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“Better Dreaming,” a musical revelation by the artist Tune-Yards, struck a resonant chord in 2025. Substantively materialized by artists Merrill Garbus and Nate Brenner, it blossomed with a simplicity and flow reminiscent of their earliest works. The album process was marked by an unrestricted creative liberty, birthing music that vibrated through the listener, igniting bodily energy. It was an overture to end the stagnation of the covid-isolation period, appealing to our innate urge to be physically moved by rhythm. Interestingly, parenting a three-year-old also impacted this collection. Their child’s input on the track “Limelight” particularly showcased family influences, transmuting the melody into an irresistible groove borrowed from dancing to George Clinton as a family.
Long before Tune-Yards’ “Better Dreaming” hit the airwaves, the group had a rich musical chronology. Conceived in Oakland, California, the duo had initially entranced listeners with their eclectic fusion of musical elements, from looped beats to vibrant vocal harmonies punctuated by layers of ukulele and lo-fi percussion. Starting with their self-produced debut album “Bird-Brains” in 2008, Garbus and Brenner have demonstrated an undeniable knack for crafting music that challenges conventional boundaries. Each subsequent album, including the critically acclaimed “Whokill” and the sophisticated “Nikki Nack,” shifted their sound slightly, mirroring their personal and artistic growth. The songs “Water Fountain” and “Bizness” even found their way into Google Pixel’s advertising campaign and the soundtrack of Season 3 of the TV show Transparent, respectively.
Tracing Merrill Garbus’s journey to “Better Dreaming” provides clear insight into what shaped the evolution of Tune-Yards. Born in 1979, Garbus’s upbringing in New York City and Connecticut, combined with her time at Smith College, set the foundation for a future in the arts. She found an early love for music as a ukulele player in the band Sister Suvi in Montreal, simultaneously moonlighting as a puppeteer for Sandglass Theater. After the release of her debut album with Tune-Yards, Garbus relocated to Oakland, alongside her creative partner, Brenner. It was on the West Coast, within the creative and vibrant art scene, that Tune-Yards truly began to flourish musically.
Nate Brenner, tune-yards instrumentalist specializing in bass, has played a significant role in the cooperative creative process. It was alongside Garbus that he co-authored some of the hits that catapulted the duo to fame, highlighting his prowess as a songwriter. Brenner shared writing credits for several songs on “Whokill”, an album considered akin to Sonic Youth’s Sister because of its embrace for traditional pop songs. The artistic partnership of Garbus and Brenner has facilitated the exploration of musical themes and forms distinguished by Tune-Yards, from the lo-fi notes of their early days to the more electronically influenced melodies of their later works.
In addition to internal growth and transformations, Tune-Yards’ development has been influenced by various artists. George Clinton’s groove-driven funk was a distinct influence in “Better Dreaming”, specifically in the track “Limelight”. Fellow musicians like Patrick Gregoire and Nico Dann from Sister Suvi in Garbus’s early days would have certainly had an impact on her musical style. An interesting mention is Ruth Garbus, Merrill’s sister, whose own musical career could have had a subtle influencer role. Lest we forget the acclaimed Boots Riley, who entrusted Tune-Yards with the atmospheric score for “Sorry to Bother You”. Such artistic inspirations and collaborations have undeniably left their mark on Tune-Yards’ distinctive sound.
