INTERVIEW: Cherry Bomb Embraces the Power of Pop on Debut Album ‘The Pursuit of Pleasure’

In the way that so many music fans turn to their favorite artists during periods of emotional turmoil, Mandy Lee turned to her alter ego, who she named Cherry Bomb. The singer, who’s most well-known for her work in the pop/rock band MisterWives, released her debut album, The Pursuit of Pleasure, today. Released independently, The Pursuit of Pleasure was inspired during a time of uncertainty for the performer: the band she had been making music with since 2014 was on hiatus, but the itch to write music wasn’t going away.

Initially hesitant to step into the spotlight as a solo artist, Cherry embraced the opportunity to create something new with hopes that it would be cathartic: less involved in finding where she fit in a male-dominated genre that MisterWives was living in, and more involved in what she actually wanted to embody.

When speaking with her via Zoom a few weeks out from the album release, Leed led with what I consider to be the thesis statement of the album: “The Pursuit of Pleasure is a journey back to self and parts of me that were shamed out of me. It’s holding both pain and pleasure, grief and joy, grit and glamour, death and rebirth, just like the name Cherry Bomb: that holds both ends of the spectrum.”

The result? A power-pop, 11-track album that feels at home with artists like Chappell Roan and Slayyyter: unapologetically anthemic, glitter-streaked, and unfazed by expectations of what it “should be.” On this record, Cherry Bomb is unafraid to take up space, and celebrates what it feels like to embrace existing without permission or the desire to please others. I’ve said this in previous stories before, but music that doesn’t mistake fun, upbeat production for vapid or uncomplicated is the most compelling to me, and breaking down the intent behind The Pursuit of Pleasure makes it an even more meaningful body of work.

Check out the rest of our chat below.

[This interview has been edited and condensed for clarity].

KRISTIN: I’m super familiar with your work and was excited to see that you’re doing a solo project. To me, it seems like a natural transition.

CHERRY: It’s definitely a maximalist dream and a minimalist nightmare. So I’m happy you’re on board.

KRISTIN: Was this something you always saw yourself pursuing outside of being in a band?

CHERRY: No. I love a band, I love it being familial and being on a team. The camaraderie is the greatest gift ever. So [I’ve] been stepping out of my comfort zone big time, but it felt like the natural trajectory while the band was on a hiatus. I can’t stop creating music. So this felt a really fun, liberating outlet for me to get back in touch with the parts of myself that maybe didn’t fit MisterWives.

KRISTIN: Did you ever envision yourself, whether it was in a band with MisterWives, going into more of a pop space, or was that something that just came to you as you continued in your career?

CHERRY: I think it was a response to how much pop always had such a negative connotation and I didn’t subscribe to that. MisterWives was a pop band, like “Reflections” and “Coloring Outside the Lines,” so many of these songs are just like quintessential pop music. And of course, you know, being a band, we got to lean in a heavier, grittier space, especially on the last record.

But prior to that, it was a pop band. I think as we’re in this alternative space, I always felt “less than” having pop sensibilities and also being in such a boys club where like, [pop] was kind of lowbrow and like I didn’t fit into the territory I was in. I felt like I had to sort of Trojan horse my way into this male-dominated space that didn’t celebrate pop in the way that I’m getting to now.

It was a rebellion of how much I always got looked down on because we were “too alt for pop” or “too pop for alt.” So it was kind of fun to just lean in and be like, “I fucking love pop music.” I’m gonna go all the way and make a record that doubles down on the sparkle and glitter and fun parts that maybe, in the alternative space, wasn’t welcomed.

KRISTIN: Did you feel like this was more intimidating to step out and vouch for your work as a solo artist?

CHERRY: Thankfully, I worked with a longtime collaborator that produced a lot of songs with MisterWives. Jason Suwito is an  incredible producer and friend. I had the comfort of still working with someone who understood me. He was with me from the genesis of this project, just throwing sounds at the wall until we felt like we landed on something.

And I even did two songs with Etienne, who’s the drummer of MisterWives, “Cocoon” and “Digital Girl.” I tried a million different producers and while they were amazing, I just gravitated towards the comfort of people who I felt safe with.. A lot of the time in session culture, especially [in LA] is people are in and out for the day. It’s a day job and I totally respect that, but I’m someone who’s gonna work on the song for months until it’s right. So getting to work with Jason, who executive produced the record, and Etienne, allowed me to just kind of expand on what I already was doing.

KRISTIN: You also mentioned that you loved Madonna and Blondie and the glimmer of all that, which I can see in your music, which is amazing. Is there anyone else in terms of inspiration, whether it was when you were a kid or anyone that you’re listening to right now?

CHERRY: Oh my goodness. As a kid, Aretha Franklin was number one for me. But I grew up on Madonna. I remember Ray of Light was one of the first records I ever bought.

Blondie, as you mentioned. Robyn is a huge one. Donna Summers. Any of the pop divas have been such a North Star of like, whether sonically or just the attitude, like Gaga, or any of these women who paved the way. Gwen Stefani—Old Gwen—important to specify. She was a hero of mine, both in No Doubt and in her solo work. Bowie is such a big one as well for Cherry.

KRISTIN: Is there anyone that’s making music right now that you love?

CHERRY: I think Slayyyter is up there for things I’ve been listening to. I’m just so inspired by her getting her flowers, having done this for so long and being a veteran of the music [industry].

She kept chipping away and finding what was most authentic to her. I love Tiffany Day. I love Rachel Chinouriri. I mean, all of the Charli [xcx] record, it’s one of my favorites of the year. Another one, too, who’s been doing this forever. And now she’s the biggest thing in the world.

KRISTIN: Yes, absolutely. I’ve been seeing a lot of content on the internet about how so many people in their 30s are now hitting their stride, which is so cool to see. I know you posted about how your show in New York City is full circle because it’s been 12 years since you performed there [with MisterWives].

What is something that you wish you could say to yourself 12 years ago?

CHERRY: Man, I mean, 12 years ago, I don’t have to tell her anything.

I have to talk to myself now. Like she was the most fucking fearless badass. I moved out when I was 15, was booking shows in the city, started a band, would work a waitressing gig after school, and then went to the studio at 1 a.m. I would make press kits and send them out to bookers.

I had no fear then. I feel like as I’ve gotten older, I need to learn from my younger self. She was so authentic and zigged when you told her to zag. I was a total stubborn hard ass. So now I’m like, “I got to listen to her.” But I guess I would tell her, keep going and don’t lose that firecracker spark because that’s going to propel you into everything that you get to do.

KRISTIN: Yeah, it’s kind of like ignorance is bliss.

CHERRY: Sometimes I look back, I’m like, what nerve did I have? I had no formal training, no nepotism, no connections, no anything. I really just was like, “this is the love of my life and I’m going to do everything to make it come true.”

KRISTIN: When you get older, you get more jaded, unfortunately.

CHERRY: Not even jaded…it’s really just the anxiety of it all. It ruminates and it doesn’t help that I have crippling OCD. But I’m trying to loosen my grip on that. And this project has also been an amazing catalyst of me trusting intuition and unlearning all the things that made me second guess my creative intuition.

KRISTIN: That makes sense. So this album you’re releasing independently, correct?

CHERRY: Yes.

KRISTIN: Were there any challenges that came with that that you were not ready for?

CHERRY: It’s just being an independent artist right now in the current shape of music when the only tools are TikTok—and I’m not knocking that for people it works for—that’s amazing. But I think in the rise of AI bot farming and major labels paying for the hundreds of accounts that send out the music and make it seem like it blew up…when you’re an independent artist without those resources, it’s really hard to compete with getting your music in front of anyone.

I think the lack of resources has been one thing. But also, I love using that as a superpower of like, “OK, I don’t have the budgets of these artists, but what do I have and how can I utilize that to my advantage?” Which honestly, rather than reinventing the wheel and finding a whole new style, I have this costume closet I’ve had for 15 years. I do think when you’re limited, it forces you to be even more creative.

I love that element of being indie and DIY and scrappy. How do I make all my costumes and, you know, share art in a different way than the people who have the massive resources?

And while money and music shouldn’t be in the same conversation, in this day and age, unfortunately, it costs money to create art and put out an album. I can’t compare this to what MisterWives was because that was like, that has been around for 10 years and could sustain itself. And this can’t. So that’s been a challenge for sure.

KRISTIN: Yeah, totally. But at the end of the day, you don’t have anyone you’re answering to.

You just have so much free creative freedom over what you put out, which is really cool.

CHERRY: I would take that over not [having to] answer to a bunch of suits. It has been so liberating. I just get to follow what I love.

KRISTIN: It brings you back to like, you’re doing this because you love it so much. It’s not because you have to like, exceed anyone’s expectations, which I can imagine is so freeing.

CHERRY: Oh my god, that has been like the greatest gift of this whole project. I can’t worry about the outcome. I can’t worry about whether people like it or not. It’s just about do I like this? And I got to get back in touch with music being joyous again, because this industry does a really good job at zapping all the passion and creativity and joy out of it. This is the sole focus of this project. I’m really grateful that that’s like reigniting the spark. I’m going to do this forever.

Nothing that compares to what writing and playing live and connecting with people through music does for me.

KRISTIN: I love that. Can you tell me more about any of the songs you’re particularly proud of or looking forward to performing live?

CHERRY: All of it. Oh my god, I’m so excited. I mean, there’s not one song in particular. I’m really just so proud of the whole body of work.

I’m ready to play sweaty, rowdy shows and get to scream these songs with the incredible people that are coming. I’ve gotten so many comments of kids saying they’re flying from different states [to these shows]. I’m just so grateful because I wasn’t expecting that.

I still go to shows and it will never die how much that fills my cup. So I’m just looking forward to that release. I’ve been quite a homebody. First time I’ve not been on tour in the last two years.

So I’m ready for that release and that catharsis and connection because my body’s been like, “who are we?” I love my couch and being home, but the itch is out of control of how much I miss getting to play.

KRISTIN: I can imagine. You’ve been doing it for so long, and then all of a sudden, you’re not.

CHERRY: It’s been very sobering. It’s funny, because I have crippling stage fright. And that’s how much I love it. I can still push through how hard it is for me. But the second you get out there, and there’s this beautiful, palpable energy in the room, it just kind of overrides all the doubt and the fear.

So that, to me, always is such a testament of how much I love this, because I’m like, I’m not an artist who’s like, “I’m ready to fucking serve and slay and kick ass.” I’m terrified.

KRISTIN: That’s so shocking to me to the point where I wasn’t even going to ask you because I fully would not think you had stage fright.

CHERRY: Oh, my God, it’s horrific.

KRISTIN: So do you feel like it’s going to be worse because you don’t have the typical people around you?

CHERRY: Oh, no, I had stage fright with MisterWives. Since I was a little kid. But I think there’s something really powerful about facing the thing you’re most afraid of, because you love it so much. And it just shows you it gives you receipts of like, I can do the thing I’m afraid of.

It’s like, “Am I gonna suck? Am I gonna hit this note?” I’ve always proved myself wrong, thankfully. But I don’t know why that’s so deeply stored in my body. Having the name Cherry Bomb has really helped me tap into like, Oh, no, that’s not how Cherry thinks. This is Cherry Bomb. This is not Mandy.

The Pursuit of Pleasure is out now.