It takes guts to write a breakup song that doesn’t ask for sympathy or closure—and Tarric has never been one to play it safe. On his new single “The End of Me,” Tarric peels away all sentimentality to confront the raw, unvarnished moment when love dies and self-awareness takes its place. Known for his cinematic sensibility and work behind the lens as much as the mic, Tarric turns heartbreak into high art here—layering real string arrangements, confessional lyricism, and an unflinching emotional arc that doesn’t blink, doesn’t flinch, and doesn’t fake redemption. Let’s dive in.
What’s a detail in the production or lyrics of “The End of Me” that most listeners might miss on first listen but means a lot to you?
First, I love that the strings you hear in the intro are a real string quartet. I think it has a richness you don’t get from sampled instruments. As for lyrics, the following lines mean a lot to me:
“Headed in one direction, we would never part.
Choosing carefully but feeling in the dark.”
They display the helplessness one feels when a relationship cannot get back on track, even though you’re trying to be conscious of your decision-making; some things never leave the dark.
Did you write “The End of Me” in one sitting, or was it something that came together in pieces, like fragments of a conversation you couldn’t finish?
I typically write lyrics in one sitting and then revise later, but I think this song did come in pieces because it was so intense for me. The concept of letting someone go because you’re not good for them is a little difficult to express because it requires a lot of introspection and admission of faults that should probably be kept private and not sung to the world!
Have you ever experienced a moment where it felt like it was the “end of you and the start of me”—where the roles reversed—and how did that shift affect you personally or creatively?
Definitely, I’ve had some bad relationships that really taught me some things about myself and who I should not be with. Honestly, those relationships are much easier to write about because a lot of the fault falls on the other party. In this song, the fault is in me, and that’s harder to express.
How do you stay connected to your Midwest roots in your music and storytelling while working in the heart of Hollywood? Do you use any specific memories or influences from back home?
I try to go home as often as I can and stay connected to my roots and my Midwestern people. Since I spent my first 22 years there, it’s embedded into my genes. I still say sorry if you bump into me! The Midwestern nice doesn’t usually just leave you. Hemingway once said, “You spend the first 25 years of your life living and the rest writing about them.” I think that’s often true. I had a great childhood that really allowed me to express my creativity and explore different parts of the state and different kinds of people. Those things are always a part of you.
You’ve worked on everything from reality TV to major studio films. What’s something about the behind-the-scenes creative process that fans would never guess?
First, it’s incredibly difficult because you have 50 to 100 people all working on different aspects of a single production. Add in a bunch of narcissists and egos with a variety of opinions, and it’s amazing anything gets done at all. Having said that, when it does somehow come together, you can create something that means a lot to people, something that inspires, encourages, and empathizes.
When you’re producing a show or film, do you ever find yourself thinking, “This scene needs a song like mine”? How often do your two worlds collide?
Honestly, I try to distance my music and my TV and film stuff because it feels a little like nepotism! However, I’m not above putting one of my songs into something if it’s absolutely perfect. Now you got me thinking, why am I holding myself back so much!?
The artwork for your singles has a distinct, dreamy vibe. Is there any intentional symbolism behind them, or are they more about aesthetics and atmosphere?
For each album, I first like to pick an aesthetic for the singles. This aesthetic is based on the Vienna Secession movement in the late 1800s and then became en vogue in the 1970s for magazine covers and the like. It felt very unique to me here in the modern day, and also just compelling and colorful.
What was the last drop of water that made you decide to take the risk of moving to L.A. with just $400, and have you ever, even for a moment, regretted it?
First, I knew if I didn’t do something creative for a living, I was probably going to be miserable. Los Angeles just seemed like a beacon for creative people. However, the real last straw came when one winter the weather was so cold that the liquid in your eyes would freeze if you didn’t keep blinking. I remember thinking, This is not for human beings, and right then vowed to leave for warmer weather and better creative horizons.
Have I ever regretted it? For a good ten years, I regretted it! I had to slog through different jobs and live on very little until I found my way. Still, I would say it wasn’t true regret. There was a real feeling that I was building something; I just didn’t know exactly what it was or how long it was going to take.
Who do you usually play your finished music for first? And have you ever gotten tough or negative feedback that made you go back and change something?
I usually like to play it for friends whose opinions I respect first. I should mention, though, that sometimes friends are wrong. I’ve had some tell me a song wasn’t that great, and it ends up being the most popular one. Don’t let your friends kill your dreams or projects—sometimes, not always, they can be wrong. I think being an artist is knowing when to accept the criticism and when to reject it. As artists, we probably get that equation wrong all the time.
There are only a few songs left until your new album, Method, is complete. How are you feeling as the big release day gets closer? Is it excitement, nerves, or something else?
I always feel excited to share the art I’ve worked hard on. While part of the reason for making it is that I want to express myself, I also hope people will relate to it and enjoy it. There’s nothing better than when someone writes you to tell you how much they loved a song or that they can really relate to a song. Art is one of the few things that actually make us feel connected to one another.
Follow Tarric on Instagram to stay tuned for more chapters in his cinematic, soul-searching musical journey.
