In a Canadian suburb, at a convenience store that smells subtly of urine, two teenagers wait to buy cigarettes from the only clerk in the neighborhood who never asks for proof of age.
Sarcastic and groggy, the kids get to talking about their mutual affinities for Zelda and songwriter Lily Allen, who has recently come to prominence via MySpace. They introduce themselves to each other as Kara and Bobby, and barely a week goes by until the pair are congregating regularly at Kara's house on Raintree Lane, where they help themselves to anything they can find in her mom's medicine cabinet, and begin to throw together their first original songs.
Soon enough, the duo realize that their town's music scene doesn't extend far past bands covering Sublime songs at sports bars. Kara's neighbor suggests that they take the train into the city to perform at "Elvis Mondays," an open mic night of repute for Toronto bands.
Embracing the suggestion, Kara and Bobby find a sort of musical home at "Elvis Mondays," and begin to craft their sound. They start to accept other gigs opening for drag queens, and performing at Mediterranean restaurants that would later get shut down for violating government health regulations.
Kara begins to come into her own as a front woman, eliciting praise around the city for her range and stage presence. Bobby, extremely focused on songwriting, finds his voice as a lyricist, drafting candid songs about sexual frustration, bacne, nihilism and his struggle with clinical depression.
Finally formulating a sound that felt distinctive (Gorillaz meets early Madonna), the two are convinced of their readiness and seek out a producer who can help them craft a garage-inspired album that they know needs to resonate with a generation that has shifted its attention away from bands and over to DJ's and hip hop.
Soon, K.I.D connects with producer Mike Crossey, of The 1975, Wolf Alice, Arctic Monkeys and Foals infamy. Tweeting their song 'I Wish I Was Your C