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If you're a regular OnesToWatch reader, chances are you've seen Sophie Truax pop up in your feed. She's hard to miss—and once you discover her, she's even harder to forget. That's because Truax is a multi-talented artist whose infectious pop songs are brought to life alongside a colorful, motley crew of collaborators: puppets. A puppeteer since college, Truax has made these whimsical creations an essential part of her artistic identity. On her new EP, Can't Split a Worm, she invites listeners into a delightfully quirky world where playful visuals and sharp, heartfelt songwriting go hand in hand.

“Once I stopped judging myself and embraced both the puppets and my own instincts, everything clicked,” Truax told me while discussing the new music. That creative freedom shines through in every aspect of her work. Her music videos are a delight, with her puppets inhabiting vibrant, handmade worlds—including a scene-stealing character with absurdly long legs who bounces through the video for "10 FEET TALL." It's a playful, disarming vehicle for songs that grapple with deeply relatable experiences: navigating young adulthood in a world that often feels determined to wear you down.

Truax will bring that same spirit to the road this fall. Fans who purchase VIP packages will have the chance to build a puppet alongside her before the show, turning each performance into a welcoming, creative space for the people who see themselves reflected in her music. On Can't Split a Worm, Sophie Truax proves she's one of the most exciting new artists to keep an eye on—or three, depending on how many eyes your puppet pal has.

OnesToWatch: You're an incredibly creative artist. You make puppets, create characters, and write songs that all feel like part of the same world. It reminds me of artists like Sparks and Devo, where the visual identity is just as important as the music. What first drew you to that kind of quirky, all-encompassing artistic expression?

Sophie Truax: One of the first artists who really shaped me was Tim Noah, a children's musician who performed in parks outside Seattle. After one of his shows, we got a DVD of In Search of the Wow Wow Wibble Woggle Wazzie Woodle Woo. It follows this imaginative journey filled with puppets and original songs, and seeing it as a kid had a huge impact on me. It's still a reference point for my work today.

When did you realize you wanted to make puppets yourself?

I've always loved the Muppets. I even had recurring nightmares that Animal was chasing me, so one year I dressed up as him for Halloween to reclaim it. I found little ways to experiment with puppetry growing up—even performing a sock puppet skit for my French final in high school—but I didn't build my first puppet until college for the children's musical Tilly. Watching the original Muppet Movie and seeing that cast of characters come to life made me realize how magical it is to create personalities from your imagination.

One of my favorite moments in The Muppet Movie is Kermit riding the bicycle. Even lifelong puppeteers still wonder how they pulled that off—it feels like pure magic. You're bringing that same sense of whimsy to a new generation and your new EP, Can't Split a Worm, is out today. How did the puppets become such an important way of expressing the emotions behind these songs?

It's easy to spend the whole interview talking about puppets because they're such a huge part of the project. For years, I felt caught between the music I naturally wrote, which leans pop, and the indie music I listened to. Before the puppets became part of the project, I was trying to make music that felt cooler than what came naturally to me. Once I stopped judging myself and embraced both the puppets and my own instincts, everything clicked. Suddenly I was referencing old Katy Perry records without feeling embarrassed about it.

The EP starts with these big, colorful pop songs before gradually stripping everything back. At its core, most of my songs begin with me sitting in my bedroom with an acoustic guitar. Then we dress them up, just like I take a feeling and turn it into a puppet character. I wanted the EP to show the different ways those same emotions can exist.

The EP closes with what sounds like a voice memo. Was that actually recorded on your phone?

It was. The guitar and vocals were recorded as separate voice notes, which helped with leveling. Normally, if I record both at once, the guitar completely overpowers my voice because I'm singing so quietly. It was all tracked into my phone, though, which is why you can hear it clipping in places.

You completely fooled me. It sounds so polished, but that illusion feels fitting because so much of your art is built around creating a little bit of magic. You're also about to take these songs on tour, and I love that your VIP experience includes building puppets with fans. How did that become part of the live show?

I've always loved live theater, and over the last few years I've become fascinated by LA's clowning scene and the way it encourages audience participation. I wanted my shows to feel like more than just concerts because the project itself is more than just music—it's this whole world of characters.

We're bringing Puppet Sophie back on tour, inviting fans onstage with their puppets, and creating something that feels different every night. I have so much fun goofing around between songs. My favorite part is seeing the puppets people have spent months making alongside the ones they just built before the show. Looking out into the crowd and seeing all these puppets staring back at me is such a surreal, special feeling.

It's almost like you're tricking the fire marshal—you've doubled the audience.

Exactly. We actually have to warn security ahead of time that people will be bringing puppets because I was so worried they'd get confiscated on the last tour. People spend months making these things—we can't take them away.

Does having Puppet Sophie onstage make performing feel less lonely? Does it help with the nerves?

It's a really unifying experience. My first few shows were opening for Nep, so people weren't necessarily coming to see me or expecting a puppet to suddenly appear onstage. You're basically saying, "I just played some normal songs, and now I'm bringing out this puppet. Trust me."

Now it's different. People know what they're getting into—or they bring a friend who doesn't. Looking out and seeing everyone holding their own puppets makes me feel seen, but it also creates a space where everyone can embrace being a little weird together.

Walking around with a puppet can feel vulnerable or even embarrassing at first, but that's part of the exercise. There's something therapeutic about it. It becomes this community where we all get to be weird puppet nerds together, and that's really special.

One of the things I noticed looking through the comments on your videos is how excited people are to bring their puppets to your shows. They're asking if they should make a new one, bring two, or create a puppet version of themselves. It reminds me of artists like Lady Gaga or Rosalía, where fans become part of the experience. That sense of community has to be incredibly rewarding as an artist.

It really is. The whole puppet project came into my life at a time when I was still embarrassed to walk around with a puppet of myself. It's been really special to become more comfortable with that while watching other people go through the same journey.

It feels like we're all figuring it out together. There's something magical about creating a space where people feel comfortable embracing that side of themselves.

Before we wrap up, who are some of your own OnesToWatch?

That's a great question. I think a lot of people who enjoy my music probably already know Dora Jar. She has such a playful approach to performance that I really love.

I've also been listening to the new Prewn record a lot. The record is incredible. The string arrangements feel so cinematic and emotional.

I'm a little biased, but my roommate Puppet Dacelyn is also an incredible indie folk artist and one of the best songwriters I know. She co-wrote "10 Feet Tall" with me, and I've written with her too, but I'm genuinely a fan of everything she does. Her songwriting is so honest and authentic.

Beyond that, I've been on a huge Steely Dan kick lately, so that's where my listening has been.

Steely Dan comes for us all in the end.

Listen to Can't Split a Worm below: