Fruition Shares the Spotlight, Responsibility to Achieve Success

It might seem like a difficult task. To play a style of music today made popular when the Old West was still rounding into form. But for the Americana harmony- and string-rooted group, Fruition, the process of superimposing modern complexities overtop a classic musical style is natural. The five-piece band, whose members live in cities throughout the United States, create contemporary compositions and have, in the past six months, conceived of an intriguing way to release music to the ever-changing world. 

“We’re focused on whatever song comes to the table,” says Fruition co-front person, Mimi Naja, whose R&B-style mandolin playing has become a signature for the group. “Whatever inspiration comes, we want to serve that. Old blues, sad-bastard folk, rock ‘n’ roll. That’s the key to what makes us special.” 

In November, Fruition released the seven-song album, Wild as the Night, and in January followed it up with another 7-song record release, Broken at the Break of Day. Together, the two comprise a modern A/B-side release, but instead of each side representing singles, they’re half-full LPs. The decision was made both as a way to stand out in the market and to potentially ensure more songs land on tastemaker playlists reliant upon complex Spotify record-length distinctions. 

“I don’t think while we were in the thick of it,” says Naja, “that we could understand how effective the concept and delivery would turn out to be. But it’s been a really cool thing.” 

The creative release format, though, wouldn’t be as effective if the band’s music wasn’t remarkable. While the songs the band produces come naturally and are born from myriad genres and influences, that doesn’t mean there aren’t internal pitfalls to navigate, compromises to make and debates to conduct amongst the hungry five members. 

“Songwriting can be a touchy thing,” says co-front person, Jay Cobb Anderson. “But thankfully we’re all open to different ideas. We can swallow our pride for the greater good. We’re all in this together.”

The day Fruition first came together, though, was serendipitous. Cobb Anderson says he was sitting in a Portland coffee shop looking to get a job when he saw Naja and (future) band mate, Kellen Asebroek, from the corner of his eye. Though Cobb Anderson was new to the city, he had met the two before and heard them play. Poking out his head to say hello, he learned the two were headed to busk. 

“That day was the first time we sang together,” Cobb Anderson remembers. “I knew it was magical from that moment on.” Soon bassist Jeff Leonard and drummer Tyler Thompson joined the trio and Fruition was born. 

Put side-by-side and played together, Wild as the Night and Broken at the Break of Day works like a 24-hour lifespan. One half (Broken) represents the daytime and the other night (Wild). And while art and music are inevitably up to interpretation, Naja says the two sides, when thought of together in this way, are effective in their bifurcated message. 

“While curating the track list and seeing what works together,” she says, “there were a couple of times when I would question the track list. But after a few spins, it lands for me, even if I can’t explain why.”

In totality, the releases comprise a type of map illustrating different pockets of the country exposed and made prominent. There is much topography to the music. It’s rich in texture, some songs polished, some not. Memorable tracks include “Where Can I Turn,” which exemplifies a moment in reflection, the sun setting, people are all around you. Yet, you think, you need a change. “I can’t keep on running with the same old crew,” float the song lyrics. 

On the pensive track, “Sweet Hereafter,” the band presents a dreamy side, the sonic equivalent of a bleary-eyed artist waking up and meeting the world again for the first time after a long slumber. The band also includes a not-quite-two-minute version of the song, renamed “Sweet Hereafter Dub,” on which Naja showcases her ear-catching staccato mandolin. Other standouts include the raucous “Dawn” and instant folk classic, “At The End Of The Day.” 

In the end, like their dual release, listening to Fruition is an exercise in dichotomy. On one side, the band plays timeless music with strings and blue grass harmonies. On the other, they’re as unique as a reflection of the times. In this way, the band is a photo album of musical influence and yet something new unto themselves. But it works. 

“It’s refreshing to exist as not just four people backing up one person,” Naja says. “We like three people sharing the lead and we build the songs together. It’s definitely not without its challenges. But we’re a true band.”