B-Side Guys

Musical reinvention often follows life’s necessary pauses. Dutch artist Evelien Scheers’ latest incarnation as Ave Lynn exemplifies this pattern—emerging from a family-focused sabbatical with renewed purpose and evolved sound. “Out of the Way” serves as both declaration and directional signpost, mapping her journey from indie rock and hip hop backgrounds toward experimental electronic horizons.

Produced by high school friend Bas te Braak (known for work with Inf and Smeeagain) and released through fledgling label We Are Home (under the Aviary Bridge Records umbrella), the track demonstrates how established relationships can foster creative renaissance. This collaborative foundation provides stable ground for Ave Lynn’s sonic exploration, creating space where trip-hop elements and alternative hip-hop sensibilities merge with experimental electronic textures.

What distinguishes “Out of the Way” from similar genre-blending efforts is its examination of personal agency within societal constraints. The recurring assertion of having “the right” to exist authentically establishes both individual determination and subtle critique of systems that require such declarations. This thematic approach aligns with Ave Lynn’s stated intention to question women’s marginalization “without intending to diminish the value of men or others”—creating political commentary that invites rather than alienates.

The production choices enhance this thematic exploration, with atmospheric elements creating emotional landscape where Ave Lynn’s vocal versatility moves between assertive declarations and introspective questioning. Her voice—described aptly as “flexible and fluid as modern day music”—navigates these dynamic shifts with impressive control, demonstrating technical ability that survived and perhaps deepened during her professional hiatus.

Most compelling is the track’s navigation of isolation amid crowds—the particular loneliness of being “surrounded by people but alone.” This paradoxical state creates emotional complexity that elevates “Out of the Way” beyond simple comeback narrative into more nuanced territory, suggesting personal evolution rather than mere professional return.

The sailing metaphor of “adjusting the sails” rather than simply accepting current direction creates additional thematic dimension, suggesting adaptability rather than rigidity as survival mechanism. This perspective transforms potential victimhood into active navigation, establishing agency within challenging circumstances rather than passive acceptance.

“Out of the Way” stands as evidence that sometimes the most significant artistic growth occurs during apparent dormancy—professional pauses that allow personal development to catch up with and eventually enhance creative expression.