristic experimentation, and cult psychedelics. In En Kötü Iyi Olur, meaning “The worst gets better,” LALALAR captures the chaotic energy of modern-day Türkiye, a nation grappling with economic turmoil, social unrest, and political tension.

Tracks like Göt, with its seering lyrics about hypocrisy, and Yaşamaya Bahane Ver, with its pulse-quickening beats are musical rallying cries that effortlessly blend the personal with the political.

Despite the evolution in their music, one thing remains constant: LALALAR’s commitment to forging their own independent path. With En Kötü Iyi Olur, the band proves that there is room for hope, creativity, and, most importantly, resistance even in the darkest times. Ahead of their 16th anniversary of Control Club appearance on Saturday, October 5, we spoke with LALALAR about their previous performances at the venue, the importance of independence, the political and economic situation in Türkiye, and more.

You have played at Control Club a few times now. How has the experience been for you? What stands out the most about performing there?

Barlas Tan Özemek: This will be our third time playing at Control Club. It’s been a great experience each time. We have some really good memories from our previous shows—great crew, great audience, and even nice food. There’s something about the atmosphere in that place that just clicks with us.

Ali Güçlü Şimşek: It’s like we’ve built a connection with the audience there. Sometimes, you play at a venue and can immediately feel the energy in the room. Control Club has that kind of vibe for us. The people are really into the music, and there’s this mutual respect and enthusiasm that makes it a pleasure to perform.

What about some of the other places you’ve played over the last few years? Traveling and touring can become a bit mechanical after a while, right? You’re constantly on the move, going from city to city. Looking at some of your recent gigs in places like the Netherlands and Germany, were there any shows or festivals that really stood out to you where something special happened?

Barlas Tan Özemek: I think a place’s geography can impact the audience’s energy, and it can vary a lot, not just from country to country but even from venue to venue within the same country. One of the most extreme and memorable experiences we’ve had recently was at Roskilde Festival. We played in this huge, crazy tent with thousands of people, and the energy was just off the charts. Everyone was there to give it their all, and it felt like we were all part of something bigger. It was one of those moments where you know you’ve made a real connection with the crowd.

Ali Güçlü Şimşek: Yeah, Roskilde was incredible. But we’ve had lots of good memories in different countries. Oslo, for instance, was a great experience. The crowd there was so welcoming, and there was this sense of mutual understanding and appreciation. Turin was also special—something about playing in Italy just feels right.

Your music is very much designed for live performance. It has an energy and vibe that thrives in a live setting. How do you approach a live show? Do you have any rituals or practices that you go through before going on stage to get in the zone?

Barlas Tan Özemek: We try to keep things simple and not overthink it too much. We each have our own little rituals, but they’re pretty straightforward. For example, depending on the environment, we like to have five to ten minutes of quiet time before the show. It’s a way to clear our heads and focus on the performance ahead. If there’s enough space backstage, one of us might do a handstand or some push-ups to get the blood flowing. It’s not about doing anything elaborate—it’s more about getting into the right mindset.

Barlas Tan Özemek: Yeah, having a few minutes of silence before the show is important. It helps me lower my vibration, so to speak, and get into the right state of mind. I like to sit quietly and not talk for a bit, just to let go of the rest of the day and focus on the moment. On stage, we want to be fully present and connected with each other and the audience.

Ali Güçlü Şimşek: The excitement is a big part of it, too. We feed off each other’s and the crowd’s energy. It’s like a feedback loop—the more excited the audience gets, the more we feed off that energy and give it back to them.
What about during the performance itself? Are there specific moments when you feel like you’re really clicking with the audience, where you’re all on the same wavelength? Or maybe the opposite—when you’re struggling to connect? How do you navigate those moments?

Barlas Tan Özemek: It’s a lot like sports or even sex—sometimes you’re right in the moment, and everything flows naturally. You’ve got the momentum in your hand, and it feels like you’re on top of the world. Other times, you have to work harder to find that connection. There are definitely moments when you feel like a god up there on stage and other times, you feel like a passenger just going through the motions and waiting for the show to end. But that’s part of the journey.

Ali Güçlü Şimşek: When everything clicks, it’s the best feeling in the world. We’re pretty open with each other and don’t hide much, so that helps us stay connected as a band. It’s magical when we’re all in sync, and the audience is right there with us. But there are times when you have to push through, especially if the crowd is more reserved or if we’re not all feeling the same energy. It’s about finding that balance and working together to bring the audience along with us.

Barlas Tan Özemek: One thing that makes it challenging but also rewarding is that we sing in Turkish, so most of our European audiences don’t understand the lyrics. But music is a universal language, and when the audience gets the idea behind the music—the emotion, the rhythm, the energy—that’s when the real connection happens. It’s not just about the words; it’s about the feeling we create together.

I’m curious about this fusion of styles in your music. There’s a lot of hip-hop influence, but it also seems deeply rooted in Turkish psychedelia. How did your sound evolve over time? Did you start with a more traditional sound and gradually incorporate electronic and hip-hop elements

Ali Güçlü Şimşek: There’s definitely been an evolution in our sound. We’ve been friends for 20 years, making music together for a long time, and our sound has naturally developed and changed over time. When we started, we didn’t want to stick to traditional sounds or limit ourselves to a specific genre. We wanted to push our boundaries and explore new territories musically and creatively. Our music blends many influences—everything from Rage Against the Machine to Depeche Mode, hip-hop acts, and local Anatolian music. It results from years of friendship, musical exploration, and a desire to share our most honest and authentic selves through our music.

Barlas Tan Özemek: We’re not afraid to share our musical identities’ sharpest or deepest parts. That’s what makes our sound unique. It’s a blend of honesty, friendship, and a willingness to push our limits and explore new sounds. We’re constantly evolving, and that’s what keeps the music fresh and exciting for us.

How do you manage your dynamic outside of performing and creating? You spend so much time together—on the road, in the studio—how do you balance that with downtime and personal space?

Ali Güçlü Şimşek: Trust is the foundation of everything we do. Knowing you can rely on each other as friends and creative partners is incredibly important. We’ve been through a lot together, and that trust extends beyond just making music. Sometimes, one of us will come up with an idea, and another will take it and build on it. It’s a very collaborative process, and that keeps things fresh. Communication is key—we talk a lot and are open with each other. That helps us stay connected even when we’re taking a break from creating.

Barlas Tan Özemek: We also genuinely enjoy each other’s company, which is crucial when you spend so much time together. We love our jokes and the time we spend just hanging out.

How do you spend your downtime together? You’re on the road, in the studio, and constantly creating—how do you balance that with being friends and individuals?

Ali Güçlü Şimşek: There’s no ego in the way when we’re creating. If one of us comes up with a structure or a riff, another might take it, go into their creative “cave” for a bit, and come out with a whole new perspective. It’s this constant back-and-forth that keeps things exciting. And then there are times when we don’t even have to talk—we just start creating. It’s like we’re on the same wavelength without needing to explain anything. That kind of communication only comes with years of working together and really knowing each other.

Barlas Tan Özemek: We also know when to give each other space. When you spend as much time together as we do—on the road, in the studio—you have to learn when to step back and let someone have their quiet moments. And we genuinely enjoy each other’s company. We joke around a lot, and that humor keeps things light, even when dealing with the pressures of touring and creating. We’re not just bandmates—we’re friends, and that makes all the difference.

I noticed how important independence is to you as a band. How do you define independence in your music and your career? And how does that align with your relationship with your record label, Bongo Joe Records?

Ali Güçlü Şimşek: Independence is at the core of everything we do. It’s not just about making music our own way—it’s about having the freedom to express ourselves without limitations. Independence starts with us as individuals and extends to us as a band. We’ve been working together for so long, and that history has allowed us to shape our sound and our vision without needing to conform to any external pressures.

Barlas Tan Özemek: Bongo Joe gets that because they’re musicians themselves. They know what an independent artist needs because they’ve been there. They aren’t overly commercial or trying to fit us into some industry mold, making working with them much easier. They give us the freedom to explore our ideas and be true to ourselves, which is essential for us. We don’t want to be told, “This needs to sound more commercial” or “This track should fit into a certain playlist.” Bongo Joe respects that.

Would you say they give you the space to present your ideas rather than imposing their own vision?

Barlas Tan Özemek: Absolutely. They’re not the kind of label that tries to interfere with our creative process or force us in a certain direction. They give us the freedom to be ourselves and create the kind of music we want to create. Of course, there are always trade-offs. Working with a smaller, independent label means we might not get the same level of promotion or commercial opportunities that we’d get with a major label, but we’re totally okay with that because it allows us to maintain our creative independence.

Speaking of authenticity, I’ve noticed that your music often touches on serious political topics, particularly relating to the situation in Türkiye. How does the political landscape in your country influence your music, and has that influence changed over time? Do you see any improvements or shifts in the political situation?

Ali Güçlü Şimşek: You can’t be an artist in Türkiye and not be political—it’s impossible. The political situation in Türkiye affects everything, and it’s something we can’t ignore in our music. We live in a country where democracy is questionable at best, and it’s the responsibility of artists to point out what’s wrong. We can’t pretend everything is fine when it’s not.

Barlas Tan Özemek: Exactly. Being an artist in Türkiye comes with certain responsibilities, especially when it comes to addressing social and political issues. Things have only gotten worse in recent years, and that forces us to get more creative with how we express ourselves. Fear is a constant, but we try to channel that fear into something positive. If we were living in a place like Norway, we might not feel the same pressure to be political. But in Türkiye, there’s so much happening every day—whether it’s the economy, immigration, or censorship—that we can’t help but reflect that in our music.

Ali Güçlü Şimşek: Even when we play outside of Türkiye, the sincerity of our message still comes through. Most of our international audience doesn’t understand the lyrics, but they can feel the emotion and the conviction behind the music. It’s not just about the words—it’s about the entire attitude, the whole package. When we’re on stage, even if the audience doesn’t know exactly what we’re saying, they can feel that we’re speaking from the heart, and that creates a powerful connection.

Given how important these issues are in your music, what’s the environment like for young artists in Türkiye? Is there support for them to build a career and express their message, or is it a difficult space to navigate?

Barlas Tan Özemek: It’s becoming more and more difficult, especially in a city like Istanbul. The economic situation is terrible, and it’s hard for anyone to survive, let alone make a living as a musician. Everything is in survival mode right now—music isn’t a priority for most people because they’re just trying to get by. Instruments are expensive, rent is high, and the cost of living keeps rising. It’s tough for young artists to get started, let alone build a career.

Ali Güçlü Şimşek: Istanbul, like other big cities, has a few spots where you can live and create freely, but those places are insanely expensive. And with the Turkish lira losing value every day, it’s just getting worse. Five years ago, one euro was worth six lira—now it’s 36. It’s becoming impossible for people to live, especially for artists who rely on gigs and creative work to survive.

Barlas Tan Özemek: The government’s policies are only making things worse. There’s more censorship, more taxes, and inflation is out of control. It’s not just affecting artists—it’s affecting everyone. People are unhappy, and it’s only a matter of time before things reach a breaking point.

On a lighter note, are there any favorite record shops in Istanbul you recommend?

Ali Güçlü Şimşek: Yeah, there are a few. Our former band member, Kaan, has a shop called Analog Kültür in Galata Beyoglu—it’s a great spot for vinyl lovers. There’s also Kontra Plak, which isn’t far from there, and another place called Pera Plak on the Asian side of the city. If you’re a record collector, those are definitely worth checking out.