Wolfgang Webb is a Canadian-born, half-Austrian singer-songwriter who “composes moody, cinematic tunes for the brokenhearted.” Nowhere is that more apparent than in his album ‘THE LOST BOY’, an expansive body of work that takes its listener on a winding journey that feels dark and mysterious. This before exploding into a burst of energy imbued with loud, dark charge.
LITM interviews Wolfgang Webb about the album, what inspired it, his artistic and musical influences and more!
Congratulations on the release of ‘The Lost Boy’! How does it feel now that the album is out?
Honestly, it’s kinda crazy to realize it’s been over 9 months since I finished this. The music videos were a total adventure—I was aiming for four video singles, and I definitely couldn’t have done it without my partner-in-crime, Shauna MacDonald, the co-director mastermind. I didn’t expect much because “The Lost Boy” isn’t exactly your chart-topping, dance-your-face-off kind of record. It’s more of a slow burn that needs some patience, and I wasn’t sure if listeners would really dig deep into the whole thing. But hey, the reviews have been insanely positive, so I’m still here like, “Wait, what? People actually like it?”
What inspired the album? Could you walk us through the process of making this record?
I know it sounds a bit crazy, but honestly, it kind of just wrote itself. About three months after finishing ‘The Insomniacs’ Lullaby,’ I ended up writing the demo for “March” (the first video single on YouTube). That really helped steer the story and made me realize I needed to do some work on myself—inner child work and all that tough stuff. This was the work that inspired the record. Taking on the inherited trauma and the eternal, uphill battle of healing when closure is an illusion. Sometimes you can't get through to someone you love as they're not able to be accountable or take responsibility for their actions. And that's really hard. It’s strange because I have this weird little stop-gap that makes it really hard to cry. Meditating into the song melodies was such a beautiful process—I sing with my eyes closed always, and “The Lost Boy” finally enabled me to cry, which felt like a real breakthrough.
Each track’s sound and lyric seems centred around a specific theme or emotion. Could you tell us a bit about your approach to writing and creating melodies?
The writing usually comes together pretty quickly (mostly). Once I’ve nailed the chord progression, I can usually find the vocal melody in just a few minutes. I always start with a purpose—something or someone I want to channel. Most of the time, it’s just a projection of my own stuff, but I focus on the tone. I don’t overthink the vocals because I’m all about capturing the vibe in the moment. The imperfections just add character. I could go back and fix things before the mix, but I prefer to keep that raw, real feel.
Are there any tracks on ‘The Lost Boy’ that stand out to you in particular?
That’s a tough question because it’s kind of like asking which is your favorite child — they all stand out in their own way.
How did you get your start as an artist? Describe that journey to us in your own words.
I started out writing music for radio commercials when I was really young. That eventually helped my music partner and me form a band and put out some pretty cool tunes. Over time, that grew into scoring music for a bunch of Canadian TV projects. Music has always been there in one way or another.
But I did take a long break from writing music for myself. Then, one day, I wrote a song called "Before You Sleep (The Pills)." That was the turning point for me. The process was incredible — it felt so raw and real. Transparency was crucial, especially around mental health, so I wrote openly about it. That experience made me realize that the truth I’d been searching for in music was right there all along. It’s a moment I’ll never forget — and it became the first video-single off “The Insomniacs’ Lullaby” Check it out on YouTube if you can.
Who would you say are your artistic and musical influences?
So many! I’ve got a secret soft spot for techno, but don’t tell anyone—that love doesn’t quite make it into the music I write for myself. Off the top of my head — Bowie, Nils Frahm, Prince, Leonard Cohen, Massive Attack, Lou Reed, Gord Downie, Johnette Napolitano, Michael Stipe, Patti Smith, Trent Reznor, Mary Margaret O’Hara, Nina Hagen, Nick Cave—and more recently, my good friend Michelle Gurevich.
Is there a specific part of the creative process that moves or excites you?
Musically? The unknown. That moment right before it all clicks into place. There’s a certain frequency that kicks in once you really get inside it. It’s calm and terrifying at the same time —and the adrenaline is pretty intense.
Is there anything you’d like to share with your listeners? Perhaps a teaser for any upcoming plans?
Honestly, right now I’m fully immersed in promoting and releasing these four music videos over the next few months. We shot the fourth just the day before the release, so my energy is entirely on “The Lost Boy.” I’m committed to giving him the attention he deserves—it's his journey, and I want to see it unfold.
Listen to ‘THE LOST BOY’ here!
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