Madeline Johnston’s music as Midwife is deceptively simple yet deeply resonant. Her latest album, No Depression In Heaven, out today, explores the intertwined themes of love, death, and mourning. With sparse instrumentation and ethereal vocals, Johnston creates a space where each song feels like a quiet conversation — but beneath that simplicity, there’s an emotional complexity that’s hard to miss. We spoke with Midwife about the new album, her experiences touring, and the evolving city that inspired one of her standout tracks, “Killdozer.”
Haymai: The last two Midwife full-lengths were released during a time when touring was either off-limits or uncertain. How did it feel to tour again after the pandemic? Did it take some adjusting?
Madeline Johnston: Yes, touring after quarantine was definitely shocking and uncertain, but in a way, those early tours felt vital. Everyone, both musicians and audiences, were so hungry for that experience again. I love touring. It’s both profound and mundane, and I think that’s what makes it so special. Coming back to it in 2021 felt like entering a different world. Before, I’d only done DIY tours, and suddenly, I was on bigger packages. It was a whirlwind, but it made me appreciate the live experience even more.
Haymai: You’ve become quite the prolific collaborator over the last few years. How do these collaborations influence your process when writing for Midwife?
Johnston: I wouldn’t say they change how I write for Midwife specifically, but I do want to lean into collaboration more in the future, especially during the writing process. As a solo artist, collaboration allows me to bring my project to life in new ways and connect with other musicians. I’m looking forward to focusing more on collaborations next year.
Haymai: You’ve covered a wide range of artists on your past records, from The Offspring to Rowland S. Howard and Alice Deejay. How do you choose the songs you want to cover?
Johnston: I’m drawn to covers that allow the artist to really make the song their own. It’s like having a conversation with the original, adding a new layer to the story. The lyrics are often what pull me in. “Autoluminescent” by Rowland S. Howard, for example, has some of the most beautiful and profound lyrics I’ve ever heard. I try to honor that poetry while bringing something new to it. With The Offspring and Alice Deejay, simplicity played a big role. Lyrical minimalism and repetition — those elements really resonate with me.
Haymai: I’ve heard a lot of buzz around “Killdozer,” and I’ve even spotted some of your Killdozer shirts around Denver. How does it feel to have that song out in the world, especially considering its deep connection to the city?
Johnston: “Killdozer” is one of my favorite tracks on the album. It feels good to have it out there because it’s a song that connects me to Denver, the city where my story is very much intertwined. Denver has changed so much over the years, and that song is a reflection of that — the loss of what many people call “Old Denver.” I’m really proud of the songwriting on this one and hope it resonates with others who feel that same loss.
Haymai: Do you have a favorite “Old Denver” landmark, or a place you miss the most?
Johnston: One of the places I really miss is Surplus Tools on Alameda. It had been open since 1947, and walking in felt like traveling back in time. It was this huge hardware store that was part junkyard, part craft supply, and it was full of debris from floor to ceiling. Yet, the employees always knew exactly where everything was. Places like that are special because they have a history you can feel when you walk in.
Haymai: Mourning and loss are recurring themes in your work. “Vanessa,” your ode to your old touring van, is a beautiful song. How has touring felt since her departure?
Johnston: Vanessa was my touring van that I bought in 2019, right before all my 2020 tours were canceled because of the pandemic. It was a sensitive subject for me, and then in 2022, while on tour with Deafheaven, Vanessa died in Tampa. It was tough to pour so much love into something and then lose it so quickly. She was the first vehicle that felt truly my own, and I took a lot of pride in that. Her death taught me a lot about the impermanence of material things. Touring in rentals since then has been different, but I learned that it’s sometimes less stressful to rent for tours. I do regret not repairing her, but at least we got a great song out of it. It feels like Vanessa gave me that gift back.
Haymai: It sounds like the last few years have been a whirlwind. How do you find time for yourself on the road?
Johnston: It’s incredibly challenging, almost impossible, to find time for yourself on tour. I try to make an effort to go for walks when there’s time before a show, but often we’re too rushed. I want to prioritize that more on my upcoming tours, though. Walking around new cities is a great way to clear my head and get some space.
Haymai: You often tour with bands that are much louder than Midwife, and you’re about to hit the road with Blood Incantation. Do you enjoy being the quieter act on the bill?
Johnston: I really do. There’s something powerful about being the quiet act in a loud space. It taps into a different energy, and I think it challenges people’s perception of what’s considered “heavy.” I like being able to shift that perspective.
Haymai: On the new album, there’s this contrast between the fantasy of rock and roll as a dream you never want to wake up from, and the more grounded reality of touring life. Is this still a dream you don’t want to wake up from?
Johnston: Absolutely. I’m living the dream, and I wouldn’t change it for anything. I love my life.
Follow The Flenser on