Uh Huh Her is performing at 8 p.m. Saturday at the Granada, 1020 Massachusetts St. Los Angeles DJ Kim Anh will open for the electro-pop duo. Tickets are 5.

The first time electro-pop duo Uh Huh Her came through town for a small show, Kansas greeted them with an unexpected tornado. They’re excited for round two in Lawrence, says Camila Grey, but under different circumstances.

“Hopefully that won’t happen again,” Grey says laughing. “We were put into this bar, and everyone was in one room. There were trees flying down the street. And there was this sweet little girl with a bowl; this little hippie chick who was like, ‘who wants to smoke pot?'”

Several years later, Grey and bandmate Leisha Hailey (who starred in Showtime’s “The L Word”) are coming to the Granada, 1020 Massachusetts St., Saturday night, along with opener DJ Kim Anh, to perform songs from their latest self-produced dance record “Future Souls.” Tickets are $15.

“It’s not going to be a bunch of live bands in a row,” Grey says of the night’s events. “[Anh] does a bunch of nights in L.A. and runs a bunch of clubs in L.A., so we enlisted her help to set the vibe and get people dancing before our live set. It’s definitely light, playful.”

“Future Souls” is Uh Huh Her’s third full-length album, created within the comfort of their own studio space in the couple’s shared home.

“It was a room dedicated to just writing, so it’s like a giant room with a studio rig and guitars galore,” Grey says. “It’s like a little world. For me, it’s a little cocoon where you can sit there and just come up with ideas.”

Previous albums were put together over a series of lengthy sessions in an outdoor studio space, where they often felt more pressurized to write music. Living and working together made for a relaxed experience.

“There’s a lot of freedom in it, as opposed to a studio where you know you’re paying money every day,” Grey says. “It was kind of liberating to just do it whimsically, you know. Whenever you felt like it.”

While Grey felt strongly about pulling her synthesizers out of the garage to work on avant-garde pop dance music they’d been inspired to create by recent DJing gigs, much of the latest album addresses serious existential questions that consume Grey, ones she is certain her friends are sick of entertaining discussions about.

“I’m kind of plagued by this constant philosophical questioning of where the hell we are and what we are doing here,” Grey says. “And why are we on a ball floating in the middle of nowhere around a ball of fire? It’s a constant for me.”

Exploring these topics with her friends have resulting in mixed responses — some in agreement; others feeling as if she is losing her mind.

“Some are like, ‘If you read one more Stephen Hawking or Richard Dawkins book I’m going to kill you,'” Grey says. “So that’s kind of where we are at. I think a lot of people are slowly waking up in a way and wondering the same things.”

Then there is her childhood to consider.

“I came from a really religious background,” Grey says. “I’m Texan. I’m kind of plagued with that existence as well, and I’m trying to rationalize it. Why I was brought up that way.”

Navigating the music industry as independent artists, the duo feel empowered by the control they hold over all things related to their work, putting Grey’s business degree to the test. But it’s a double-edged sword, she says.

“We love the freedom of it,” she says. “We like the creative control of it. We like being able to do what we want, but that comes with its own limitations because we don’t have the marketing dollars that let’s say other bands that are similar to us have. They reach further audiences.”

And they’ve learned over time that a band’s aesthetic is often more important than sound, something they don’t comply with. This could also be hurting their fan reach, Grey says.

“It’s become more about your persona than the music you make,” she says. “We’ve never put ourselves out there in [a sexualized] way and maybe we’ve suffered because of it, but at least I can go to sleeping knowing I have my pride.”

With a musical upbringing as a classical pianist, Grey is more concerned with producing melodic, soulful tracks than what outfit she appears in onstage. Without “the handlers” it’s easier to stay focused on making music meaningful to them.

“I think that kind of hurts us,” Grey says. “So much of this world, especially in Los Angeles, is based on walking the carpets and doing the photos, and we don’t play into that. I’m too old for this. It’s exhausting.”