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Kate Millar

Kate Millar

Kate Millar is a poet and writer from Edinburgh, Scotland, currently living in New York City. Her work appears or is forthcoming in BOMB Magazine, The Inflectionist Review, Gutter, and Ekstasis. When not writing, you can find her at an indie music gig in Brooklyn, drinking midnight coffee at Cafe Reggio, or doing arts and crafts with her friends. You can reach her via email: kapmillar[at]gmail[dot]com or on Instagram: @katepmillar!

Felukah © Essam
Features, Interviews, MusicJuly 17, 2025<July 17, 2025

“People don’t memorize political speeches, they memorize songs”: Rapper and Singer Felukah on Poetic Roots, Arabfuturism, & Radical Love

Hippo Campus © Brit O'Brien
Features, Interviews, MusicNovember 12, 2024<November 12, 2024

“Serenity Prayer Type Shit”: A Conversation With Hippo Campus

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Features, Interviews, MusicAugust 27, 2024<August 27, 2024

Songs to Myself: An Interview With Real Estate’s Martin Courtney

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“Some questions have an answer, others just have a sound”: Beatenberg’s Matt Field on ‘The Great Fire of Beatenberg’ and Making Art During Times of Crisis

Abby Sage © Noah Kentis
Features, Interviews, MusicFebruary 28, 2024<February 27, 2024

“No shame I’m just a beginner”: Abby Sage Talks ‘The Rot,’ Music Fasts, Theatre Kid Resurrection, and Repurposing Pain into Beauty

M Field © 2022
Columns, Music, Today's SongFebruary 11, 2024<February 11, 2024

“Yes I want to be desired”: Luminescent Confessions in M Field’s Sunny “Another Moon”

Jaguar Sun © Chris Minielly
Features, Interviews, MusicOctober 26, 2023<October 26, 2023

Nostalgia, Optimism, & Love Songs to My Girlfriend’s Dog: A Conversation with Jaguar Sun

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Features, Interviews, MusicSeptember 12, 2023<October 26, 2023

Gibberish, Vulnerability, & Evolving Past People Pleasing: A Conversation with Far Caspian

Daphne Gale © Deryne Photography
Music, ReviewsJuly 17, 2023<October 26, 2023

Review: In ‘And Things,’ Daphne Gale Gently Excavates the Twenty-Something Heart with Acoustic Storytelling

Recent Posts

  • “Never Grow Up, Never Go Home”: “Lost Boys” Finds Phoebe Bridgers Back in the Fast Lane July 11, 2026
  • Roundtable Discussion: A Review of Flea’s ‘Honora’ July 10, 2026
  • “Sometimes, Strength Looks Like Softness”: Nora Kelly Band Are Rewriting Alt-Country’s Tough-Guy Mythos With Wit, Twang, and Heart July 10, 2026
  • “Knowing What We’re Supposed to Be”: Sleeping With Sirens’ Nick Martin on the Cycle of Death and Renewal on ‘An Ending In Itself’ July 10, 2026
  • Editor’s Picks 160: Medium Build, BAILEN, Valley, Debbii Dawson, Petey USA, & Hank Heaven! July 10, 2026
  • “The Whole Title Is Just Me Trying To Show Up For My Feelings”: The Haunted Youth Confronts Masculinity With Vulnerability on ‘Boys Cry Too’ July 9, 2026
  • “Take a Leap of Faith, or You Can Be Brave”: Portland’s BendreTheGiant Turn a Moment of Crisis into a Spectacular Act of Empathy & Endurance July 9, 2026
  • “Twist the Key to a Brand New Start”: Baby Snakes & The Electric Co. Hit the Gas on Their Debut Single “Dark Horse,” a Cinematic Ode to Electric, Enduring Love July 9, 2026
  • “In the Sun I’m Laughing”: How Babe Rainbow Put a Fresh Twist on Old Tricks With “Acid and Honey,” a Six-Minute Psychedelic Symphony July 9, 2026
  • Atwood Magazine’s Weekly Roundup: July 8, 2026 July 8, 2026
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Disclaimer: Atwood Magazine is a publication dedicated to celebrating fresh voices in music, culture, and the arts. The views and opinions expressed in our articles, reviews, and interviews are those of the individual writers and do not necessarily reflect the opinions of Atwood Magazine as a whole.

© Atwood Magazine 2024 For the Love of Music
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