A TUNEFUL TWOFER: KATE STEPHENSON RELEASES ‘SUMMERFOOT’ AND ‘SHOVING’

June 30, 2026

4–6 minutes

With what she has delightfully called a “twofer,” Kate Stephenson has released two new songs that will take you from feeling boppy to bruised. The tracks, “Summerfoot” and “Shoving,” manage to take you on a mini emotional rollercoaster ride — one filled with cheeky whispered vocals, endearing acoustics and tender lyrics that you wish you didn’t relate to…oh, and also a splash of whimsy.

Growing up in a deeply musical household, singer-songwriter Kate Stephenson developed her artistry from an early age, learning multiple instruments before writing songs alongside her sister as a child. The Florida-born and Illinois-raised musician has continued to refine her songwriting style, built on sharp lyricism and emotional honesty, through genre-bending indie-folk soundscapes that her growing number of listeners can’t get enough of. Her 2026 album, This Is What You Get, captures those strengths beautifully, and now her latest songs “Summerfoot” and “Shoving” showcase two sides of her artistry — one playful and warmly affectionate, the other quietly heartbreaking in its emotional clarity.

“SUMMERFOOT”

“Summerfoot” has a lovable hint of quirkiness that’s packed with so many little musical moments that make the song so distinct. Giving the track a sort of physical element, the instrumentals are bouncy while Stephenson’s voice is smooth and wavy, which harnesses a natural sense of play. Meanwhile, you can’t help but feel a grooviness within that musicality that feels like settling into the summer heat while rocking a homemade tie-dye t-shirt.

Lyrically, it’s just as charming. “Summerfoot” becomes an offbeat term of endearment for someone who constantly keeps Stephenson on her toes — a partner whose witty back and forth and playful defiance become part of the attraction:

“Come here summerfoot / Love the way you back talk / Keep me on my toes like a dancer on the blacktop.”

The lyrics strike a balance between affection, sarcasm and lighthearted teasing, making the relationship feel lived-in and genuine, almost as if we know their dynamic personally.

The kooky folk guitars are what really catch the eye, with the bass providing a lower undertone. Rather than relying on dramatic shifts, the song slowly adds new textures, like the soft funk of the rhythm guitar in the second set of verses before enveloping the atmosphere in subtle guitar fuzz.

Then everything lowers into Stephenson’s whispers of the chorus. Suddenly there’s no guitar, just clicky percussion and whispery vocals — intimate, yet still full of energy. When she sings, “It’d kill me to complain / I wouldn’t have it any other way,” the bridge brings all the instrumentals back before they float away once more for the final whispered chorus. It perfectly sums up the song’s emotional core: teasing complaints that are really expressions of affection. “Summerfoot” is a track that constantly rewards close listening, revealing another small texture or lyrical wink every time.

“SHOVING”

While “Summerfoot” is the warm light of a cozy relationship, “Shoving” is its emotional counterpart, stripping everything back to expose something painfully familiar.

“Shoving” keeps the same acoustic pace throughout the song, a beautifully sensitive decision for the track’s execution. The lack of overwhelming instrumentals leaves no room for distractions; it forces you to melt into Stephenson’s vulnerable reality — one that is overwhelming in itself. It’s a reality that essentially every woman I know has had to grapple with: the act of men treating you a certain way — fake interest, love-bombing, false hope for a future — to get what they want, and almost every time what they want is something physical.

The opening somber, reflective acoustic guitar strums immediately sink you into the pool of emotion, with the very first lyric being poetically raw: “Leave it to a man to kill two birds without a stone.” They somehow inflict damage when the thought of getting hurt wasn’t even in your mind. The universal experience of someone building up your expectations — expectations you didn’t even originally have — only to tear them away.

Throughout the song, themes of projection and a lack of accountability twist the heart, as you may find yourself relating unwillingly. The emotional centerpiece arrives with, “I will not miss him / I’ll only miss who he was / When he wanted to f*ck me.” It’s eye-opening with a force. The softness in Stephenson’s voice has more of a hard-hitting effect than if she were screaming. It communicates exhaustion and the reality of becoming used to selfish behavior; it’s a certain feeling that so many women can feel in their core, and to hear an artist sing it so gently while being so roughly blunt is more than validating.

“Shoving” captures the experience of being accustomed to this sort of deception; that when it happens all you can muster up is a shoulder shrug and a single tear. The track’s conclusion is simple, yet so striking:

“He says he screwed up / What a whole lot of nothing / When push comes to shove / I am certainly shoving.”

The line still holds that heart-tugging weight while enforcing a no-bullshit mentality — one that only comes about when you’ve come in contact with someone like this before. It allows space to feel the disappointment and ache that person imposed while still standing strong and seeing them for who they truly are: someone not worth your time or energy.

Listening back to back, it’s clear how these two songs showcase two different strengths. “Summerfoot” thrives on movement, texture and fun intimacy, while “Shoving” does the opposite, using stillness and vulnerability that evoke a subtle catharsis for both the artist and the listener. Delivering both with such intention, honesty and a love for musicality is a standout trait that makes Kate Stephenson such a memorable voice in today’s music scene.