What Mare of Easttown’s Angourie Rice Is Listening to Right Now
Like many music fans, Angourie Rice experienced a thrill of recognition recently while watching Mare of Easttown and hearing Phoebe Bridgers’ Punisher finale “I Know the End” soundtrack a gripping scene. But unlike any other music fan, Rice was actually the star of the scene—in which her character Siobhan, the college-bound daughter of Kate Winslet’s Mare Sheehan, contemplates familial trauma while eating an edible, pounding a bottle of liquor, and trying to reach her girlfriend, who isn’t returning her desperate voicemails.
Since the music for the character-driven murder mystery was finalized in post-production, the sync was as big a surprise to Rice as anyone. “When I heard Phoebe Bridgers’ song, I was like, ‘Oh my God, this is so exciting!’” Rice exclaims over Zoom from Atlanta, where she’s filming a forthcoming project she can’t talk about quite yet. “I love that they paired it with Siobhan as a character—that was such a good match.” She watched the show’s final two episodes alone in her hotel room on her laptop, knitting to calm her nerves.
Music is central to the overcast mood of Mare of Easttown, which translates the nail-biting angst of Scandinavian noir to small-town Pennsylvania. Songs by Julien Baker, Clairo, Big Thief, and Grouper all figure heavily, often in profound ways. Music is central to Rice’s character, too: Siobhan hangs out at a college radio station, gets invited to a boygenius show, and even wears a Mannequin Pussy T-shirt. In fact, re-recorded versions of three songs by the Philadelphia punks turn up in the show as the fictional repertoire of Siobhan’s band, Androgynous, while Japanese Breakfast’s Michelle Zauner worked as an on-set consultant, showing the 20-year-old Australian actor how to come off like a real indie-rocker.
“When I got to set the first day, I was just standing there singing the songs,” Rice says. “Michelle taught me how to loosen up and move around the stage so I could make it look natural and spontaneous.” Zauner and producer Will Yip also helped Rice find her voice as a rock vocalist. “I had practiced and learned all the words but I was so nervous,” Rice says. “They encouraged me to just let go of what I felt like I should be doing and how I felt I should sound. They were more like, ‘This is rock music. You’re playing a character. You don’t have to think about it in such a strait-laced way.’”
Rice had never performed music live before, but she has always loved singing and comes from a musical family. Her mother’s parents were music teachers, and her father taught her to play ukulele when she was 11 years old, while she was shooting her first film. “There were no other kids in the movie, so my dad bought me a ukulele and taught me this hobby,” she says. “Since then, I’ve brought a ukulele to every single set.”
Rice admits that Siobhan’s musical tastes are “not that similar” to her own, but she came away from the Easttown experience with a newfound appreciation for Philly indie rock. Drew Scheid, who played Siobhan’s drummer, grew up in the area and made her a playlist—dubbed “Siobhan Slaps”—of local bands including Chastity Belt, the Districts, Empath, Goat Mumbles, and Alex G. Unfortunately, though, Rice didn’t get to keep the Mannequin Pussy T-shirt. “That went back to wardrobe,” she says, sadly.
Below, Rice shares the songs she’s been listening to lately.
Måneskin: “Zitti E Buoni”
Angourie Rice: I’m a massive fan of Eurovision. I’ve watched every year since I can remember. My family gets up at 5 a.m. in Australia to watch it live. This was the first year I watched it by myself, since I’m here overseas, and I was texting with my family the whole time. I was really happy that Måneskin won this year—I feel like we needed an upbeat rock song, just to get us out of the funk that was 2020. I’ve been listening to it nonstop. I can’t sing it, because I don’t speak Italian, but I hum it very loudly.
Bleachers: “Stop Making This Hurt”
I’ve loved Jack Antonoff since Fun. After Taylor Swift’s 1989 came out, I realized that the common denominator with all this music that I loved was him producing and co-writing it. Then I realized he had his own band, Bleachers. His music feels so nostalgic; “Stop Making This Hurt” feels like something that would play in the credits of The Breakfast Club or something. His Jimmy Fallon performance was the coolest thing I’ve ever seen.
dodie: “Hate Myself”
I’ve been following dodie for seven years now. I was obsessed. I subscribed to her YouTube channel when I was 13, watched all of her videos, all her covers, all her original songs. That was another reason I loved ukulele so much, because she played it. This song is from her debut studio album. I love how intimate she makes her songs sound—you feel like she’s whispering just to you, but it’s really catchy and upbeat as well. Her lyrics are very clever and kind of cynical: “When you go quiet, I hate myself.” It’s kind of awful to sing, but I think we’ve all felt that kind of insecurity of, “Oh shit, what have I said?” It feels relatable.
Orla Gartland: “More Like You”
This song is representative of what I gravitate toward and what my Spotify recommends to me, which is a lot of female indie pop. I don’t know if you’d call “More Like You” a love song, but it’s an obsession song about wanting to trade places with someone. It’s a kind of weird subject matter, but I really connected with it. It’s so catchy. I get that lyric stuck in my head all the time: “I heard it from a woman on the internet/She told me to eat well and try to love myself.” Maybe you’d describe it as millennial pop: It’s about the internet and comparing yourself to other people.
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