Wisp Captivates with “Save Me Now,” a Shoegaze-Grunge Cry That Marks My Bold Introduction

LOS ANGELES, CA- This was my first time hearing Wisp—and now I can’t stop listening.

There’s something mesmerizing about discovering an artist whose sound already feels fully formed, like you’ve stumbled into the middle of a fever dream and instinctively know the language. “Save Me Now” is my introduction to Wisp’s repertoire, and it hit me like a memory I didn’t know I had.

Her name, as it turns out, couldn’t be more fitting. A wisp can mean many things: a flicker of light in the dark, a wayward spirit in folklore, a fragile sliver of hay, or the barest trace of emotion—just enough to haunt you. On “Save Me Now,” Wisp channels all of that. The result is a grunge-laced shoegaze cathedral, where ghostly vocals brush up against distortion-heavy guitar lines and emotional reckoning fills the vaulted space.

Out now via Interscope, the track marks her heaviest, most urgent release yet. It follows her recent appearances at Coachella and Kilby Block Party, with a Bonnaroo set on deck and an arena tour alongside System of a Down, Deftones, KORN, and Avenged Sevenfold right behind it. Wisp might sing in a whisper—but her impact is seismic.

What immediately struck me was the contrast: her airy, nearly hushed vocal delivery floats atop a sonic storm. She doesn’t belt. She bleeds. “I’m paralyzed / With you on my mind / I feel the jail,” she sings in the chorus, her voice stretched thin across a crashing sea of guitars. It’s ethereal and violent all at once—like a secret shouted into wind.

The lyrics cut in quiet, devastating ways. “Bruising both my knees to show the way I love grows deep,” she confesses, then pleads “Could you save me now?” on loop, each time with less certainty. There’s an emotional truth here that doesn’t rely on melodrama. It just is.

Wisp describes the song as a reflection on the difference between love and attention—how easily the two get confused when you’re lonely, raw, and desperate for connection. And while the theme is deeply personal, the presentation is theatrical in the best sense—part medieval-fantasy, part shoegaze séance.

That thematic and sonic world has been taking shape through earlier singles like “Sword” and “Get Back to Me,” and it’s clear that she’s not just chasing an aesthetic—she’s building a mythology and it’s hard to believe this all started just over a year ago. With more than 250 million streams, a Billboard-charting debut single (“Your Face”), and coverage ranging from Rolling Stone to The New York Times, Wisp’s rise has been swift—but it doesn’t feel like hype. It feels like gravity.

*********************