We Speak Music

Abigail Fierce’s new anthem ‘14 Cigarettes’ channels Taylor Swift with a Courtney Love twist

Published

11 months ago

July 4, 2025

Rising indie artist Abigail Fierce returns with her latest single, ‘14 Cigarettes’, a track that recalls both Taylor Swift’s emotional storytelling and Courtney Love’s raw energy. With over 5.7 million streams on Spotify alone, the LA-based musician continues to build an impressive following—all while remaining fully independent.

‘14 Cigarettes’ features swirling electric guitars and angsty vocals, opening with the striking lyric: “We didn’t die a natural death, you killed us with disrespect”. Fierce, who wrote the song and played all the instruments on the track except the drums, expresses a dynamic range of feelings—longing, anger, self-reflection—in under four minutes of music.

In addition to her music career, Abigail Fierce is an accomplished actress. She has appeared in Hulu’s ‘Love, Victor’, NBC’s ‘This Is Us’, Netflix’s ‘American Vandal’, and Paramount+/Nickelodeon’s ‘Fantasy Football’, produced by LeBron James and starring Kelly Rowland.

In this exclusive Q&A, Abigail Fierce shares more about the inspiration behind ‘14 Cigarettes’, her musical process, and her growing success.

Tell us more about the message behind ‘14 Cigarettes’?

“This song is the next chapter in my musical journey. I’m super hands-on in the studio, so I’m constantly evolving and playing with new sounds.”

“All of my songs tell stories, and I wanted to take the listener on a sonic journey of experiencing a full relationship in under four minutes. “

A break-up song at its core, it covers the full span of heartbreak, from still being in contact with your ex, missing them, being angry at them, and then—on the exploding, chaotic bridge—being mad at yourself, and finally admitting that you saw the red flags all along.”

*Photo Credit: Chad Salvador_Shutterstock for SkillHouse at Park City*

The single cover features a vintage Mustang. What made you pick that?

“The lyrics to the chorus are: ‘Now it hurts me to think of you driving away in your old Mustang, with my cassette tapes on the dash. When you left you took a piece of me, 14 cigarettes and all my best memories’. I love vintage cars, so naturally I’m gonna sneak one into a song (I had a classic VW bus in my ‘Some Sorta Goodbye’ music video).”

You’re Gen Z—surely you’re not actually listening to cassette tapes?!

“I’m a sucker for all kinds of vintage media! I don’t have the space right now for a record collection, but that’s the goal. My parents’ friend from college sent me two huge boxes of his old cassettes and I’ve been going through all of them. Lots of Fleetwood Mac and Wham! I do of course stream as well…especially when I need some higher audio quality.”

What are your musical inspirations?

“I love all kinds of music, from grunge to folk, which you can probably hear throughout my whole discography, but I feel like ‘14 Cigarettes’ brings them all together in one song while still feeling cohesive. On the track, you’ll hear the influence of 2010s singer-songwriters as well as 90s grunge.”

“Lyrics are my favorite part of songwriting—I want my words to create a clear image in your mind and elicit a poignant, visceral feeling.”

I think the song’s most poetic moments lie in the verses. ‘Err on the side of disconnect, our love always had side effects’ is one of my favorite lines I’ve ever written.”

What have been the highlights of your singing career so far?

“I recently got to open for a Taylor Swift tribute band. I was playing my original music for a crowd of 10,000, which was really cool. Many of my songs have placed in top songwriting competitions, which I’m really proud of. ‘I Miss You’ was placed on five Spotify editorial playlists, named a winner in last year’s International Songwriting Competition, and the music video is currently making the rounds at indie film festivals.”

‘14 Cigarettes’ is now available on all major streaming platforms.

You can also catch Abigail in her latest on-screen role in ‘Skill House’, a satirical horror film co-starring Bryce Hall and Hannah Stocking, set for theatrical release on July 11, 2025.

Follow Abigail on Instagram and TikTok: @akfierce

Featured photo credit: Michael D’Ambrosia

Related Topics:AbigailFierce music new music

Up Next

EMEREE’s “Eyesore” Is the Pop Punch Everyone Needs This Summer

Don't Miss

Blewiz’s ‘Straight From The Slums’ EP: A Raw and Inspiring Tale of Resilience

Anna Sutton

We Speak Music

Mané’s ‘The Goddess in the Room’ Turns Self-Discovery Into Sonic World-Building

Published

4 hours ago

June 2, 2026

Philomena Marie

There is a remarkable sense of intention running through The Goddess in the Room, the latest project from Swiss artist Mané. Blending alternative electronic pop with ritualistic percussion and spiritual symbolism, the album presents itself as both a personal statement and a carefully constructed narrative. Across its nine tracks, Mané explores identity, healing, queerness, and empowerment with impressive clarity of vision.

The opening track, “The GODDESS in the Room,” functions as both invitation and thesis statement. It introduces listeners to a world where intuition and self-trust become guiding principles, while establishing the atmospheric production style that shapes much of the record. The song’s spacious arrangement creates room for reflection, a quality that becomes one of the album’s defining characteristics.

That introspection deepens on “perles de sang” and “sappho.” The former grapples with inherited pain and bodily experience, while the latter offers a moving celebration of queer identity. Throughout these songs, Mané avoids reducing complex themes to slogans, instead allowing emotional nuance to emerge through carefully crafted songwriting and evocative imagery.

Musically, the album reaches some of its most intriguing moments on “)O(” and “moonstones.” Both tracks highlight Mané’s growing confidence as a sonic architect, blending electronic textures with organic rhythmic elements inspired by shamanic practice. The resulting sound feels immersive and transportive without losing its emotional immediacy.

Meanwhile, “j’serai tjr là” and “chocolate con sangre” provide some of the record’s most vulnerable moments. Here, Mané strips back some of the conceptual grandeur to focus on connection, memory, and emotional endurance. These songs reveal an artist equally capable of intimate storytelling and ambitious world-building.

The penultimate track, “Witches,” injects a surge of collective energy into the album’s narrative. Drawing on themes of resistance and feminine power, it stands as one of the project’s most direct statements while retaining its atmospheric sophistication. It is both politically resonant and emotionally charged.

By the time “ALIGNED” closes the record, the journey feels complete. Not because all questions have been answered, but because the search itself has become meaningful. The Goddess in the Room succeeds through its commitment to authenticity and vision, establishing Mané as an artist unafraid to follow her own path, wherever it may lead.

TOUR DATES