Suzy Sheer

Offcuts from Vancouver, 2020

Suzy Sheer did not begin as a plan. The name first appeared on Blissed, a four-track EP under thirteen minutes long, released on 1 May 2021 through the Vancouver label Bronze Standard Listening as catalogue number BSL-005. The release page is unusually blunt about the method: the record was "produced early 2020 out of leftover vocal stems and instrumentals". It is filed under electroclash, electropop, synth-pop and synthwave, alongside the tag the label attaches to almost everything it puts out — devotional — and a location tag reading Vancouver, British Columbia.

The same page names the personnel: Suzy Sheer is "the collaborative effort of Boys in Blush and tuchscreen". Boysinblush, interviewed in June 2023, gave the fullest account of that side of the partnership — originally from Vancouver, by then living in New York, with a modified Fender Jazzmaster bought on Craigslist with newspaper-delivery money as the first real instrument. The interview places Suzy Sheer among several parallel jobs, including work with Snow Strippers and Caspr, and a song called "thingsyousaid" on a guitar-music compilation released that year. The line worth keeping from it is a working principle rather than a boast: "It's easy to have taste. It's hard to write a song."

A label that functions as a workshop

Bronze Standard Listening carries three names on its roster page — boysinblush, bell beaker and Suzy Sheer — and the catalogue reads like a set of rooms connected by doors. Suzy Sheer material sits next to boysinblush singles, a Comet collaboration, a track with DJH called "youmynumberone", a Suzy Sheer remix of Snow Strippers' "Know My Name", and a Suzy Sheer remix of "loveforthestreets". Remixes travel in both directions and the same handful of names recur as producers, remixers and sleeve artists.

That matters for how the records sound. This is not a solo producer's discography that occasionally admits a guest; it is a small circle — DJH, Nic Emm, 10cust, bell beaker, Lifehack, Damon R. — passing parts around, with the Suzy Sheer name applied to whatever comes out in the pop-structured, synth-led register. The consequence is a catalogue that is short on prose, short on press releases, and easier to follow through credits than through interviews.

Three records in five years

Euphoriphilia followed on 26 July 2024: nine tracks running just under twenty-three minutes, credited to boysinblush, bell beaker and Suzy Sheer. Its shape is telling. Six of the nine are songs — "Uncrushworthy", the title track, "Glitter", "GTHRMX", "Kiss (No Crosses)" and "Chain" — and the last third is given over to three separate remixes of "Glitter", by 10cust, DJH and Nic Emm. An album that spends a third of its length reworking one of its own tracks is a club record's logic applied to an album format.

Pure Pulse, Slow Decay, Soft Release arrived on 1 May 2026 and is the most substantial thing under the name: twelve tracks, a little over half an hour, from "The One" through "Pure Pulse" and "Slow Decay" to the closing "Soft Release". The credits mark a change in the project's make-up. Where Blissed named boysinblush and tuchscreen, the 2026 album states simply that "Suzy Sheer is Andrew and Lily", with additional production by DJH and Lifehack, additional vocals by Chandler Moss, and artwork by Nic Emm and Andrew Louzi. The record is dedicated to Nadia and Elias Louzi.

The older partnership has not been erased so much as absorbed. Track seven, "Sent", is noted on the release page as a remix of a tuchscreen song of the same name, and "No Surprise" features Damon R. The album keeps the label's Vancouver and devotional tags even as most of the touring now runs out of New York.

Getting on stage, from December 2024

Live activity under the name is recent and well documented. The concert record starts on 17 December 2024 at The Broadway in Brooklyn, followed ten days later by Catch One in Los Angeles. Through 2025 the pattern was one-off club bookings rather than routed tours: Neck of the Woods in San Francisco on 18 April, Zone One — the smaller of Elsewhere's rooms in Bushwick — on 29 May, Puzzles in Deep Ellum, Dallas on 27 September, Xanadu in New York on 9 October, then Kilowatt in San Francisco on 6 November and the Echoplex in Los Angeles two nights later.

The step up is easy to date. On 29 November 2025 the duo played Oxford Art Factory in Darlinghurst, Sydney — a first Australian booking — and on 9 January 2026 they returned to Elsewhere, this time in The Hall rather than Zone One, headlining above Silicone Valley and Patch+ at twenty dollars a ticket, sixteen and over, doors at seven. Seven months separated the small room from the big one at the same venue.

2026 then ran almost continuously: Don Quixote in Los Angeles on 7 March, the Sultan Room in Brooklyn on 19 March, Baby's All Right in Brooklyn on 2 May — the day after the album came out — RBC in Deep Ellum on 14 May and Kingdom in Austin the following night, then a summer run through Johnny Brenda's in Philadelphia on 5 August, Ophelia's Electric Soapbox in Denver on 13 August and Paper Tiger in San Antonio on 15 August. Twenty shows are on the books in twenty months.

Where things stand, September 2026

The autumn is the most ambitious routing the project has attempted. Australia comes first: The Rechabite in Perth on 11 October, Oxford Art Factory in Sydney on 16 October and The Night Cat in Fitzroy, Melbourne, on 17 October. North America follows in November — Newspeak in Montreal on the 6th, Outset in Chicago on the 8th, Fortune Sound Club in Vancouver on the 11th, which puts the duo in the city their label still lists as home, and 1720 in Los Angeles on the 14th, a six o'clock start with resale tickets listed from around thirty-two dollars. A Portland date at the Star Theater on 13 November is marked cancelled. Patch+ and Patch are listed as support on selected nights.

Counts differ depending on where the dates are read — one listing service shows eight upcoming shows including the cancelled Portland night, another six — which is itself a fair description of the project's administrative footprint. There is no agency biography in circulation, no album press cycle, and the most substantial interview available is the June 2023 conversation with boysinblush, published before Euphoriphilia existed and before the duo had played a show. What is verifiable is the catalogue and the calendar, and both have grown faster in the past eighteen months than in the four years before them.