Vlad Holiday

Part crooner, part producer, part musical degenerate, Vlad Holiday makes records for people who delete and reinstall Instagram. In a world where thousands of over-produced, AI-laden songs get uploaded to streaming services every day, Holiday’s human-forward sound blends his smoky vocals with tape hiss, 60s guitars, 90s hip-hop beats and 808 sub bass. He lives somewhere between a European nightclub and a 3 am bender in a city that stopped being romantic years ago.

 

Since launching his project in 2017 in DIY venues all around New York City, lo-fi indie artist Vlad Holiday steadily built an audience on his own terms. Songs like “So Damn Into You”, “Quit Playing Cool”, and “Phonograph” introduced an artist with a distinct point of view—romantic without being sentimental, nostalgic without living entirely in the past.

 

In 2024, Holiday released his debut album, My Favorite Drug, an intensely personal collection that pushed his sound into a wider cinematic landscape. The record features Kacey Musgraves on “I Don’t Wanna Party Anymore” and a collaboration with Cage The Elephant frontman Matt Schultz on “Closer,” while retaining the intimate grit and handmade quality that has defined Holiday’s recordings from the beginning. My Favorite Drug peaked at No. 9 on the Sub-Modern Albums Radio Chart, while the single “Closer” peaked at No. 14 at Alternative Specialty Radio.

 

His work has increasingly extended beyond his own records. Holiday co-wrote material for Cage The Elephant’s Neon Pill, including the title track and “Metaverse,” both of which reached No. 1on Billboard’s Alternative Airplay chart. “Neon Pill” was also nominated for Best Alternative Music Performance at the 67th Annual Grammy Awards.

 

Holiday has also toured alongside Cage The Elephant as well as Declan McKenna, while headlining his own shows all across North America, Europe and the UK. 

 

Now based in Nashville after years in New York, Holiday occupies an unusual space between artist, songwriter and producer. The scenery has changed, but the instinct behind the music hasn’t: make something introspective and personal, make it feel timeless, and leave enough cracks and imperfections for the human being behind it to show through.