Just over a year ago, the Crisis Kit EP by Gabi Gamberg had hit my Discover Weekly on Spotify. The infectious and confessional indie rock tunes were songs that Gamberg had written at age 16 and recorded in the bedroom of their friend and collaborator Hudson Pollock. Now at 20, Gamberg has a second EP and an upcoming tour supporting illuminati hotties under their belt, and they’re releasing music under the moniker Daffo. I caught up with Gabi at Goo Fest, a DIY festival held in the patch of grass between two North Philadelphia row homes. This allowed for the strangest environment I’ve conducted an interview in thus far: a punk venue owner’s bedroom.
Goo Fest had just started, and the music seeped through the windows of the bedroom covered in ‘90s band posters. The day of the festival came during what felt like a never-ending heatwave in Philadelphia. Gamberg admits their initial hesitancy about wearing a swimsuit top for the fest, but that seemed to be the wardrobe choice for several other attendants as well, completing the outfit with baggy jorts and vintage cowboy boots. Daffo’s headlining set came as a homecoming of sorts for Gamberg, as they were born and raised in the Philly suburbs. Members of their backing band were in various other groups on the bill, too, with the rotating cast of musicians cheering each other on and singing along throughout the afternoon.
Daffo’s last performance in town had been just three months prior at the Foundry on their tour supporting Sir Chloe. When asked about the upcoming tour with illuminati hotties, Gamberg expressed that they’re “really excited.” “I think it’s definitely going to be pretty different than this last tour, because I feel like Sir Chloe’s audience is kind of younger, like, 14, 15—younger teenagers,” they continued. “I’m not even 21 yet, so the audience is definitely going to be kind of a different experience. I’m probably going to sell less merch—I anticipate that. But I think it’s going to be super cool because illuminati hotties are great.”
Gamberg has been touring the material of their EP Pest, which was released in October 2023. The songs were written during their time as a student at Idyllwild Arts academy in California, and at NYU’s Clive Davis Institute (best known for launching the career of singer-songwriter Maggie Rogers). Gabi dropped out during their second year after being offered the opening slot on Sir Chloe’s tour. “I feel like I never really wanted to go to college, so I was just kind of prepared to drop out as soon as I had a glimpse of any sort of career. I was enrolled in four classes, and I only went to three. I just kind of never have done well in school,” they explained.
More than anything, Gamberg’s peers in the program convinced them to begrudgingly download TikTok. “I definitely don’t enjoy [TikTok], but I enjoy sharing my process with people,” they said. “When I used to do it on Instagram, before I ever had any sort of following, it was just for my friends. I obviously love to share my music, but then you get to a point where it becomes all statistical and [a matter of] ‘What time should I post?’ and ‘How many times am I supposed to be posting a week?’ and ‘How much engagement did this post get?’ It makes it not fun anymore, and I really try to not think too much about it and just do whatever.”
Gamberg dreams of getting to a place where they no longer have to rely on TikTok as a promotional tool, mostly for the sake of being allowed to live a more private life again. “I can’t wait for the day that I don’t have to be on there sharing every single detail of my life and giving people ‘fit checks’ and shit,” they said. “I don’t want to be a fucking influencer. I just want to make good music and post stuff when I want to because it’s fun.” The release of Pest accompanied Gamberg’s decision to start releasing their music under the name Daffo, which is short for Daffodils. They wanted to both separate their identity as a person from the music and to prevent the band’s efforts from being undermined. “I don’t want gender really attached to myself in general, but also the project,” they clarified.
As heavy guitars continued to bleed through the windows, we eased into conversation and I hesitantly turned to sit cross-legged on the frameless bed. I asked about the meaning behind the lyrics of “Collector,” an angsty and confessional standout from Pest. “But I believe it I just lie / To spare myself the guilt / Cuz I’m a shame collector / I’m a hoarder” Gamberg admits in the song’s refrain. “I just have this poor belief that I’m a horrible person no matter what I do. I have OCD, so I really struggle with thinking everything I do always has some sort of ulterior motive and that I’m an evil or a bad person and there’s all this shame connected to it” they replied. The back half of the song erupts into a gritty panic of distorted guitar and crash cymbals, as Gamberg wails “I tend to store it all in my lips and up my skirt / So when I am fucked I get what I deserve.” There were a lot of moments Gamberg and I related to each other throughout our conversation (especially due to our similarity in age), but the discussion of this song was chief among them. “Am I lying to myself to make myself feel better? Why am I even doing good things? I kind of obsess over the morality of dumb shit all the time,” they added.
After months of touring the material from Pest and a handful of unreleased tunes that have been teased on TikTok, Daffo has signed to Concord records and released a new version of the EP’s most popular track, “Poor Madeline”—featuring vocals from singer-songwriter Searows. Recorded by Philip Weinrobe (Adrianne Lenker, Tomberlin, Florist), the new version of “Poor Madeline” substitutes the angst of the original for something more tender—and Gamberg’s melodic guitar riff is replicated by delicate pianos and strings, supported now by rhythmic acoustic guitar. The original drum part is entirely absent from the new version, substituted with the richness of Gamberg and Searows’s vocal harmony and (everyone’s favorite instrument of the past couple years) a droning pedal steel. The new version recontextualizes the song in a way that by no means replaces the driving and riveting nature of the original. “Madeline” was the penultimate number of Daffo’s set at Goo Fest, played while the sun was nearly set and the organizers had set up pink stage lights. I (and many of the other attendees) had been outdoors in the 100-degree heat for several hours at that point, but the energy of the crowd felt as though that overbearing warmth was nonexistent.
The road ahead for Daffo is as promising as ever. Ahead of touring with illuminati hotties this fall, Gamberg made their way to LA to record music for an eventual debut record with Rob Schnapf, best known for his consistent work with the late Elliott Smith. “I had a really fun time working with [Schnapf],” they said. “We made four songs, and I think I’m gonna go back this summer and try to keep working on the record. I’m very excited.” Gamberg cited Smith as one of their most prominent influences, (along with other singer-songwriter greats like Liz Phair, Alex G and Angel Olsen), so working with the man that made many of their favorite songs come to life was, unsurprisingly, a dream come true. “I literally walked in the room and I was like, ‘I’m gonna shit myself, this is so cool.’ I couldn’t believe it was happening,” they added.
Daffo’s prowess and potential as an artist has been present since Crisis Kit, and their thoughtful, confessional songwriting is simply undeniable. And, given that Gamberg is only 20, the choice is clear: Hop on the Daffo train now. You won’t regret it.
