PVRIS: “Art makes people happy, and it’s a connecting tool, and it can be used politically. I’m trying to remember that”

When the 10th anniversary of PVRIS’ White Noise came around in November last year, Lyndsey Gunnulfsen was met with feelings of discomfort. The debut album for the band – these days solely led by Lyndsey, though she had been its prime creative force since day dot – holds up as one of the most treasured alternative records of the 2010s. And yet, there was something about revisiting it that did not feel good to its creator.

“I kept feeling this kind of resistance. Initially, I chalked it up to wanting to push for new music and focus on the future,” she explains, chatting to Kerrang! during a cosy, slow morning at her parents’ house, ahead of their mega (and first) headlining appearance at 2000trees this summer. The fact that the band’s first-born musical child is now over the age of 10 only proves how long overdue a set this high on a festival bill is for PVRIS, yet for Lyndsey, there’s no time like the present.

White Noise’s release may be viewed through the colourful lens of nostalgia, with the video for its lead single, St. Patrick, still emblazoned in the memory. With its antique mirrors, darkly cloaked umbrellas and Lyndsey’s metallic silver lipstick, its inky gloom had an enigmatic allure. It felt entirely brand new. Unable to shake the feeling of unease looking back on the era, she realised she needed to confront it head-on. The only way out was through.

“Even having to promote it, a lot of ideas for content were like, ‘Post some old videos!’ and I was like, ‘I can’t do this, it feels really strange,’” she adds. “[I realised that] I didn’t really like myself from that time, I didn’t feel like I was happy. Granted, I had a lot of happy memories, but when I looked back, I felt really uncomfortable.

“The biggest discomfort was the surroundings: coming up in 2014 in the state of alternative music, specifically the rock space,” Lyndsey continues. “I think subconsciously and consciously, I had been trying to run away from that for a really long time.”

Investigating her own pushback became part of a wider process of patching up old wounds, and realising how far she – and the music industry – has come since then, topped off by an anniversary re-release back in March and subsequent celebratory tour.

“I was afraid that would somehow feel as though we’d time-travelled back to that space. I was very happy to be proven wrong. Over the past 10 years, I think people have grown up, and we’re in a very different time that I think is much more supportive towards women and queer people. It felt really refreshing and new. It was just comfortable and fun.”

As part of the re-release, PVRIS teamed up with Spiritbox vocalist Courtney LaPlante for a new version of breakthrough single My House. As it happens, Courtney and the Spiritbox gang cite White Noise as an inspiration for some of their own music.

“We met about two years ago when we were on tour with Poppy, and Spiritbox were [also] on another tour. We had an off-day in Kansas City, so a couple of our crew and I went to go see them. One of our guitar techs works with Spiritbox here and there, and I’d known about Courtney from [her former band] Iwrestledabearonce. I was just blown away. I got to meet her after their show, and we had really great chats. She’s so grounded, cool and confident.

“I had no idea that White Noise had inspired some bits for Spiritbox, so when the anniversary release came up I was like, ‘She needs to be on this, this is kind of perfect.’ We had to do it remotely – I think she was on tour – but we met up a month or so after for a press thing, and it was our first time getting to hang out since we met. It felt really full-circle.”

When Lyndsey talks about the music industry at that time, it’s easy to understand its challenges. Though much improved from its past, it was still, however innocently, a boys’ club. There was a feeling of loneliness during PVRIS’ rise for Lyndsey, as she admits there were very few artists in whom she could see herself, amid a lack of other women or queer people in rock music.

Part of the healing was in carving out her own space, which has become even easier as PVRIS have climbed the ranks and are now able to select their own support acts, and have more say over who comes with them.

“We have a great crew, and I think the men I’ve been surrounded with are great, but there’s still a community and camaraderie among women and girlhood that I think you can’t match,” she shares.

It’s a sentiment echoed in one of PVRIS’ other recent projects, F.I.L.T.H. The mixtape, released back in October 2024, was put together entirely by a collective of “female, non-binary and queer” personnel. And not only across its featured artists, but also its engineers, producers, and other behind-the-scenes contributors.

“The mixtape came together with who I was working with at the time, and who I was hopping in sessions with. I hadn’t worked with any straight men or straight white men [for a while], and it dawned on me how much better I felt, and how much more fun I was having in the studio every day.”

In the past, Lyndsey had often been the only woman in the room when working in a studio.

“There was a subconscious thing going on,” she explains. “I think as women, we are always on high alert, and want to be aware of our surroundings, especially going into a room with men or a single man. Being pulled out of that and strictly being around women or queer people was the biggest [feeling of], ‘I’m excited to do this every day! I don’t feel tired, I don’t feel on edge all the time.’

“One of the days it really hit me was going into work with Sizzy Rocket and Uffie. It was our first day working together that we made [the mixtape’s titular single], but we had a really early session. I felt that old nervousness to go in, and then as soon as we all got in the room together, it felt so, so good. That day was the start of all of those gears turning, and realising that it was so much more comfortable and fun.”

And it’s just as exciting to listen to. In her own words as she announced the mixtape last year, “There’s too many bad bitches in all music making roles out there to cover in just one release like this.”

So, Lyndsey, can we get a part two, please?

“Definitely!” she immediately affirms with a smile. “I would love to do a part two, featuring some more artists, and doing kind of the same system – all collaborative, and having a different feature in every song.

“I want to approach the next album like that as well. Maybe not as much with the featured artists, but as far as working with female and queer writers, and making it the core focus and highlight.”

By following her creative intuition and gut feelings on how she wants to work like this, Lyndsey has led PVRIS to the mighty force that it is today. The band are completely unique, and this summer truly sums up the scale of the community that’s followed them here.

At 2000trees in July, they’ll be taking on a Thursday night co-headline slot. It’s rather apt, given the festival’s reputation as one that does things differently – accessibility and a welcoming environment for all are at the forefront of its mission.

“I’ve heard great things about 2000trees and I’ve heard the grounds are really beautiful,” Lyndsey smiles. “I’m definitely excited to be there. I feel ready for it as a performer and I feel comfortable enough onstage to be able to play in that slot.”

If a younger version of herself could be plonked into the crowd of a PVRIS show like this one, what would she think?

“I’d probably just watch and be like, ‘What the fuck is going on?’ But in a good way!” she chuckles. “I would probably just stand and take it all in…

“I’m excited. I’m a little nervous about coming back into the States. I don’t know what the vibe is gonna be coming back, but that aside, I’m excited for it.”

As Donald Trump’s presidency continues to wreak havoc thanks to skyrocketing tariffs and the eradication of diversity, equity and inclusion programmes, Lyndsey – like a vast number of Americans – is trying to process the onslaught of worrying and pointless change.

“There’s so much terrifying news every day from all angles, but I think that’s part of the plan, to shock everybody and make them feel like they don’t have any power,” she says. “I keep trying to remind myself that they’re outnumbered.”

And she’s right: it all comes back to community and strength in numbers.

“It’s interesting. When really huge stuff is happening in the world, it’s hard to feel like as an artist you have a purpose, because you’re kind of a non-essential worker in a way. But art makes people happy, and it’s a connecting tool, and it can be used politically. So I’m just trying to remember that.”

Lyndsey likens gigs to going to church for some people, and there’s plenty of opportunity to find your own tribe at a PVRIS show this year, with 2000trees being just one of many appointments on their calendar. With festivals kicking off now, PVRIS will then continue the White Noise anniversary trek through Europe and the UK, before tackling some stadium shows with Linkin Park, and eventually wrapping at Las Vegas’ When We Were Young mega-fest in October.

She knows what she likes. But what does Lyndsey hope you get out of these gigs?

“One of the biggest things that brings me joy at our shows, especially when we get to meet fans, is hearing about friendships they’ve made. Music does this, and that’s the beauty of it.

“We’ve heard so many amazing stories of people meeting some of their best friends. If someone can walk away with a buddy, or if they feel like they’re around people that they connect with, I think that’s the biggest thing that I could hope for.”

Where once there was doubt, now there is beauty. It’s Lyndsey’s house, a welcoming one that you won’t be told to get out of anytime soon.

This feature originally appeared in the summer 2025 issue of Kerrang!. PVRIS play 2000trees on July 10.

Read this next:

• Freezing toilets, fun and FOMO: Life on the road with PVRIS’ Lyndsey Gunnulfsen
• Who are PVRIS’ fans?
• PVRIS: “You constantly kill off different versions of yourself”