Montreal singer-songwriter Alexandra Levy, known as Ada Lea, has a gift for writing songs that feel lived-in. Her new album, When I Paint My Masterpiece, doesn’t come across as a project made to meet industry timelines — instead, it feels like a necessary outpouring of life experience. The songs are raw yet carefully crafted, blending humor, heartbreak, and resilience into a collection that’s as eclectic as it is cohesive.
Levy’s past few years have been challenging. Since her 2021 release One Hand on the Steering Wheel the Other Sewing a Garden, she’s navigated personal trials, industry setbacks, and the need to step back from touring. In that time, she rooted herself in Montreal, taking on a day job, writing steadily, and seeking strength in community. That grounding shows in the new record: it’s full of small details — weather, seasons, furniture, clothing — that anchor her reflections on love, failure, and self-discovery.
I (Jyla) caught up with Ada Lea to talk about the new album, the decision to reset her career, and why grounding her songs in the everyday feels essential.
On moving past hardships
Jyla: The past few years sound like they’ve been tough. Do you feel like you’ve moved past some of that?
Ada Lea: I’m feeling pretty good these days. It’s been hard trying to figure out where my music fits, and touring has always been difficult for me. But I’ve learned more about my needs, and I feel more comfortable asking for help. Finishing this album gave me a real sense of control, and I’m excited for people to finally hear it.
On stepping back from the industry
Jyla: You chose to break away from the traditional rhythms of the music industry for a while. What led to that?
Ada Lea: After touring so much in 2021 and 2022, I needed to step back. At the end of 2022, I canceled some shows after a medical emergency and decided not to reschedule. That didn’t sit well with my manager or agent, and they dropped me. It was difficult, but it also forced me to reset.
I realized I didn’t want to keep touring just to prove how many tickets I could sell. If that’s the measure of my worth, I don’t want to participate. Instead, I stayed in Montreal and focused on writing and community.
On grounding songs in real places
Jyla: Your songs often mention weather, seasons, and objects — like the mini-fridge in Baby Blue Frigidaire Mini Fridge. Is grounding your music in place intentional?
Ada Lea: Yes. I love surrealism in books, but in music I need songs to feel grounded. Everyday images can take on new meanings when you place them in different contexts. For me, it’s about instinct and association — creating worlds that are familiar but slightly transformed. That’s how I connect.
On the album’s eclectic sound
Jyla: When I Paint My Masterpiece shifts styles a lot, from stripped-down folk to lush pop. Was that planned?
Ada Lea: Not really — it was about what my ears needed. I recorded with a band in Ontario, but when I sequenced the songs, I felt like I needed variety. So I booked another session, recorded some new songs, and brought in Al Carlson to mix a few tracks. I also recorded a couple at home. By the end, I had the blend I was craving, something that kept the album fresh all the way through.
With When I Paint My Masterpiece, Ada Lea has created an album that balances heaviness with humor, eclectic sounds with grounded details. It’s a record about slowing down, reclaiming control, and transforming lived experience into something resonant.
“I feel excited again,” she says. “After a while of not touring, you even start to want to do it again. But on my own terms this time.”
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