Indianapolis indie pop artist-to-watch Spring Term captures the dizzying exhilaration of falling in love somewhere new on “Jacaranda,” a sun-kissed, kaleidoscopic fever dream bursting with the audacious hope of holding one perfect moment open forever. Ahead of his sonically adventurous, soul-searching EP ‘Homesickness,’ singer/songwriter Nathan Davis reflects on what home means in a life of constant movement, the magic of musical collaboration, and the boundless curiosity fueling his next creative chapter.
for fans of Vampire Weekend, Walk the Moon, Valley
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Stream: “Jacaranda” – Spring Term
Under the violet blossoms of a jacaranda tree, Spring Term imagines a love big enough to hold time still.
His jangly, kaleidoscopic single “Jacaranda” captures the exhilarating rush of falling for someone in a new place – when the smallest details become indelible memories, and the future suddenly opens wide. Shuffling drums, bustling guitars, and Nathan Davis’ spirited, wide-eyed vocals send this buoyant indie pop fever dream spinning between bliss and restless anticipation, its playful textures alive with possibility.
“If a moment in time is a door, I’ll hold it open for ya,” he sings, an impossible promise delivered with absolute conviction. Bright, breezy, and beautifully sun-soaked, “Jacaranda” embraces the hope of new beginnings with the full-bloom exuberance of its namesake.
Lavender lining the street
from the boulevard to Garnet
A gauche, a collage, a Matisse,
a little lion sunset
Together for less than a week
in southern California
We lay in the grass, in the breeze
and watch the violet falling
Released June 26 via Artist House, “Jacaranda” marks Spring Term’s first single since last year’s Kiddo, Vol. 2, the wonderfully imaginative four-track EP Atwood Magazine had the pleasure of premiering. The Indianapolis-based indie pop project of singer/songwriter, multi-instrumentalist, and producer Nathan Davis, Spring Term has carved out a vibrant musical world all his own, pairing thoughtful, detail-rich lyricism with adventurous, left-of-center production and an infectious sense of play. His sophomore EP Kiddo, Vol. 2 was a dazzling expression of that vision – a whimsical, poignant coming-of-age portrait that captured the magic and uncertainty of growing up through inventive soundscapes, irresistible melodies, and wide-eyed wonder.
Atwood Magazine praised him for embracing life’s mess with a smile, capturing the ache, awe, and exhilaration of growing up, “tackling love, self-discovery, fear, vulnerability, and joy with unflinching honesty and a childlike sense of curiosity.” As we wrote in our premiere, the record offered “an irresistibly colorful world of melody and meaning, where everything is tactile, intentional, and alive” – a celebration of Davis’ boundless imagination and his gift for bringing personal memories vividly to life.
“Each song began with a real moment from my life, but they developed into something more open and imaginative,” Davis told us at the time. That creative curiosity remains central to Spring Term’s identity, even as his songwriting enters a new chapter. Having brought the autobiographical world of the Kiddo EPs to a close, Davis is widening his horizons in 2026, embracing more impressionistic storytelling as he explores the meaning of home and the relationships that give our lives a sense of belonging. The first glimpse into a forthcoming EP, “Jacaranda” carries that spirit of discovery into fresh territory, its vivid imagery and adventurous arrangements offering an early taste of an artist eager to grow.
“This is an ode to a specific place, but also to a unique feeling of optimism towards the future. That there are always opportunities to envision something new if we choose to lean into it,” Davis tells Atwood Magazine.
The Southern California of “Jacaranda” comes alive through a series of colorful, intimate snapshots.
Lavender-lined streets, Balboa Park, a sunset over the cliffs, a taro milk tea beside a Coca-Cola. Davis invokes Matisse as he paints a living collage of a romance still in its earliest days. “Together for less than a week in southern California,” he sings, and therein lies the beautiful tension at the song’s center. These two people have barely begun their story, yet they’re already dreaming of everything that might come next. Even his choice of the word “apricity” – the warmth of the sun on a winter’s day – speaks to the unexpected joy of discovering a whole new world through someone else’s eyes. Every little detail matters because Davis understands how quickly these first days become treasured memories.
Under a Jacaranda watching
over both of us in
a reverie, a promise,
in a desert garden
Jacaranda watching
over both of us in
apricity, a promise
in a desert garden
Balboa park is calling
the sun is like a garment
The music itself dances with that same wide-eyed enthusiasm. A skipping drum break propels the track forward as acoustic guitars mingle with fuzzy distortion, their bright, bustling interplay giving the arrangement an irresistible momentum. Wind chimes and Claire Pendleton’s experimental prepared piano introduce unexpected splashes of color, while Davis’ expressive vocals and communal harmonies bring an almost celebratory spirit to the chorus. Co-produced with Doug Schadt, “Jacaranda” strikes a marvelous balance between organic warmth and lively experimentation – intricate without sounding precious, exuberant without losing its intimacy. There’s a beautiful sense of spontaneity to the whole performance, as though Davis and his collaborators are discovering new possibilities together in real time.
“As a solo artist and bedroom producer, I’m slowly learning the importance of letting more people’s hands be a part of the process,” Davis reflects.
Lavender lining the street
to the cliff over the sunset
Walk in it like you’re Matisse
I play it like a sonnet
I have a taro milk tea
you got your Coca-Cola
If a moment in time is a door
I’ll hold it open for ya
Under a Jacaranda watching
over both of us in
a reverie, a promise,
in a desert garden
Jacaranda watching
over both of us in
apricity, a promise,
in a desert garden
Perhaps the song’s most revealing moment arrives in its final refrain, when Davis repeatedly sings, “It’s been done so many times before, but what about us?”
It’s a wonderfully self-aware question, acknowledging that falling in love is one of life’s oldest stories while insisting that every new romance deserves its own sense of wonder. Beneath the euphoric melodies lies a beautiful audacity: The conviction that this place, this person, this particular moment might change everything. The longer he repeats the question, the more it sounds like an affirmation, a refusal to let familiarity diminish the extraordinary experience of being alive and in love. “Jacaranda” celebrates the magic of being fully present, of recognizing that even the most fleeting encounters can leave an imprint far beyond their passing.
In the months since “Jacaranda,” Davis has continued expanding this musical world through three equally imaginative singles, each approaching the idea of home from a different angle. July’s “Machu Picchu” explores the comfort of finding sanctuary in another person, its textured guitar work and dreamy piano accompanying a touching plea for trust, understanding, and lasting connection.
August’s “Hummingbird,” inspired by Emily Dickinson’s poem “A Route of Evanescence,” celebrates the beauty of returning home with new experiences to share, its tumbling piano riffs and buoyant melodies capturing the wonder of a world made larger through travel. Most recently, October’s “Raincoat” embraces resilience in the face of uncertainty, building from glitchy piano and nylon-string guitar into a rousing indie rock singalong about remembering where you belong. Together, these songs offer a compelling preview of Spring Term’s forthcoming EP Homesickness (out October 23), tracing the ever-changing relationship between place, memory, and the people who anchor us.
Spring Term’s music carries the spirit of its namesake season:
An irrepressible belief in growth, a willingness to embrace change, and a contagious excitement for the possibilities waiting around the corner.
Nathan Davis has a singular gift for transforming everyday observations into vivid musical worlds, pairing his poetic imagination with an adventurous production style that continually surprises and delights. His songs invite us to pay closer attention to our surroundings, to embrace life’s uncertainties with curiosity, and to recognize the beauty unfolding right before our eyes. It’s this combination of musical ingenuity, emotional sincerity, and boundless creative potential that makes Spring Term such an exciting artist to follow – and why we’re proud to name him an Atwood Magazine Artist to Watch.
In our conversation below, Davis reflects on the creative evolution behind this new chapter, the places and people inspiring his songwriting, and the possibilities that open up when we remain curious about the world around us. And as “Jacaranda” reminds us, the blossoms may eventually fall, but the moments we hold close can continue blooming long after the season has passed.
Jacaranda watching
over both of us in
a reverie, a promise
in a desert garden
Jacaranda watching
the lightness of the moment
we promise that we’re all in
the sun is like a garment
It’s been done so many times before
It’s been done so many times before
It’s been done so many times before
but what about us?
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:: stream/purchase Jacaranda here ::
:: connect with Spring Term here ::
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Stream: “Jacaranda” – Spring Term
A CONVERSATION WITH SPRING TERM
Atwood Magazine: Nathan, hello and thank you for your time! For those who are just discovering Spring Term today through this interview, what do you want them to know about you and your music?
Spring Term (Nathan Davis): Thank you! I think one of the best words to describe my music is curious. I hope to make songs that can inspire joy, introspection, shared experience, and presence in the moment.
It’s been a little over a year since Kiddo, Vol. 2 first came out. What’s your relationship with that EP and its songs today?
Spring Term: Kiddo, Vol. 2 was the final step of the concept that started Spring Term, and I’m very proud of it. Every song on that EP and the previous one, Kiddo, was inspired by a loving reflection on childhood, and it was an artistic experiment to introduce Spring Term to the world in a very honest way. The Kiddo EPs will always be close to my heart.
Kiddo, Vol. 2 explored childhood, adolescence, memory, and the magic of not having all the answers. Where do you feel your songwriting is moving now?
Spring Term: I made strict outlines for myself to stay in the lane of autobiographical songs inspired by childhood for that EP. While the not having all the answers part of that will be ever-present, I’ve recently finished a collection of songs exploring the concept of home. It’s involved a bit more impressionistic lyricism and writing from perspectives that aren’t necessarily rooted in historical moments from my life.
Who are some of your musical north stars these days, and what are you most excited about in the music you’re making now?
Spring Term: Most recently: Emahoy Tsege Mariam Gebru, Rostam, Van Morrison, Flyte, Saya Grey, Masakatsu Takagi, M Field, Aldous Harding, Hovvdy, Bob Dylan.
I worked on these new songs with Claire Pendleton, who is an incredible classical pianist. Her experimental-leaning performances bring a very tender depth of character to what we’re currently working on.
“Jacaranda” was your first song of the year, and the first in a series of singles leading to a new EP. Why did this feel like the right song to open the door?
Spring Term: “Jacaranda” is about beginnings and leaving home. It’s pure hope and optimism, and the energy felt perfect for an introduction to this world.
“Jacaranda” began in Medellín, was finished in Indianapolis, produced in Brooklyn, and had visuals shot in Baja. How did all those places leave their mark on the song?
Spring Term: The last few years of my life have involved a lot of moving around and short-term living situations. The initial demo I made was while I was living in Medellín, and it’s one of the most beautiful cities I’ve ever been to. It’s green, lively, and full of creatives and inspired people. Then I brought the instrumental beat back to Indianapolis, where Claire Pendleton and I tracked most of it and I wrote the melody and lyrics. Doug Schadt helped me produce this song in Brooklyn, and it wouldn’t be the same texturally without him. Finally, we shot the video in the surf town of Todos Santos, MX, and somehow it tied everything together visually.
You’ve said “Jacaranda” captures a magical moment in the middle of falling in love. What’s the story behind this song, and what was the connection or feeling you were trying to hold onto?
Spring Term: “Jacaranda” has layers of meaning, but on one level it is just about going to a new place with someone you love. It’s also about how dreams can show up in unexpected places, and how particular moments in life can stick with you and carry you forward. It’s a reminder of what it is like to be enchanted with the world around you and the person you’re with.
The lyrics are full of vivid little images – Balboa Park, Garnet, taro milk tea, Coca-Cola, Matisse, jacaranda trees. How did those details become the language for this feeling of falling in love and dreaming about the future?
Spring Term: These images help me be present and thankful and inspired. They are snapshots from places and people and memories that are vivid and colorful and bright and remind me to remember where things started.
I love the lyric, “If a moment in time is a door, I’ll hold it open for ya.” What does that line mean to you?
Spring Term: It’s audacious. It’s promising something that seems impossible because hope has become a new frame of reference. It’s also about the importance of noticing and remembering.
You’ve described “Jacaranda” as an ode to a specific place, but also to a feeling of optimism toward the future. How do place and possibility connect for you in this song?
Spring Term: Sometimes a new set of external surroundings helps open up my mind to new internal ways of thinking. Even if you come right back home, it’s important to experience things that are unfamiliar to keep us humble and curious.
Sonically, “Jacaranda” brings together wind chimes, acoustic guitars, fuzzy distortion, drum breaks, gang vocals, and prepared piano. What was your musical vision for this song?
Spring Term: Jangly, fun, experimental, and familiar. Like a warm, hazy memory.
This is your first time working with Doug Schadt, and the piano textures from Claire Pendleton bring such a distinct color to the track. What did those collaborations help open up for you?
Spring Term: Claire and Doug are both so generous and kind, and they opened up this song sonically in ways that I never could have on my own. Claire has been a friend of mine since a middle school worship band we were in together, and collaboration with her has been so familial and inspiring. Doug has produced some of my favorite music of all time and it was a dream to work with him. As a solo artist and bedroom producer, I’m slowly learning the importance of letting more people’s hands be a part of the process.
What can you tell us about the larger world of this next Spring Term EP?
Spring Term: Melancholy, joy, love, and longing all can coexist. The textures of the EP will tell the story.
What do you hope listeners take away from “Jacaranda,” and what have you taken away from creating it and now putting it out?
Spring Term: I want this to be a song people blast in their cars on summer road trips, on their speakers at the beach, and in their headphones when they need to remember why life is so beautiful! It’s a gift to invest so much playful energy throughout the process of writing and recording, and now to get to share that same spirit.
In the spirit of paying it forward, who are you listening to these days that you’d recommend to our readers?
Spring Term: M Field, sun4vr, The Vernon Spring, Tim Bernardes, John Roseboro
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:: stream/purchase Jacaranda here ::
:: connect with Spring Term here ::
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Stream: “Jacaranda” – Spring Term
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