Bibi Club is often described as indie pop, but on their third album, the husband-and-wife duo have tapped into something far darker than their previous releases. Channeling the moody atmospheres and driving rhythms of 80s post-punk and 90s electronic, Amaro arrives following the death of two loved ones in the same year, and grapples dauntlessly with themes of grief and loss.
“Amaro is an album that should leave you with a taste of dirt,” the duo tells The Grind via email. “It’s grounded, it’s grainy, it’s visceral… It’s an album about grief but also about the desire to live and to honour the people that are gone.”
“We were hoping to convey some deep emotions, some empathy,” they continue. “We imagined people dancing to this music in ancient ruins and connecting with their own desire to live.”
(Note: The following interview has been edited for length and clarity.)
This is the second year in a row that you’ve landed on the Polaris Prize shortlist. How does it feel to be recognized by the jury again this time around?
We were surprised when we got the news but it does feel great to have our album recognized by the Polaris community. Making an album is magical but also means sacrificing, carrying emotions to their extreme, and trying to push ourselves. It’s nice that a group of people interested in music are curious about our artistic process.
It is also an opportunity to use our voice to draw attention on things that matter to us and that need to change, like the genocide in Palestine. It does feel crazy to think that a year has passed since the last Polaris event, and things have gotten even more violent over there.
Amaro marks a pretty significant divergence for Bibi Club, both sonically and thematically. How was the songwriting or recording process different this time around?
We work pretty quickly in the studio and trust our instincts, this time perhaps more than ever. Most of the songwriting was done in the studio as the songs were being shaped, and we sculpted them all at the same time. We worked with [producer] Seth Manchester for the mixes. He really understood what we meant about the feeling of dirt in your mouth and pushed the record in that direction while trying to never be harsh with the sound. We wanted something closer to the energy we have when we play live. We were aiming for something raw and bold, something unapologetic.
There are some post-punk, even gothy elements in these songs. What musical influences or ideas were you tapping into?
Our main influence during the process was a tapestry we saw in a castle in Angers, France, called “Les tapisseries de l’Apocalypse.” Woven in the 14th century, the tapestries influenced the harmonic structures of the songs — strangely, the songs had to make sense in relation to those tapestries. In terms of music, we listened a lot to Temple IV by Roy Montgomery, another record about grief. A record that feels gigantic and humble at the same time, vast and intimate.
The album’s title refers to what you’ve described as an “immortal, legendary figure and a bittersweet emotional force that bridges life and death.”
The songs had to feel like they came somehow from an ancient time, that Amaro, our guide, sang them to us.
Looking for more of our 2026 Polaris Music Prize coverage? Click here for our interview with Begonia, and click here for our interview with Aquakultre.
Was there anything unexpected or extraordinary that you learned in making this album?
The people that we lost are still with us, helping us make sense of life. Their energy is still tangible and the love we have for them can become songs and bring us to connect with other humans. They’re our protective ghosts.
Why do you think the album is connecting with listeners?
We tried to make a record that is authentic, that is connected to our emotions and that pushed our musical language in new territory. The record feels like watching two tightrope walkers trying to make it to the other side without a net — it’s vulnerable and alive.
Do you have a favourite track from this album, and why?
Right now, our favorite track is “Amaro.” It feels raw and open. It’s a cathartic moment in our live shows, and it seems to bring people together. Maybe, just for a moment, we’re all dancing in ancient ruins together.
If you were on the Polaris Prize jury, what album would you highlight as the best Canadian project of the last year?
There are a lot of good records that came out last year. One of them is Big Brave’s in grief or in hope. It’s an inspiring album, made with no concessions. It’s heavy without any drums — its rhythm comes from the grain of the guitars and from the harmonic tension. It’s a radical move on their end and they just decided to explore new territories while making a really emotional and deep record. It’s cohesive, unique and moving.
Richie Assaly is one of the 200+ music experts who make up the Polaris Prize Jury
