Koko Love’s debut album, The Cost of Freedom, has spent the past year living in the physical world. Released first on vinyl and Bandcamp, the alt-rock artist took the unconventional route of letting the record exist off streaming platforms while touring across the U.S. and Canada, selling copies by hand and building a fanbase the old-fashioned way.
Now, the album has finally arrived on streaming platforms, giving a wider audience the chance to discover it. It’s a sweet, quietly charming record that feels built for warmer days ahead, and I already have a feeling it’s going to become one of my no-skips albums once summer rolls around. I spoke with Koko Love about rejecting the algorithm-driven rollout, connecting with fans in real life, and what freedom means to him now.
Your debut album, The Cost of Freedom, has been living in the world for about a year through vinyl and Bandcamp before arriving on streaming. What inspired you to flip the traditional release cycle and let the album exist physically first?
“I feel like the current life cycle of a project rollout is tiring and often disappointing, especially for an independent artist like me. I put my all into this project and then…what? I’m supposed to act like a monkey on socials, post three times a day, make silly videos just to get people to listen? I could do that, but it’s not who I am. I don’t have it in me. So what does that mean? Usually it means a release is short-lived and probably disappointing. My debut felt worthy of a long, deconstructed rollout. That was my initial instinct.
I think we’re in a place where both artists and listeners crave tangible, special things because the internet is so saturated. Having the album exist physically first flips the narrative. It’s a win-win. I got to tour and perform it live in front of strangers, which was dope, and some people even got the physical record first. As a listener, that’s the kind of experience I appreciate.”
In an era where artists are often chasing playlists and algorithms, you built momentum by selling records by hand on tour and connecting directly with fans. What did that experience teach you about how people discover and connect with music today?
“I’ve never had a “hit” record in my life, whatever that means, but I’ve had enough success on streaming to know how volatile it is. It’s not a way to build a real audience. To be fair, I didn’t know exactly what I was doing. I was just dropping singles left and right. Some got pushed by Spotify’s algorithm, some didn’t. But in the end, I wouldn’t say I built much of a fan base.
Why? One, I hadn’t put out a cohesive body of work. Two, I hadn’t connected with people in real life. From my experience, connecting with a fan in person is worth a thousand streams. Maybe more.”
You’ve spent the past year touring across the U.S. and Canada with Kyle Dion while also producing tracks on his recent albums. How did being on the road during this period shape your relationship to The Cost of Freedom and how the songs evolved live?
“Kyle and I went on an East Coast tour last summer, and I got to perform the album live in front of new audiences. Our music lives in pretty different worlds, so on paper opening for him might not seem ideal, but I actually loved it. It was cool to perform for people I probably wouldn’t have reached otherwise.”
Physical media clearly plays a big role in your artistic world. What is it about vinyl and tangible music formats that still feels meaningful to you in a digital age?
“Let’s be real, it makes absolutely no sense to buy vinyl in 2026. But a lot of life’s pleasures don’t make sense on paper. It’s completely irrational, and that’s probably what I love most about it.”
Your track “Man I’m Not” reached #3 on CBC Radio and landed on their 100 Best Songs of 2025 list without any major playlisting push. What was it like to see that kind of response grow so organically?
“It’s great. And it shows there’s room for more left-of-center, alternative music even in traditional media, which is usually more mainstream and polished. I think it’s encouraging. My goal has always been to make the alternative mainstream, and I think the next generation of artists will get to do it. The audience and media are ready for that kind of stuff, slowly but surely.”
As both an artist and a producer, how do those two roles influence each other when you’re working on your own music?
“It’s good to feel self-sufficient. To know that if all goes south, I still have myself and can make a record. I managed to make a project I’m really proud of with my best friend, and that’s it. Being a producer definitely makes the process easier, and it means I go to collaborators by choice, not necessity. I love collaboration, but I don’t see myself producing all my future projects solo either. It’s just good to know I have the freedom to choose.”
Alongside the streaming release, you’re also sharing a live performance filmed in a Montreal basement-turned-venue. What drew you to that setting, and what did you want the performance to capture about the spirit of the album?
“Again, my goal is to make the underground mainstream, to make the alternative mainstream. That’s my north star. So what better setting than an abandoned basement to capture that energy?”
The title The Cost of Freedom feels loaded with meaning. What does “freedom” represent to you creatively and personally at this stage of your career?
“It definitely changes every year. But right now, freedom to me is peace of mind. It’s being free from the burden of comparison and guilt, the guilt of not being productive enough or not feeling good enough. Freedom is being on your own timeline, competing with no one but yourself, escaping the rat race. That’s what true freedom is to me today.”
Now that the album is finally reaching streaming platforms and potentially a wider audience, what excites you most about this next chapter of the project?
“Honestly, finally closing this chapter and moving on to the next project. I’m starting to record my next project this month, so that’s what I’m excited about.”
The Cost of Freedom is out now on streaming platforms.
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