photos / Nick Fancher
Few bands capture emotional upheaval and personal triumph quite like Royal She. The Los Angeles-based duo, comprising vocalist Alison Freed and guitarist/multi-instrumentalist Alexandria Reyes, has always thrived at the intersection of bold sound and unflinching honesty. But with their forthcoming album “Befores and Afters,” they’ve pushed themselves into uncharted territory, higher stakes, and more liberated creativity.
Blending alt-rock intensity with electronic textures, hip-hop grit, and pop precision, “Befores and Afters” is a genre-bending saga of heartbreak, healing, and reclamation. From anthems of rage to stripped-down confessions and dancefloor catharsis, the album chronicles not just the end of relationships, but the rebirth that follows destruction. Produced by Logan Mader and featuring an all-star team of mixers, the record marks a creative high point for the band and a personal reckoning for both artists.
We sat down with Alison and Alex to talk about their emotional evolution, the stories behind standout tracks like “My Ex,” “Silent Killer,” and “Something Good,” and how pain became their most powerful muse yet.
This album feels like a full-circle moment for Royal She. What did you both want to confront or leave behind while making “Befores and Afters”?
Alison: It absolutely was. For me, this album was about confronting and healing from some of the hardest experiences of my life—heartbreak, betrayal, and the kind of pain that’s all-consuming. Writing “Befores and Afters” was how I faced it all and finally let it go. Somewhere in the process, I started to see those endings for what they really were: new beginnings and realignments that made space for much better things. On the other side of it, I found joy again. I found healing, deeper friendships, deeper self-love and self-worth, and a sense of community that feels real.
Alex: Writing this album, we were deep in that ebb and flow. It gave us space to confront ourselves—our shadows, our healing, and our purpose. After stepping away from music for a while, this felt like a return to who we are creatively. The timing couldn’t have been more right.
“My Ex” and “Let Her Go” live on opposite ends of the breakup spectrum. How did you approach writing about heartbreak without repeating the same emotional notes?
Alison: Great question. These songs came out completely organically, each one at a different stage of the breakup process. “My Ex” came first—right in that raw, reactive phase—while “Let Her Go” and When Does Heartbreak Go Home showed up later, when I was sitting in the heavier sadness underneath the anger. I tend to feel anger first. It’s easier for me to hold, but I’ve learned that healing only really happens when you let yourself feel everything underneath it, too. Writing through all those layers helped me move through it—and eventually, move on.
Alex: We write spontaneously. The riffs tend to match the energy of the lyrics. “My Ex” was the first song we wrote about the breakup, and it was ANGRY. “Let Her Go” came later and gravitated toward the “letting go” and pain of the breakup.
“Silent Killer” has this magnetic, almost dangerous energy. What inspired that track’s vibe and story?
Alison: Thank you! “Silent Killer” was a really fun one for us. It gave us some levity in the middle of recording heavier songs like “Let Her Go” and When Does Heartbreak Go Home. Alex and I wrote it during one of those long, inspired sessions, and while we were recording in Vegas with our producer Logan Mader, we kept coming back to it as a kind of palate cleanser—something lighter, a little cheeky. Alex pushed me to write from the perspective of being the villain, which is how the song opens with “But I’m not the villain,” and she immediately shot back, “Well, you’re not always the hero.” That set the tone. The siren-like melody was inspired by someone I’ve known for a long time—a woman who uses her beauty and sexuality to get whatever she wants, often leaving destruction behind. It’s a sexy little cautionary tale about falling for someone like that—and thinking you’ll be the exception.
Alex: After a heavy songwriting session of breakup songs, “Silent Killer” was our way of refreshing ourselves and having some fun. It’s upbeat and dancey, and it’s got a little bit of everything that we love about our sound.
You’ve worked with some heavy hitters on the production and mixing sides. What did those collaborations bring out in your sound that surprised you?
Alison: You know, what truly surprised and impressed me was how clear our vision was and how we stayed true to it and fiercely protected it, regardless of the big names involved. We’ve worked with big names in music before, which taught us that fame doesn’t always translate to understanding your sound or to careful execution. We learned the hard way that not every “heavy hitter” shows up with heart or truly cares about your project. When the chemistry is right and there’s alignment with super-talented people, it is magical, but that’s rare. Even with top-tier collaborators, you still need to trust your instincts and refine the work until you’re happy with it.
Working with our producer, Logan Mader, has been that rare and magical partnership. We really trust him, and that friendship and creative connection are everything. One personal highlight was getting to feature on a track with a massive artist—Logan recorded it, and hearing myself sing and scream on that track was surreal. Truly one of the coolest moments of my life. It unlocked something in me—a love for screaming that you’ll definitely hear more of in our new music. I’m keeping all my fingers and toes crossed that the song gets released with my feature still on it.
Alex: I’ve been working with Logan for years—he’s one of the best in the game and constantly evolving our sound. He’s family at this point. Working with other renowned mixers and engineers has been eye-opening, too. I’ve realized just how particular I am—almost annoyingly so—when it comes to our mix. I’ve even pushed back on engineers who’ve worked on some of the biggest albums out there. But it’s also fun to get super specific, have them rework it, and hear the final version come back exactly how we imagined it.
If “Befores and Afters” were split into two emotional chapters, what moment marks the turning point between the before and the after?
Alison: Even though “Befores and Afters” lives in the “after” part of my life, emotionally it can still be split into two chapters. The turning point is Something Good, the eighth track on the album. That song was inspired by my grandfather—he always taught me to look for the silver lining, even in the darkest moments. Writing was my way of honoring that lesson. It marks the moment I hit bottom, but also the moment I chose to climb out, to find some light, and start healing.
Some tracks, like “Karma” and “Fine On My Own,” seem to carry this confident, almost playful defiance. Were those songs fun to write, or did they come from heavier places?
Alison: “Karma” and “Fine On My Own” definitely carry that confident, playful defiance—but they came from really different emotional places. “Karma” was written at a time when I wasn’t okay. It actually started as a joke, just something to make us laugh and bring a little levity in the middle of all the pain. We didn’t think it would even make the album, but Logan loved it. Now, performing it live is both fun and cathartic. It’s playful, but it definitely has an undeniable bite.
On the other hand, “Fine On My Own” came much later—both in the album process and in my healing. By that point, I was genuinely content being alone. Friends kept encouraging me to start dating again, but I finally felt happy, grounded, and at peace—and I didn’t want to mess with that.
Alex: Whenever our writing started to get too heavy, we’d pivot and write something more playful, just to shake off the funk. “Karma” and “Fine On My Own” came out of that need to lighten the mood and remind ourselves we could still have fun with it.
From your first release in 2019 to now, how has your dynamic as a duo changed or evolved creatively?
Alison: Honestly, the evolution has been huge. We found such a strong groove while making this album—every time we get together, new songs just pour out of us. We’re still riding that creative wave and just wrote a few tracks we’re really excited about. We’re hoping to have them ready in time for our album release show at the Troubadour on July 24th. There’s even a chance we’ll add one or two to the album as part of an extended version. The journey from 2019 to now has really been about figuring out who we are as a band. And now, it feels like we’re finally locked in. We’re still growing, still having fun, and writing about things that feel real. We’re so excited for what’s coming next.
Alex: Our dynamics have changed a lot—not just as bandmates, but as friends. Life has not only tested us; it’s kicked the shit out of us at times, and we’re still standing. “Befores and Afters” is just the tip of the iceberg—we’ve got a lot more to say.
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