Artist Spotlight is our regular feature introducing you to Cities and Memory artists around the world with an in-depth interview. In this edition, we introduce you to Californian sound artist, musician and sound designer Meghan Fohl, who works under the artist name Firephly. 

Lately, I’ve been drawn into a more ambient world — one that invites stillness and attentiveness. I love being able to slow down and truly savour the sounds I’m working with. It’s easy to get swept up in the pace of production and overlook the power of taking our time, of being fully present with the music.

Last year, I released two EPs that centred on themes of exploration and mindfulness. Silent Blur is focused on stretching sounds, slowing them down, and letting space breathe. With A Familiar Stranger using granular textures and layered vocals, I created an otherworldly atmosphere — one that invites listeners to lean in and discover the subtleties woven throughout.

My most recent album Cozy Gloom delves into the intersection of comfort and darkness. It evokes a sense of warmth and safety within a shadowy, melancholic landscape — a kind of cozy gloom that feels both tender and haunting.

This year I released my first sample pack and it feels like a good representation of my music style which is quite varied.

Right now, I’m continuing to explore the edges of sound through curiosity and play. Some of the most surprising and meaningful discoveries happen only when I approach the process with a sense of openness and experimentation.

The interview continues below ⬇️, and this map collects together all of Meghan’s contributions to Cities and Memory: 

It sounds like a dreamy blend of ocean and forest, where the rhythmic crash of Pacific waves meets the hushed rustle of redwood groves. The air carries the distant call of gulls and sea lions from the wharf, layered with the hum of surfboards skimming through water and the soft buzz of bikes coasting down coastal trails.

On the streets, the soundscape shifts—acoustic guitar strums drift from café patios, skateboards rattle across sidewalks, and the echo of buskers and laughter fills the ocean breeze.

At sunset, you might catch the low thump of a beachside drum circle or the hiss of a foghorn rolling in with the mist. It’s a place where nature and human energy merge in an easy rhythm—laid-back, alive, and always a little wild.

I’ve been drawn to sound for as long as I can remember. Around age ten, I got my first Casio keyboard and started learning my favourite radio songs by ear. I spent hours making mixtapes and saving up to buy records.

Nature always inspired me — I’d imagine entire soundtracks in my head, even if I didn’t record them. I think of myself as more of an impressionistic musician than an expressionistic one — I’m creating what I want to hear, not just what I want to say.

I studied piano as a kid, but the rigidity of classical training didn’t resonate with me. I stepped away from it for years until I met a mentor in adulthood who taught through a more intuitive, improvisational approach. That opened the door to composing my own music and reconnecting with my creative instincts.

Everything changed after seeing a live electronic duo perform in Mexico in 2000. That moment sparked something deep in me — I knew I wanted to seriously pursue music and start releasing my work into the world. Since then, I’ve become a sound explorer, always listening, always finding music in the everyday.

I make time for making music every day. I would say that starting is the most fun where I can just Experiment and play, it’s an important part of my process, not getting bogged down in the editing phase.

I have a hard time putting myself into a specific genre, I like so may types of music so I like to make many types of music too! I would encourage people to check out my Bandcamp page, or Spotify and explore what I have there.

I think my favorite track that I’ve done for Cities and Memory was from the Sounds of Adventure project last year.

It was a track that I had started working on for a few weeks and it wasn’t feeling right so I started over. In doing so, I felt like I built an impactful story around the field recording that I chose, adventure can begin feeling dark and uncertain but can then open up to an expanse of lightness and magic.

There are so many artists that inspire me. Ones that really stand out are Rival Consoles, Max Cooper, Jon Hopkins, Marine Eyes, and Reid Willis. Visual artists: Sebastien Veyan and Thomas Vanz.

The ocean is a powerful force — not just physically, but sonically. Its sound is unmistakable, vast, and deeply moving.

There’s something sacred about it — a place and a feeling that reminds me of our smallness in the world, but also of the quiet strength we all carry.

I really love my Expressive-E Osmose. It’s so expressive and amazing to play. I also love the Torso T-1 – it brings curiosity and surprise into my work.

Right now I am focusing on limited my choices, it’s easy to get wrapped up in all of the software and/or hardware. So I am working on using one synth/plugin for a few days at a time to really get to know it and get creative with it. I am also working on a new album that will be a blend of ambient and minimal electronic works.