Kissing Thieves is the musical moniker of Stefanie Fields, a Bellingham, Washington songwriter who turns weather, unrest, and emotion into melody. Rooted in the moody rhythm of the Pacific Northwest, Kissing Thieves builds songs that shimmer with honesty and cinematic depth — from the fire of protest anthem “Old Ass White Men” to the slow-bloom groove of “Davie Street.” Released through Washingtones Records, their music is driven by conviction and curiosity alike: bold enough to call out injustice, tender enough to soundtrack a moment alone in the rain.
SNQLX: You’re based in Bellingham, WA. How has that city, and the larger Pacific Northwest, shaped your voice as Kissing Thieves?
KT: The Pacific Northwest is well-known for its rainy days, and the weather here has certainly contributed to my artistic style. I’ve found myself to be far more creative during the moody, introspective months of fall, winter, and spring than when the sun is shining and everyone’s attention gets pulled outside. (“Quick! Before it’s gone!”) Additionally, Bellingham is an arts town with so many talented artists and musicians here; it’s easy to feel encouraged and inspired.
SNQLX: Your music bends folk into rock but also feels cinematic and immersive. How would you personally describe your sound?
KT: Well thank you! This is a tough one to answer as I feel I’m still in the process of discovering my sound. I like different styles of music (from oldies to classic rock to edm), so the music I make has different styles as well. Like any art medium, I think it’s fun to experiment and explore. Ultimately I hope the signature of our songs is that of originality, resonance, and emotional depth.
SNQLX: “Old Ass White Men” is a bold title and song. What sparked that one, and what do you hope listeners take away from it?
KT: This is our “good trouble” song. I originally wrote it when the Supreme Court overturned Roe v. Wade. I had an overflow of emotion and needed somewhere to put it. As the song took shape, it became about congress in general, then the US government as a whole, and eventually (as evident by the title) about the old ass mentality we see prevalent across this country. I honestly wish this song had become dated and irrelevant over the years, but it’s sadly even more applicable now. I hope protest songs like this one propel listeners to take action in whatever ways they can – speak up, show up, rally, volunteer, vote! Don’t hesitate to call a spade a spade. And don’t take shit lying down.
SNQLX: Your new single“Davie Street”is described as a “smokey dance song” years in the making. What’s the story behind it?
KT: Ugh yes, this song was a beast! I’d written it about 6 years ago now, took it to the recording studio 3 years later, and thought we’d bang it out in a few sessions. Not the case! No matter what the producer and I tried, the song just didn’t sound like the vision and I finally came to realize the problem was the chorus. It was edible, but I wanted it to be delicious. Fast forward to spring of 2025 when, on a random walk in the park, a new chorus serendipitously arrived and that was the key that unlocked the entire song. Everything fell into place after that. The process of making “Davie Street” is a testament to not settling when you know something it isn’t right, staying true to your vision, and trusting the outcome will be worth the wait.
SNQLX: There’s a protest spirit woven through your work, even in the merch. Do you see yourself more as a songwriter who protests, or a protester who writes songs?
KT: I think I’m both right now. To be honest I’ve spent more time in 2025 at protests than I have at music, but I’m hopeful that won’t always be the case. My goal isn’t to be a political performance artist (especially with the backlash one receives from doing so). I do believe in the “make art, not war” adage. So when we do have an overflow of emotion (as with “Old Ass White Men”), we can utilize art as a place to put it. It can be therapeutic for the maker and – if you choose to share your work with an audience – it can have a ripple effect that extends further than you know.
SNQLX: What’s your creative process like — are you someone who chisels away at songs over years, or do they come in bursts?
KT: Luckily most of my songs aren’t as frustratingly slow and arduous as “Davie Street” was. Songs usually come to me on their own accord when I’m doing something else – in the shower, driving, hiking… I rarely sit down and say, “I’m going to write a song now.” Oftentimes a verse or two will come rapid-fire while I’m going about my day, or a chorus will just appear out of nowhere, as if it dropped from the sky. Crafting the rest of the song around these spontaneous gifts requires more conscientious effort on my part. Oddly enough it feels like a team effort in this way.
SNQLX: Washingtones Records has been your home for releases. What has that relationship meant for you as an independent artist?
KT: I was so stoked when my first song was released with an official record label. It felt so big time! It also validated my work – that what I’m creating is good enough to be formally represented. I love Washingtones because of their commitment to supporting and promoting local, independent music, as well as their environmental stewardship. Their records are made of Polyethylene Terephthalate (PET), which is good for your ears and good for the earth.
SNQLX: When you look back, what was the first song that made you realize you had something bigger than just a personal notebook entry?
KT: This is a great question. The first song I felt I needed to share was a song I wrote for my mom. “Sunset” is about strength and resilience and moving forward in your life with courage and grace. The first recording I shared of that song garnered so much attention and private messages; people opening up and telling me how it helped them during their own personal struggles. It’s amazing how music can surpass individual circumstance and speak directly to someone, like it was written just for them. It’s really incredible.
SNQLX: If someone hears Kissing Thieves for the first time today, what’s the one thing you hope they walk away feeling?
KT: I hope they walk away feeling like what they just heard came from a place of sincerity, of experience, of self-empowerment. I hope they connect with the lyrics. I hope they hear my heart in my voice, the care that went into every line, the intention carried in every note, the quality of the tracks, and the skill of the producers. I don’t half-ass my music, and I hope that shows.
SNQLX: What’s next after“Davie Street”? Is there a bigger project on the horizon, or do you prefer to release songs as standalone chapters?
KT: I’ve been on a singles run for now because I like giving each song its own time and space. My producers and I have a few other songs in the works – a quiet, folky ballad and a ‘90s rock song. (Why not, right?)
I love that about making music – you don’t have you to pick a box and stay in it. You can have a cornucopia of styles under the same name. It’s the creating that matters. It’s the going for it. It’s the process, the learning, the growing, the trying. You can be scared and brave at the same time. Kissing Thieves taught me that.
There’s something beautifully defiant about Kissing Thieves — an artist who refuses to rush, refuses to mute their voice, and refuses to be boxed in. Each song carries the patience of someone who’s lived with the storm long enough to find rhythm in it. Whether it’s a smoky dance track or a protest song that won’t fade into irrelevance, Kissing Thieves reminds us that art is both rebellion and refuge. The process, the learning, the going for it — that’s where the truth lives.
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