Sima Cunningham is a Chicago-based musician, songwriter, producer, presenter, and a founding member of Chicago’s art-rock band, Finom. Over the past 15 years she has worked as a recording and touring musician with Jeff Tweedy, Richard Thompson, Iron & Wine, Edith Frost, Chance the Rapper, Twin Peaks, and been featured on multitudes of records. She co-owns a recording studio in Chicago, Fox Hall, where she produces records for her own projects and other artists. In 2015 she formed Finom (fka OHMME) which has been her primary project for the past decade. They have released three records: Parts (2018), Fantasize Your Ghost (2020), and Not God (2024) with Joyful Noise Recordings. The band was recently commissioned to write and perform a piece with the Pacific Northwest Ballet and Orchestra in Seattle. An Armenian-American artist and descendent of genocide survivors she has focused much of her work on building connections and healing divides through music. Over the last ten years, she has traveled to Armenia and the Caucasus to perform, participate in workshops, and foster creative cross-cultural opportunities between artists in Armenia and the United States. Her work as an artist-presenter includes founding a small music festival, Postock, that will celebrate its 16th year in 2024; curating and hosting the I Hear Voices series in Chicago at Constellation; and working as a lead organizer for the Pitchfork Music Festival. Her debut solo record, High Roller, was released on August 30th on Ruination Records.

What She Says: “Your Bones is about giving the closest people in your life the space to go through whatever they are going through. For a long time I’ve been trying to practice being by people’s side but not asking them to fix whatever is weighing on them. My old friend who I grew up with in Chicago, Jake Saner, is a brilliant cinematographer and when he heard the song told me we should film a beautiful snapshot of my life– and capture it on Kodak Super 8 film. So that’s what we did. I like to think of the architecture of Chicago being the bones that I grew up amongst. Now- seeing the video, and whenever I sing the song, I think about all the space I want to give my daughter to feel big feelings and develop her own perspective on the world.” 

“I only met my uncle a handful of times. To my family he was Johnny Boy. He was born with severe cerebral palsy and lived most of his life in a care facility away from his family. He was never able to use his voice but he loved music— the Beatles in particular. He had an illustration of them on the wall of his room. When he was passing away a few years ago I thought a lot about what might be going on inside of his head— did he have ideas about how he wanted to live his life? Was he singing or reciting poetry to himself? Or something else, that was beyond my perception? When we visited him, and when our grandmother would visit her eldest son, it was always about singing with him and connecting to him that way. When I play Nothing I feel like I’m jumping between observing him from the outside and leaping into his head— swimming through his mental pictures and sensations.“

“High Roller is kind of about trying to glean meaning from someone’s ramblings at a bar. Sometimes it just feels like bitter nonsense, but sometimes there’s actually some golden wisdom in there. Some of it you take in and some you just just let it wash over you like a quiet poem.” 

Her Mixtape:

Feist – How Come You Never Go There?

Anytime I’m making a record I listen to Metals by Feist. I think she is one of the greatest songwriters, and record makers of our time.

 

Harry Nilsson – Let The Good Times Roll

There’s something about the comedy, attitude, and piano playing of Harry Nilsson that really gassed me up and made me feel good about the dynamics on my record. I think it’s ok to make a record that has weird folk songs and big bombastic songs on it, it’s all about how you sing it. Nilsson really does that for me.

Gillian Welch – Revelator

Possibly one of my most listened to records of all time. Genius songwriter for the ages. She’s influenced me since I started writing songs and I credit her with bringing back the ENTIRE genre of folk and placing it in the 21st century.

Ernie Graham – For A Little While

Again I love the piano sound on this record, but I just think this song is too good to be true. What a hook. I really believe in a big sing along chorus and I couldn’t stop listening to this one once a friend showed it to me.

Charlotte Cornfield – Partner in Crime

Ok admittedly I found this song after I finished this record, but Charlotte is someone new who’s songwriting I admire so much. Her records are impeccable and I feel very inspired/kindred-spirit with her.

Lucinda Williams – 2 Kool 2 be Forgotten

Also one of my earliest songwriting influences. Lucinda is a legend and a poet and a master of simplicity. Her story telling to me is unparallelled.

The Hues Corporation (Allen Toussaint) – Freedom for the Stallion

I learned to play this song when I was part of a Toussaint tribute night and I fell in love with it. I care a lot a lot about melody and this one has a great one. I love how low it starts and where it grows to. Powerful lyrics, powerful singing. It’s just a powerful song.

 

The Roches – Big Nuthin

The Roches remind me to make great music but not take yourself too seriously. It’s ok to be silly and absurd.

High Rollers is out now on Ruination Record Co.. Look HERE for more information on Sima Cunningham.