artist interview

Midi KwaKwa: From Red Bull’s Best Newcomer to Signing with EMPIRE & Creating 'Moonflower'

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Midi KwaKwa draws listeners in with her soulful, emotionally rich music, effortlessly mixing Neo-Soul, Alternative R&B, and EDM. Inspired by artists like Lauryn Hill, Jill Scott, Amel Larrieux, and Sade, her sound is both reflective and fresh.

Born to Ghanaian parents and raised in North Rhine-Westphalia, Germany, Midi proudly embraces her African roots, expressing her heritage through music, visuals, and personal style. Her music videos—such as "Body," "Things Fall in Place," and her upcoming single "Energy"—highlight Ghana's natural beauty and vibrant culture.

Her artistry has garnered international attention. In 2019, Red Bull Music named her one of their 17 Best Newcomers. The following year, she won Best Performer at Berlin's Curl Con, sponsored by Beats by Dre. Her sold-out headline show at Rotterdam’s BIRD in 2021 further showcased her captivating stage presence. Now signed with EMPIRE, Midi continues to build momentum as an artist worth watching.

Midi KwaKwa’s forthcoming debut EP, "Moonflower” (out now). explores personal themes including mental health, resilience, confidence, and feminine sensuality. Drawing from intimate experiences, the EP captures the complexity of love and sadness through the eyes of a young Black woman embracing growth and self-discovery.

Moonflower symbolizes growth and transformation in the darkness. What inspired the essence of this project?

My personal journey has greatly shaped this project. Through my experiences, I've learned valuable lessons about mental health, overcoming difficult moments, longing for love, and gaining self-confidence. I've also embraced and celebrated femininity, understanding both its beauty and its challenges. My songs touch on love, sadness, sensuality, and empowerment, all from my viewpoint as a blossoming Black woman.

With Moonflower, I wanted to showcase my versatility as an R&B artist. R&B is incredibly diverse—it can range from soft, acoustic, soulful tracks like Holding Up, to edgy R&B like DiH, and even songs with a rock-inspired energy such as Let Me Be Your Vice, which channels that vibrant Lenny Kravitz feeling. I aimed to create an EP where listeners could find their own favorite song, something that truly resonates with them. And I'm proud to say I've accomplished exactly that.


Your music blends Neo-Soul, Alternative R&B, and EDM, while also drawing from your Ghanaian heritage. How would you describe your sound to someone who’s never heard it before?

Uhhh, this is a hard question.I make alternative R&B music with touches of neo-soul, jazz, and electronic elements. I especially love guitars, so you'll always hear them in my songs—whether it's distorted guitars, warm acoustic strings, soulful keys, or atmospheric synthesizers. I'm also a big fan of vocal harmonies and adlibs; playing with my voice to create dreamy, siren-like sounds is my favorite thing ever. I really just want listeners to feel deeply connected to me and my story as a person. My Ghanaian heritage doesn't directly influence my music style—I don't typically use Afrobeat or Afro-inspired sounds—but you'll definitely see its presence reflected visually. I'm a proud African woman, and even though my visuals aren't traditionally African in style, my identity shines through clearly.

Your journey has taken you from Red Bull’s Best Newcomer list to signing with EMPIRE. What’s the biggest lesson you’ve learned about navigating the industry as an independent artist?

Uhhh, I'm still learning, and this project has helped me grow so much. I'm naturally a people pleaser and very very emotional (cancer, scorpio, pisces), which can be tough in an industry that feels like a calm beach one day and a raging ocean the next. That’s why having people you truly trust is so important. But trust can be broken quickly, so the most valuable lesson I’ve learned is to trust myself. When you’re confident in who you are, no one can sell you a fairytale or take advantage of you. I’m still figuring this out and sometimes struggling with it, but I can already see my future self—she’s strong, sure of herself, and unshakable. And I’m really excited to become her.

Your lyrics explore deep emotions—mental health, love, resilience. How do you approach songwriting in a way that feels both personal and universal?

I take my diary with me to every session—so if I ever lose it, that would be a very sad day! 😄 A lot of my songs come straight from the pages of that little book. I turn my personal stories into music, or, depending on my relationship with the producer, we’ll start talking about life and build a story that we think people can relate to. My goal is always for listeners to take something from the song—to see themselves in it and connect with the emotions. Sometimes, I also write about my friends' experiences if something significant happens. When a story feels powerful enough, I think, Wow, people need to hear this, then I go home and write about it and create a song out of it.

What’s your best networking tip to connect with the right people in the industry?

I truly believe that having an open heart brings the right people into your life. Some of the most amazing connections I’ve made happened randomly—just by being open, having real conversations, and showing mutual respect for someone I just met. I always say, “Your vibe attracts your tribe.” In this industry, I’ve connected with people in so many different ways. When you’re positive and your art is strong, the right people will naturally be drawn to you. I’ve noticed that many operate with a transactional mindset, but I don’t think that’s the best way to move through the world. You don’t have to work with everyone just because they might help you reach a certain level. Connections should be intentional because everything is an exchange of energy. It’s important to be mindful of where yours goes.

What’s something artists should consider when deciding between staying independent or signing a deal?"

You have to know yourself. Don’t let anyone tell you what kind of artist you are or what they think you should be. Always trust your intuition first—and then back it up with facts.

One of the most important lessons I’ve learned is to gather all the information before signing anything. Take your time to read through every detail of a contract. When I signed my first deal, I blindly trusted the person managing me. Trust is important, but making sure you have all the information will save you from major headaches—like missing out on royalties that are rightfully yours or, in the worst case, losing ownership of your own songs.

That’s why I love being an independent artist. I have full control over my music, my art, and my decisions. Everything I receive from my distribution label is more like guidance or advice, but at the end of the day, I make the final call. Of course, it also comes with challenges—like figuring out funding and budgeting everything properly.

So whether it’s an independent deal or a label deal, the key is to always have all the relevant information before going into any conversation. That knowledge is your power.

In an industry that can be challenging, how do you protect your creative energy and stay grounded? 

If I’m being really honest, I’m still learning how to balance this. It’s tough, especially when I’m in the middle of promoting a project and constantly on my phone. But I try to take at least one day off from it when I can. Another thing that helps me is stepping away from music for a bit—just listening to frequencies, nature sounds, or white noise to give my brain a break from all the stimulation. Sometimes, I even put my headphones on without playing anything, just to sit in silence. It might sound strange to some, but silence can be really healing. I’ve come to appreciate those quiet moments more and more.

What's your favorite/least favorite thing about making music?

That’s a really good question. Honestly, I just had a little cry session like 15 minutes ago, lol. But at the end of the day, I love music. I feel so grateful to have been given the gift of a voice and storytelling. Music is my way of healing—not just for myself, but for others too. And performing? Feeling the energy of the crowd? That’s one of the best feelings in the world.

I love creating music, collaborating with other creatives, and even navigating this industry, despite all its complexities. But my least favorite part? It’s a lot of hard work, which is normal, but as an independent artist, there’s so much to juggle. Many of us just want to focus on making music, but now we also have to be social media experts, constantly creating content. It’s fun, but it can also be really draining at times.

3 things you can’t live without in your bag.

Lipbalm/Lipgloss, Handcreme, and tissues 

What are you listening to at the moment?- 

Right now, I’m completely obsessed with Solange’sA Seat at the Table again. I finally got the vinyl, and I’ve been playing it nonstop. And Kelela’s unplugged album, In The Blue Light—oh my, it’s incredible. So vulnerable and elegant, it truly speaks to my soul and warms my body. I really hope I get to see her live soon!

Connect with Midi KwaKwa:

Instagram | Listen | MOONFLOWER

Empara Mi: From Film & TV Scores to New Album Monsters & Masochists

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With a sound that defies convention, Empara Mi has carved out a unique space in music, blending cinematic grandeur with raw, emotional depth.

Her debut album, Suitcase Full of Sins, became an underground sensation during the pandemic, amassing over 30 million streams and landing tracks like Blood in the Water and Ditch in hit series such as Ginny & Georgia and Behind Her Eyes.

Her music has since reached global audiences, featuring in major productions like Transformers, Fortnite, Riviera, and Dynasty, as well as high-profile campaigns for Apple. In 2024, she lent her hauntingly ethereal vocals to Our Planet II and Mammals, working alongside Coldplay, and earned critical acclaim for her striking rendition of God’s Gonna Cut You Down for Day of the Jackal.

Empara Mi is set to release her most bold and vulnerable project yet—her album Monsters & Masochists. Described by Clash Magazine as having a “devastating sense of soul,” she continues to evolve as an artist, recently collaborating with Wilkinson and Sub Focus on their No. 1 album Portals. With this new record, she steps deeper into her own artistry, unfiltered and unapologetic.

You’ve had music featured in everything from Transformers to Ginny & Georgia. Do you approach writing differently when thinking about cinematic storytelling?

For me, every song I write feels like a movie as I'm always trying to recreate a scene from my own life in some way. I then imagine that moment if it belonged to my favorite film and then write what I think the soundtrack to that moment would sound like. I’m guessing that's why I've been lucky enough to be on as many shows as I have, as I've already started to build the world. Saying that, i don’t necessarily write with my project with the idea that it will end up somewhere fabulous as i know already it tends to be the songs you expect the least that do end up making it onto these amazing shows, so it's a good self reminder to go with your gut and not try to please anyone. 

 Of course when I'm writing/producing specifically for something like ‘Fortnite’ like I did last year, you are writing something that specifically works for the project so it's a different experience but again it's fun because you get to play another character and challenge yourself in a completely different way!

Your music is deeply emotional and immersive. What’s your creative process like—do you start with a lyric, a melody, or a visual idea?

The chords/ production always come first, that sets the scene for me. I would never usually start something with the intention of provoking a feeling that I wasn't already feeling. I let my mood in that moment take me where it wants to go, that's probably why I have so many different genres on this record. It would be harder for me to pretend I'm sad or happy or angry all the time. I can be one person one day and equally a completely different person the next, true gemini energy. Once I've gotten the vibe down then I love to do a little freestyle to see what comes out, I let my gut tell the story then I go in to refine it. More than not, i’ll end up loving the first thing i’ve come up with as my instinct knows better than my conscious. 

Monsters & Masochists sounds like it’s going to be your boldest work yet. What does your new album Monsters & Masochists say about who you are now as an artist?

I think it shows how much I've grown up. This project has taught me that I can do so much more than I knew I could. This is the first album I've written independently which has entirely changed the way I've approached it. When I first became independent, it felt like I was drifting alone into the abyss, but when you accept that no one’s coming to throw you a rope, you learn to swim pretty quickly. I feel alot stronger and evolved as an artist and musically I think there's a lot of honesty in this project because I feel like I have no one to please, which is a really freeing thing, so I've experimented with sounds, genres and said everything I wished I'd said before without fear of judgement. It feels good.


What’s your advice for artists struggling to find their own sound in an industry that often prioritizes commercial formulas?

First of all, don’t worry about the industry, it's an illusion. I think it's very easy to focus on impressing people who may or may not want to help you at some point, the only thing to focus on is yourself, your music and how to build an audience that will come along on the journey with you. When you create something that you love yourself, people will feel that. There's no point in standing behind something you don’t believe in. I also feel that what's considered commercial has shifted so much that there's no point chasing something that might be gone by the time you’ve tried to imitate it.

Was there ever a moment where you doubted yourself or your artistry, and if so, how did you push through it?

Yes, everyday haha. I go through extreme waves of self doubt, then self assurance, then self doubt on a daily. It's something I'm very used to, I'm sure a lot of other creatives feel the same.

I think it's mostly when doing things independently it feels like you are always taking a risk with every decision, every penny spent, you will never know if it will pay off so there's self doubt surrounding that.

My way of pushing through it is putting on my headphones and listening to my favourite song i’ve ever written on full blast and then i go, ‘yep, thats why im doing this’. 

What’s one thing you hope people take away from your music—not just with this album, but with everything you create? 

I just hope they feel something. I write to escape a lot of the time so I like to think that people are listening for the same reason I'm writing and that the music can be a safe space for people to explore different parts of themselves and play along with the characters i’ve created. If people can feel 1% of what i feel when i’m writing, then i’ll be happy.

How would you describe your sound to someone who has never heard it before?

If i was to describe it in general i would say dark, cinematic, pop, however there's so much to come that goes beyond that now,  i’ve dipped into a lot of genres on this new project, even more so than before. There's a lot more indie rock, nostalgic, electronic influences coming that I'm excited about, and even a happy song that I didn't know would ever come out of me but here we are, growth!

Follow Empara Mi on Instagram | Website

Gayance on Her New Project & Signing to Tru Thoughts

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Gayance at Boiler Room 2023 | Photo credit: Stef van Oosterhout

Gayance is a Montreal-born Haitian-Canadian DJ, producer, and filmmaker whose sound moves between Soul, Hip Hop, Downtempo, House, Broken Beat, and Haitian rhythms. She’s been DJing for over a decade, playing festivals and clubs around the world, known for her high-energy sets and deep musical knowledge.

Her debut album Mascarade (2023), released on Rhythm Section International, was shortlisted for the Polaris Music Prize, and she’s also made a name for herself in film, with Mascarade: Origin Story (2023) screening at festivals like Cannes and São Paulo.

Gayance recently signed to Tru Thoughts, marking the next step in her journey.

You’ve just signed to Tru Thoughts for your upcoming project. What can we expect from this new chapter, and how is the mini 7 tracks LP evolving?

I made a seven-track project with collaborators like Judith Little D.—who was also on Moon Rising—rapper Narcy, producer Jarreau Vandal, as well as Magi Merlin and many others. I love collaborating with artists from Montreal, but also from Brazil, like Dal Bô.

This project is about traveling as a political act. It’s about searching for yourself in chaos, finding yourself when you have no points of attachment. I’d say all my projects are personal, but this one feels even more personal because it reflects what I’m going through right now. I’m really happy to release it with Tru Thoughts.

For this project, the music is eclectic—I like to blend different genres. It’s going to go from Haitian carnival rhythms to drum and bass with Arabic influences, to Timbaland-style beats. Why not? It’s meant to be an immersive journey through sound and storytelling.

Your rework of Dubmatique’s 'Soul Pleureur' is also coming in 2025. What was the significance of taking on that track, and how did you approach it sonically?

I worked on an official remix of Soul Pleureur by Dubmatique—an iconic rap group from my city, Montreal. They released this song in '97, so it’s been almost 25 years since it came out. They asked me to do an official remix, and I was inspired because this song was playing in my hood a lot.

My uncles, JC and Pat, were club promoters back in the '90s, and I grew up hearing stories from them and older DJs about this legendary club on Sainte-Catherine and Bleury in Montreal called Sauna. It was an iconic spot with different rooms and a unique vibe. Unfortunately, I was too young to experience it myself, but those stories shaped my vision for the remix.

The original track is hip-hop, but I reimagined it with a late '90s lo-fi house flavor. I wanted people to feel like they’re in Montreal on a cold November night—when you step outside and see the fumes in the air, everyone dressed in black, girls in short skirts even though it’s minus 10 outside. But inside, it’s warm, it’s soulful. A big part of that is the voice of Barnev, who sings on the track. To me, Béné is one of the greatest R&B singers. He was also a backup singer for Céline Dion, which makes this feel like a full-circle moment for me.

What’s one piece of advice you wish someone had given you earlier in your career that up-and-coming artists should hear right now?

I would tell myself to start producing a bit early. I was in a super collective with Grammy-winning producers and influential Canadian producers from my city. I was too insecure in my own capacities to become the full person I am right now. In the early 20s, we want to please people while thinking we're so grown that we don't fully bloom.

What’s inspiring you right now?

I would say mostly nature and stillness. I just moved to Lisbon, and the calmness and the common people living their lives inspire me. I moved to the suburban area (Almada), and the vibes feel like where I grew up in Montreal-Nord. It's very grounding. I'm reading "Assembling a Black Counter Culture" by DeForrest Brown, Jr. and it's very inspiring as well.

What are you listening to at the moment?

I'm listening to a lot of love songs; I'm in love. I've been singing the most cheesy songs like ''I Belong to You" by Lenny Kravitz. I do listen to a lot of Eddie Hazel and 2000 raps when I work out. 

What’s been a top strategy to learn in evolving as an artist? 

To always stay consistent, even if it's so hard. I'm mainly being consistent with my health and my spirituality and I know the rest will follow. 

What makes a creative partnership work for you?

It's mainly transparency, honesty, mutual respect and deep listening. Most of my projects are collaborations from my music to my films and it's the key. 

What’s your favorite/least favorite thing about touring?

Contrary to the general artist, I love touring. I've developed a system to keep my body in flow with it. I always do yoga before and after a plane or train ride. I do stretch behind the booth or the stage; it makes the energy flow, and it's good for the show people see me stretch, and they know it's about to go down. I have been a dancer (classical, tap, contemporary, Hip Hop) for almost 2 decades. I still want this special connection with my body and the music. The least favourite thing about touring is that I'm mostly alone, and I wish I played with my band or I had a friend coming with me. 

When you're doing what you love, how do you feel inside?

I feel aligned with my destiny. I'm a Leo rising and I have a Sagittarius stellium in the 5th house. For those who love astrology, it means, I was born for the stage and to create and have fun.

As an artist deeply influenced by the LA beat scene and West London’s bruk movement, what do you think makes those sounds so timeless and adaptable across generations?

I think it's the reference they take from. Mainly from jazz fusion, Latin jazz blended with syncopated drums. This genre uses synths in the timeless era of the 70s. It's not only music for dancers but also for the everyday journeys; it's like a best friend that makes you a healing herbal mix through hardship. 

Connect with Gayance | Tru Thoughts

TRACE's Transgressive Pop Universe and New Album T4TEARS

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TRACE is a singer, songwriter, producer, and instrumentalist whose work reflects her bodily, gendered experience. Based in Cologne, she crafts a transgressive pop universe with guitars, multifaceted production, and vocals that shift between ethereal softness and raw intensity.

Her 2023 debut album, FUCKING AND DREAMING, challenged perceptions of transness, offering a radical exploration of identity through lush dream-pop soundscapes, emotional vulnerability, and unapologetic honesty. The album redefined how trans narratives could be expressed in music, making TRACE a bold voice in contemporary pop artistry.

With her sophomore album, T4TEARS (2025), TRACE explores trans childhood, grief, and healing, blending dream-pop with delicate, organic textures. Working with her voice, guitar, and effects, her process draws on poetry, improvisation, and collaboration with queer artists.

TRACE’s live performances captivate audiences, with standout shows at the Cologne Philharmonic and Whole Festival. T4TEARS marks her most vulnerable and daring work, reconnecting with her younger trans self through raw lyrics and acoustic elements.

What sparked the creation of T4TEARS, and what story did you set out to tell through this album?

I have this huge space inside myself filled with grief and mourning. It is continually being refilled by the various forms of fascism in this world. That space was already opened up when I was a trans child and teenager, unsure of where to turn or how to make sense of the things I felt. I didn’t know there were others like me, and it would take another ten to twenty years to discover that. For a long time, I despised that child. I wanted to kill her, to rid myself of her, and, in the process, to kill myself as well.

T4TEARS became my way of moving closer to that child and teenager, of trying to sit in a room with her, even though I really didn’t want to. But I felt that I needed to forgive her, to hug her, love her, ask her for forgiveness—if I wanted to continue living. So that’s what I tried to do. 

You’ve called this project a reconnection with your younger trans self—what was the most transformative moment in that process?

The most transformative moments were probably when I felt I had actually come close to what I set out to achieve—that I was genuinely having a conversation with my younger self, actually hugging or caressing her. Or when I felt that others—their words, their voices, their instrumentation—were doing it with me or for me, while they were also doing the same thing for themselves.

How did collaborating with your chosen family of queer artists shape the album?

It was instrumental this time around to have other people keep me and my younger self company, to open up that very solitary trans childhood and teenage space to community. It’s a way of refusing to leave that child alone and also refusing to be alone in the present.

In making the album, it meant I had to trust others as much as I trust myself in creating. That in itself became a beautiful, flowing, and connective process. It also meant I had to relinquish control in a liberating way so others could be just as central to shaping the narrative of the album as I was—sometimes even more so.

If you had to choose one song from T4TEARS to listen to forever, which one would it be and why?

It’s counterintuitive for me to pick favorites on this album, but if I had to choose right now, I’d probably go with “everything i want to say is here”. The song features two very good friends of mine—Ráhel Eckstein-Kovács on harp and Jenny Browne, who wrote and speaks the words on the track.

The way the instruments and voice listen and respond to one another is so beautiful to me. Jenny’s words, written in response to the rest of the album, oscillate and vibrate with my vision in a way that touches me on such a deep level. 

I also just love their voice and the way everything dissolves with the music into this perfect poetic mixture of mourning, depression, longing, intimacy, sex, and transformation.

What's your favorite/least favorite thing about making music?  

In the best case, music continually surprises me and lets me touch or approach something I didn’t know I could. Like with this album—you kind of have to take a leap of faith when making music, but if you do, you’re often gifted with so much in return.

The one thing I hate about making the music I make is that it’s not economically sustainable—and it never will be. I can’t do it all the time like I would love to.

If you had to describe your music using three words, what would they be?

Defiant, aching, joyful.

3 things you can’t live without in your bag

My hormones, my antidepressants, and my sleeping pills.

What are you listening to at the moment?

Lately, I’ve been stuck on Klara Lewis’s track “Thankful”. It’s an incredibly beautiful, lush piece, full of longing, sadness, and despair. Despite that, I always come back to Cleo Sol’s “Mother” every other day. Both give me a sense of calm, which I desperately need.

TRACE - t4tears out now

Connect with TRACE on Instagram, YouTube, Website

Fi McCluskey: Raising Awareness on Postnatal Depression

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Fi McCluskey is an emerging singer/songwriter from the UK, known for her honest and heartfelt music. Born in Dagenham to Irish immigrant parents, her songs reflect a raw authenticity that resonates deeply with listeners.

McCluskey has worked with big names in dance music such as Josh Caffe and Horse Meat Disco, on their track, ‘Love If You Need It’ (The Mousse T remix is now at 2.4M Spotify streams).

She also wrote the standout track, ‘It’s Quiet Now’, on Honey Dijon's latest album, which now has over 4M streams. Fi has been building her reputation with compelling live performances, recently supporting Warmduscher at the O2 Forum and headlining the Roundhouse in Camden with Horse Meat Disco.

McCluskey’s single "Die Young," released in September 2024, addresses the challenges of postnatal depression. Described by the Irish-British singer/songwriter as a mantra to reassure women they are not alone, the track also features a remix by Hannah Holland.

Die Young’ is accompanied by a music video, directed by David Hughes. In it, Fi sits naked rotating and covered in tattoo-style chalk body drawings of eyes and women, hands, feet, and profound words. This black-and-white scene cuts back and forth with beautiful shots of Fi out in nature next to the seas, throwing pages to the wind.

What’s the story behind "Die Young"?

I wanted to shine a light and draw attention to postnatal depression as it is one of the mental health issues that goes unnoticed in society.

We have a lot of dated ideologies around motherhood, parenthood. I like to call it the ‘Hallmark Film Effect’. People believe that as soon as you have a child, you're going to feel this overwhelming sense of love and it's going to be the happiest day of your life.

This actually isn't the case. All of a sudden, you've got this kid, and your whole life has changed. It's a mixed bag of emotions—your body's just gone through this massive change. You're feeling very vulnerable, and society can seem very, very indifferent. There is still a lot of outdated thinking surrounding women's health and motherhood and the subsequent pathologization of pregnancy.  Post natal depression is extremely common but still remains in the dark. 

With Die Young, what I wanted to do was share a message of empathy: look out for mothers and pregnant women. The fundamental message is solidarity and empathy. We've got your back. You're not alone. Having helped numerous friends through this anxious time, I found that the simple act of conversation—letting someone know you've got their back and they're not alone—can make all the difference. There is help out there but it is not accessible to all.

What’s your favorite way to unwind when you’re not making music?

If I'm not writing music I'm listening to it.  Don't get stuck listening to the same genre, dip your toe out of it's normal pool and get it wet somewhere else.

What’s your best advice to emerging artists?

My advice to emerging artists is simple: make the work. Don’t worry too much about what others are doing. Focus on your own path, and you’ll feel much happier and more fulfilled. Be authenticity and be true to yourself. When you start creating, stay grounded in your values. And a message to young women: support one another. Have each other's backs.

What’s your best networking tip to connect with the right people in the industry?

If you're riddled with social anxiety, don't drink. Start by talking to somebody you know; it's an easy way in, and then just go for it, you know. Always go for it, but always say 'Nice to see you,' never 'Nice to meet you,' just in case you’ve met them before. That’s happened to me way too many times, and people can get very touchy about it.

3 artists who inspire you.

Patti Smith—I think if she ran the world, we’d live in a very pleasant space, to say the least. Her poetry, her music, her ethos—she’s just incredible. I saw her live, and I’m pretty sure she has, like, channeling powers. If she told us to jump into a mountain, I definitely would.

Annie Lennox is another one. She’s been so vocal about what’s going on in Palestine. She’s posting nearly every single day, calling out genocide, which I think is so admirable. Meanwhile, so many big names have been completely silent, which is completely messed up, in my opinion.

Thirdly, I’d like to draw everybody’s attention to an amazing artist called Penny Slinger. In her own words, she calls herself a feminist surrealist. Her work spans sculpture and collage, and she is a real trailblazer. I recently saw an amazing documentary about her—it talks about how she sort of disappeared. So do check her out!

Three things that I cannot live without.

My headphones, red lipstick and a small handbag wine.

Connect with Fi on Instagram | More Links

Chaos Is Her Name: BINA’s Cinematic Soul and Creative Journey

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Photo Credit: Erea Ferreiro

BINA first emerged in 2019 with debut EP Humble Abode; the project’s experimental production and strong artistic direction marking BINA. as a fresh and unorthodox voice in the soul music space.

Taking inspiration from the likes of Tame Impala, Solange and BADBADNOTGOOD, BINA has continued to forge her own creative path, releasing the This Is Not A Film EP in 2021. Since then, she has continued building her catalogue, releasing singles throughout 2022 and 2023, as she matured as a songwriter, vocalist and musician.

As an artist who understands the power of community and collaboration, BINA has worked with a number of contemporary talents including Lex Amor and Intalekt.

On project ‘Chaos Is Her Name’ BINA collaborated with Subculture, Jaye Locke and Teo on production, and then features and performances from Essence Martins, Leonie Biney 9DAYS and Tora-ithe EP invites listeners on a captivating journey, highlighting BINA’s multifaceted character and artistic vision.

Throughout the EP, BINA. embraces her journey of self-discovery, exploring themes such as anxiety, imposter syndrome, and the complexities of love. “This project establishes my position as an artist in the Indie/Alternative scene, fully introducing my 'Indie-Soul' sound to the world,” she shares. “On an emotional level, it’s a project in which I reintroduce myself to myself—the woman I’ve become over the past few years since the last project and the meandering journey it’s taken to get here.”

This release marks a significant step forward in her career, receiving critical acclaim for its innovative sound and emotive storytelling.

If you had to choose 1 song from Chaos Is Her Name to play forever, what would it be?

Ahhh, that’s difficult!! If I had to choose, it would be Bossy - I think the beat and the hook melodies are so infectious; there are so many different types moments in my vocals and I love how I was able to sneak some pretty heavy subject matter into a pretty lighthearted, kinda whimsical writing style. Also gets straight to it with what I wanted it to do: make you move, feel good and escape into a flood of sound so visual that you can almost write the movie scene that could go with this song!

You have worked with Subculture on this EP—what’s the most important thing for you when collaborating with someone?

Yes, big up Subculture - and the other two producers on the project, Jaye Locke and Teo! When I’m collaborating with people, it’s important that we understand each other both artistically and personally. It’s important that both our ways of creating a come together harmoniously, that we trust each other enough to experiment and also bring the best out of each other. The clues to whether or not that will happen are in the small things: how we talk to each other and what about; what happens before the session even starts. In the case of all the producers I worked with on this project, we chatted quite a lot about different things, not even related to music.

In my sessions with Subculture, we almost always listened to an entire album on vinyl, before I even opened my notebook, before he even turned to the desk! We also allowed ourselves to take more time in session; wrap early if we reached saturation point or were experiencing challenging emotions or life event.

We let the emotions guide us in all the sessions. And Sub and I had so many sessions from autumn 2023 to summer 2024; I think his commitment to bringing my vision to life and building parts of my sonic world with me also really helped us make such great music; me and all the producers I worked with really cared about the project.

Describe your music in 3 words.

Alternative, intoxicating, cinematic.

Tips for finding your creativity on a tough day.

Step away from the art for a second and look after yourself. Or on the other end of the spectrum, lean into what’s making the day difficult; sometimes making art on those days can be the most cathartic, therapeutic thing you can do. But whichever option you choose has to be most in favour of what you the artist needs most to feel better.

An album that's changed your life.

Wheww, there are many! But I would say “Choose Your Weapon” by Hiatus Kaiyote really built the foundations for my current music taste when a friend of mine put me on to it in the context of heavily sampled albums (Kendrick, Drake and Anderson .Paak have all sampled songs from this album). The same friend also put me onto “Malibu” by Anderson .Paak, which is up there with some of the world’s most perfect albums for me. Also any album I have on vinyl has probably changed my life at some point along the way.

What’s your best networking tip to connect with the right people in the industry?

Everybody you meet is a human before the job title, vocation they hold, or “thing they do”. Speak to and treat them as such; show love when you come across work you love - show it freely and without ego. And try to keep an open, curious mind when connecting to people whose work/art is new to you. That’s how the connections become genuine and not just transactional for me.

Photo Credit: Erea Ferreiro

What's your favorite/least favorite thing about making music?

Favourite thing is always feeling lighter for having healed yet another part of myself; a part that I often don’t know needs healing until I make the song and channel the feelings, thoughts and experiences into the lyrics and music making. Allowing myself to be playful in the music making; I love that.

My least favourite part is fighting between my desire to remain artistically present in my marketing, and getting the point across in the quickest, most efficient way that still shows I care about what I’m putting out there. It’s hard sometimes, I won’t lie.

Also sometimes I don’t feel like trying hard to be get myself more out there, but I still do because I know it’s a privilege and I’m grateful to have autonomy over my success in many ways; I don’t have to wait for someone to push the “GO” button on my career because I can do if I really want to and feel ready to. I take breaks to recharge and come back at it. But yeah, the crossover between the art and the career-building can be exhausting sometimes.

What are you listening to at the moment?

Doechii’s new tape “Alligator Bite Never Heal”. “Forward Ever” by Lex Amor. I’ve also been going back in time too: “In Rainbows” and “Everything In Its Right Place” from “Kid-A” by Radiohead have had me hooked for a little while now; and recently came back to “One-4-Teen” by Bahamadia and Slum Village. Lots of Saya Gray and Sampha, and I also live off recommendations from friends and close ones! So many songs, so many albums - too much heat to list it everything here, lol.

3 things you can’t live without in your bag

Lipgloss, headphones and something to write or doodle on!!

Connect with BINA on Instagram |

Miranda Joan's Soulful Storytelling Through Music

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Miranda Joan is a Brooklyn-based singer, songwriter, and musician. Born in Montréal and raised on Vancouver’s north shore, she developed her songwriting through personal experiences, shaping a unique blend of Soul-Pop. Influenced by artists like Bill Withers, Stevie Wonder, Carole King, Anderson Paak, and Little Dragon, her music combines classic and contemporary styles with intricate songwriting and playful production.

Miranda’s self-released album ‘Overstimulated’ has garnered over 500,000 streams since its release in November 2023. Following the release, MIranda has pressed and distributed the album on special edition red vinyl, headlined London’s 100 Club, supported Adi Oasis in New York and performed at SXSW as part of the Submit Hub showcase.

Miranda recently joined our community as a winner of the 10th Anniversary competition we ran with Marshall, celebrating a decade of shesaid.so. She is currently on tour with The Killers as a backing vocalist.

Touring can be both exhilarating and overwhelming. Do you have any tips for artist on tour?

Touring is absolutely both of those things. Overstimulated is the album title but it has also been my constant state of being. The best advice I can give is to hone in on what things ground you and find time for them. It has to be flexible but a couple things that I try to honor on the road are a morning routine and before bed routine. Otherwise, in the chaos and movement of it all, it’s easy to feel out of control. Small things like exercise, journaling, time to talk with loved ones, down time and trying to eat well can help create some balance. I want to do my best job on stage and balance it with time for myself and my art when I’m off the road. It’s an ever-shifting target that requires adaptability, patience and focus. Also, bring vitamins and supplements!!! All the immunity boosting things - very helpful :) 

If you could choose one song from your album"Overstimulated" to highlight, which would it be and why?

I think it would be fitting to highlight my song “She Knows” for the shesaid.so family. It’s an ode to the female friendships in my life; the ones that keep me grounded; those who truly know me. I think this community is in many ways rooted in the idea that we can’t do it alone but together there’s a limitlessness to the possibility of what we can create. I get by with **a lot** of help from my friends; my family, and this song is about the growth we’ve lived together and also the simplicity and innocence of the beautiful things that we were so connected to as young people. Things that still live within us beneath the noise we onboard as we grow up. Every time I get to sing this song is a moment of tending to those beautiful things. It feels like a chance to pull the weeds from my spirit. 

What’s your favorite/least favorite thing about making music?

My favorite thing about making music is really just that - making it. I love the process of creating. I love being in the studio, I love working on things. It’s so pure and real. I think it’s the thing that keeps me in the game because when I’m actually creating there’s nothing else I’d rather be doing. The best feeling is the excitement of a new demo, one you listen to on repeat with all the jitters and butterflies of falling in love. Not because it’s “good” but because it feels good; to exercise this part of yourself, of your life and experiences, the good, the bad and the between, and make music out of it. It makes the living feel all that more deep. 

My least favorite part… well that probably depends on the day, ha! But I’d say that releasing music is the most challenging. That’s when expectations start to creep in. When you share your music you are inevitably welcoming in feedback. Sharing is half the beauty because that’s when you get to see the songs take on new life; when they are no longer yours but something that others can find themselves in.

What’s challenging is the pressure that is both put on us as artists and that we put on ourselves to be successful in some very specific ways. It feels like the unspoken expectation amongst artists is some version of commercial success and the very spoken desire is to be able to live off of our art. Both of these things are incredibly hard to do and so it’s easy to reduce your work and, by osmosis, yourself, into something small, not good enough; unworthy. It’s so far from the place of creation and so I try my best - with loads of support from my loved ones - to stay rooted in the reasons why I make music at all. It is my greatest love but I am human and not impermeable to the noise and numbers we are constantly forced to judge ourselves by. It takes great mental fortitude to continue to find forward motion; to not give up on yourself.    

What’s your best networking tip to connect with the right people in the industry?

Be a good person and an even better friend. Find the people who inspire you to be the best version of yourself and show up for them. Not for gain but because those relationships, one of true and genuine exchanges of energy and love, will make you feel good, make life livable, and be your greatest source of strength in whatever you do. Maybe this is bad advice, but it is my very real relationships that have gotten me the farthest in my career so far (big shoutout to my people - I love and appreciate you and I am always rooting for you).

If you had to describe your music using three words, what would they be?

 Soulful, silky and story-driven. 

3 people who inspire you

My mom, my brother, Martha Cleary.

3 things you can’t live without in your bag

Phone (yuck but it’s sadly true), airpods, lip chap. 

An album that changed your life

Honey by Robyn

What are you listening to at the moment?

Currently, I’ve been swept up in the monoculture - BRAT, Rise & Fall of a Midwestern Princess, and the Wicked soundtrack have hit hardest for me. When I need to escape and feel cozy, I return to some of my favorite artists like Emily King, Stevie Wonder, Anderson Paak., Robyn, Donny Hathaway, Little Dragon, the list goes on.

Follow Miranda Joan on Instagram | Website

Alt-pop's girli on "Matriarchy" Album: Queen Edition

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Singer, songwriter and cult figure girli is a frontrunner of the next gen of alt-pop music and ambassador for the LGBTQIA+ community.

girli released her evocative new album Matriarchy earlier this year and on November 22nd she released the deluxe edition, Matriarchy: Queen Edition led by new singlex '2 Year Itch' and ‘Bulldoze’.

She also recently launched the online experience the girliverse - an innovative digital platform where girli’s community of fans can interact, socialise and keep up to date with the latest happenings in ‘Matriarchy Mansion’ - and uses the platform to have conversations around feminism, sexuality, identity and mental health.

Having full creative control over this project, what’s been the most liberating or challenging part of building the world of Matriarchy?

The most liberating part has been collaborating with so many incredible women and queer people to bring the music videos, artworks and shows to life, and feeling like the vision was executed exactly how I imagined. The most challenging part has been fighting the censorship that social media sites and algorithms place on my content while I’m trying to promote the album.

With the North American tour ahead, how do you prepare for the tour?

I do a bunch of thrifting to put together my tour outfits and find props & dressing for the stage, I rehearse with my fabulous band, and I drink a ginger/turmeric shot every day because getting sick can WAIT.

What’s your favorite way to unwind when you’re not making music?

Going on snowboarding, surfing or camping trips in my micro-camper van. I converted it with my dad using tik tok & youtube videos as guidance - it’s my little home on wheels! I love being in nature, outdoor activities and animals so much. They fill my cup up when it’s empty.

What are you listening to at the moment

The new 070 Shake album Petrichor, Katie Gavin’s new album What A Relief and the latest Sabrina Carpenter album Short n Sweet. Women makeup about 95% of my Spotify library!! 

What advice would you give to new artists trying to grow in the industry?

The industry has changed so much since I released my first songs and that wasn’t even that long ago - TikTok has changed everything. So it’s really hard to give advice because I’m still navigating how to grow in the industry - and I often still feel like a new artist. 

NOURI: My Music is Vulnerable, Honest, and Meaningful

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NOURI is a Kurdish singer and songwriter whose journey began in a Syrian refugee camp, where she was born and lived until the age of three. Her career in the global music scene started in 2018 with her debut single, "Where Do We Go From Here," which gained international attention, hitting #1 on multiple charts and marking her as an artist to watch.

Her latest single, "Change In Your Name," is a gospel ballad that reached #4 on Billboard’s Gospel Digital Chart and amassed millions of streams. In the newly released music video, NOURI’s performance captures the emotional weight of the song’s message about faith and transformation.

In this short Q&A for shesaid.so, NOURI speaks about her connection to her roots and how music continues to be her form of expression and healing.

How have those early experiences at the Syrian refugee camp shaped your approach to songwriting and music?

I would say, more so now than ever. It's definitely shaped it in a way where it's a lot more honest and vulnerable. If you don't hear it in the lyrics, you definitely hear it in my voice. I feel like you can hear the experiences in my voice and the feeling that I'm able to give these songs. I'm very grateful to God. I wouldn't be here without God. Looking back at where I've come from, to the positions that God has put me in, I'm very, very grateful, and my songs definitely reflect that more now.

What’s the story behind your single“Change In Your Name”?

I wrote the song in December of 2023 at a very low point in my life. I felt very lost and alone, and it was me simply having a conversation with God, more like a prayer, if anything. And the song just simply happened. I wrote the song in two hours and it's definitely my favorite.

What's your favorite/least favorite thing about making music?

My least favorite is writer's block, because there's nothing worse than going to the studio or setting up to write a song and then nothing comes to you. There's got to be the worst. And then the best thing, I would say, is being able to be so creatively free. As musicians, as artists, as writers, you can go into the studio and literally write about anything, and I think that's pretty cool.

What's your favorite way to unwind when you're not making music?

I would say is to be out in nature. I love being at the beach. I love going for hikes. You know? I love going to the gym. But there's just something about being in nature that really helps me feel at peace and just to kind of forget everything and reset. So definitely nature.

If you had to describe your music using three words, what would they be?

Vulnerable. Honest. Meaningful.

3 things you can't live without in your bag.

My lip liner, my lip balm, and also my blush - I seriously, I can't leave the house without it. If you look at my bag, it's just kind of “On the Go” makeup. That's my that's my thing.

What are you listening to at the moment?

At the moment, I listen to a lot of worship music. I love listening to instrumentals, jazz music in the morning. As a musician, you would think I listened to different types of music, but I'm not. I think it gets a bit much for me, so I just try to keep it simple at the moment. Billie Eilish for sure!

Follow NOURI: Instagram | TikTok | Spotify

Filah Lah Lah on Creating the First Ever Visual Album by a South African R&B/Soul Artist

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Emerging R&B and Soul artist Filah Lah Lah dropped her debut album On Air in May. Shortly after, she released the first-ever visual album by a South African R&B/Soul female artist, performing all 18 tracks in a 36-minute film that invites listeners on a journey of self-discovery, blending soulful melodies, introspective lyrics, and striking visuals.

Filah Lah Lah’s musical journey is rooted in her childhood, heavily influenced by her father’s love for Jazz, Funk, and Rhythm and Blues. Exposed to legends like Nina Simone, Miles Davis, Marvin Gaye, and Smokey Robinson, Filah has developed a distinctive sound.

In this Q&A, we caught up with Filah Lah Lah to dive into the creative process of her debut album On Air.

What’s the story behind your debut album "On Air"? 

On Air is really an archival ode to media. Media had a huge influence on my wanting to be an artist and I wanted to explore that in an artistic way. 

What influences your sound? 

My parents’ love for Jazz and Funk had a huge influence. I’m a student of black music in general and that’s definitely because of my parents and the love they had for it. I wanted to emulate that love.

We love that "On Air" has a visual film! What was the creative process behind?

The sonics were already giving movie to be honest. We just followed suit visually and it all just made sense.

If you could play only one song from “On Air” forever, which one would it be? 

Vaughn’s Song for sure. It took me a while to write a song about my late brother and I i’m still feel like Vaughn’s song doesn’t articulate those feelings in the best way but it’s close and I know he’d be proud of it.

What’s your best networking tip? 

Don’t worry too much about how you’re being perceived. Image may be everything but when you’re so concerned about it I think it can take away from the essence of who you really are. I’m a yapping oversharer who likes to make people laugh and honestly that’s been one of my greatest networking tools - within reason of course.

For more information on Filah Lah Lah

Instagram | Twitter | Tik-Tok | Apple Music | Spotify

Ni Maxine's Afro-Centric and Soulful Sound

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British Neo-Jazz singer-songwriter Ni Maxine (hailed as a "Black Woman at The Forefront of the UK Jazz Scene" by Black Ballad), is sparking intergenerational conversations through her music, exploring themes of home, identity, self-esteem, and belonging.

Often compared to Billie Holiday, Sade, and Erykah Badu, her political lyricism and timeless vocals have taken her to the main stages including Liverpool's Africa Oyé, Gilles Peterson's 'We Out Here,' and the EFG London Jazz Festival as well as a BBC Introducing 'highlight' live session, a Manchester Jazz Festival performance broadcast on BBC Radio 3's J to Z, and a live appearance on BBC Radio 4's 'Front Row’.

Her award-winning debut single 'Strange Love,' supported by tastemakers Jamie Cullum (The Jazz Show), YolanDa Brown (Jazz FM), Jamz Supernova, and China Moses (Jazz FM), was played across Jazz FM, Radio 1, 1Xtra, and Selector Radio, marking Ni Maxine as an artist to watch.

Ni Maxine has returned with a new single, a reimagining of ‘God Bless The Child’ and a slew of live performance dates off the back of sold-out live shows.

What initially drew you to music, and how did you decide to pursue it as a career?

Music has always been a huge part of my life, but a career in music isn’t something I really considered until that gap between lockdowns in 2020, if I remember rightly. I went busking to raise some money to pay off a debt and it led to me being offered a residency at the coolest coffee shop and wine bar in Liverpool, Ropes & Twines. I’d invite all of my friends down and I'd sing jazz standards and a handful of Amy Winehouse songs that I loved, with my guitarist, and drink Riesling (I used to drink wine, back then) and it caused a ripple effect because lots of bars and restaurants invited me to sing. It wasn’t long before I started to weave a few original songs into my sets that I’d written in lockdown, and people seemed to like them. I then got to the point, later-on, after pouring my heart out every Sunday to a room full of people who were not listening, that I decided to pursue my career as an artist. I have something to say, and I want people to hear me.

As co-founder of The Wombat Jazz Club, what do you aim to achieve with its monthly events and initiatives like 'The Jazz Project' and 'TOGETHER'?

I always feel selfish when I say this, but I simply wish to create the kind of spaces I needed as a young person, but didn’t have access to! I just want to create spaces where everyone feels welcome and allowed to express themselves, freely. It’s simple! I love jazz music and sometimes feel like it’s been taken out of context, out of the hands of the people it originated with, Black people, and like the idea of saying ‘Hey, Jazz is a Black art form, give it back!’ So yeah, that is the thread that runs through my curation decisions when it comes to programming events for ‘The Wombat Jazz Club’.

How do you balance your roles as a performer, songwriter, and co-founder of The Wombat Jazz Club?

With difficulty, at times, to be honest. I’m writing this through eyes filled with tears. It can be so overwhelming managing all of the logistics for live dates, with session musicians and tight budgets, and doing interviews and sessions on radio as well running events on the side, but I’m building a team around me, and I am hoping it all falls into place soon!

What advice would you give to artists that are just starting out?

My biggest advice to artists starting out is to be confident in your art, what you’re trying to say and how you’re saying it. Everyone will have an opinion, but your art is ultimately about you. If you like it, it’s good enough. Remember that!

Tips for finding your creativity on a tough day

Lean into whatever it is that is making the day difficult and put pen to paper. I hate to be one of those people who says that journaling really helps, but it really does. I think sometimes, I have to remind myself that whatever I write might not turn into a masterpiece, but it might help clear whatever is creating a block.

3 things you can't live without in your bag

  • My airpods

  • Lipgloss

  • A spare pair of knickers

Upcoming Live Shows

23 November 2024 - EFG London Jazz Festival

Connect with Ni Maxine

FACEBOOK / INSTAGRAM / WEBSITE / TIK TOK / X

IYAMAH's Rootsy Soul Sound and Debut Album, 'In Two Worlds'

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Brighton-born, London-based vocalist and songwriter IYAMAH is carving out a unique soulful R&B sound she calls Rootsy Soul.

Growing up on the sounds of African drumming and reggae music, IYAMAH began to use song writing at the piano as a way of diary-like expression age twelve. By sixteen, she started writing top lines for DnB tracks with Brighton-based label Shogun Audio.

She went on to feature on My NuLeng’s “Senses”, touring the summer festivals including Glastonbury and SW4. In 2024, she has collaborated with Pola & Bryson on “Too Shy” and with DJ Zinc on “Stubborn”.

IYAMAH moved to London aged nineteen to study at the Institute of Contemporary Music Performance, winning scholarship award for best vocals. She has since been handpicked to tour with the likes of Masego and Mahalia, recorded live sessions for Metropolis Songs, Redbull and Majestic Casual, and sold-out multiple headline shows including The Jazz Café and OMEARA. She has accumulated over 20 million streams and received continuous support from Yazmin Evans and DJ Ace (BBC 1Xtra).

Her debut album, 'In Two Worlds,' delves into her relationship with her past and inner child, exploring themes like nature, success, spirituality and mental health.

Congratulations on the release of your debut album ‘In Two Worlds’! You mentioned that the album started with a Tarot reading. Can you tell us a bit about the inspiration behind the album?

Yes ‘in Two Worlds’ started off the back of a tarot reading. I was feeling torn between my dreams and my reality, so I guess it helped me to make sense of how I was feeling at the time and give a perspective I needed to hear. It was mental how the three cards completely reflected my situation at the time and gave some insight into my past, present and future. I decided to base my two worlds on the imagery that was presented to me that day 

‘In Two Worlds’ explores a variety of themes including nature, success, and spirituality. How do these themes reflect your personal experiences and growth as an artist?

My songs are always reflecting where I’m at in my life, or where I was when i wrote it. Nature is something I always come back to, it’s what grounds me, it’s always there whether you see it or you don’t. But my relationship with success is a little more complicated, it’s something I’m still figuring out today. Sometimes it’s important to me and sometimes it isn’t. Spirituality is always evolving and growing into different things each day and then you realise it’s all the same thing. You go in and out, up and back down with all of the above. Nothing is everything and everything is nothing! 

You've described your sound as "Rootsy Soul". What does this mean?

Well my music comes from my roots, it’s all the genre’s that inspired me growing up, reggae, hiphop, soul, jazz, and of course soul. 

As a newcomer in the music industry', can you share a special moment from the album's creation that really stood out to you?

It’s always special when the project finally clicks in to place. For so long it’s just this idea and all these thoughts going round in your head, and it can get confusing, the lines start to get blurred, and it’s easy to overthink and start questioning everything. Until it just makes sense. That’s a beautiful thing when you finally see it for what it is. But I think the most special part of this whole experience has been touring these songs with the band 2 years after it all began. They really brought new life back to the songs which gave me the spark again, and reminded me of how I felt when I first wrote these songs 

What is your top networking tip for connecting with the right people in music e..g a manager or a record label?

If you are your authentic true self, the right people will naturally gravitate towards you. Take note of those who cross your path, because it’s most likely for a reason. One thing that always sticks with me is what I was told that everyone you meet has something to teach you

What's your favorite/least favorite thing about making music?

I love everything about the making of the music, the thing I don’t like is the pressure of money and time 

3 artists you’re currently listening to

Mansur Brown, Bas, Famtoumata Diawara 

3 things you can't live without in your bag

Lip balm, sunglasses, Gucci guilty 

Tips for finding your creativity on a tough day

Go for a walk, then use voicenotes 

Your top advice for new music producers/singer-songwriters etc as an emerging artist

Follow your gut, listen to your intuition and your own voice. Just be yourself and connect with people who make you happy and bring out the best in you 

Up Next: Britney Manson

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Photo Credit: Milena Zara

Multi-talented artist, model, influencer, and provocateur, Britney Manson began her music career in 2021 with the release of several singles, including collaborations with Bill Kaulitz (Tokio Hotel) and Tubegirl.

As a trans model and influencer, Britney earned opportunities on prestigious runways, including Paris and Berlin Fashion Week, and campaigns with Italian fashion houses Valentino and Etro. Britney has a rapidly growing fanbase boasting 2.5M followers on TikTok and over 4M monthly Spotify listeners.

Britney Manson, has released her latest single ‘American Dream,’ which will be accompanied by her first-ever music video (out April 19). The single follows her viral hit ‘FASHION,’ which to date has garnered over 120M streams globally.

Drawing from her own experiences and aspirations, ‘American Dream’ channels the relentless pursuit of success. Reflecting on her journey, Britney explained: “I want to be the most mainstream from the underground artists and most underground from the mainstream ones, that’s Britney fucking Manson!”

What’s the story behind your latest single ‘American Dream’?

This song is all about the dreams of being successful! It’s all about being unstoppable, “do or die” when it comes to your goals. I wanted to create the whole song as if it was a crazy insomnia, telling you “hold me…what you are waiting for? You can get me, but you need to work so hard! I am your dream!

‘American Dream’ nods to the sounds of the late 2000s and early 2010s. Aside from Britney Spears's 'Blackout' album what are 3 things that inspire you from that era?

At first, the one and only, Tokio Hotel- Humanoid album. It’s so underrated, but it’s one of my top-3 albums so far, even the best one. Up next is “Born This Way” album by Lady Gaga, it has a crazy influence on me as an artist. Kazaky, Far East Movement, Robyn, Will.i.am, Nicola Formichetti, Gareth Pugh…there’s a lot of inspiration! Early 2010s are so underrated, so lemme bring it back xx 

You’ve walked prestigious runways and worked with top fashion houses. How does your experience in the fashion world influence your approach to music and performance?

I’m addicted to the fashion industry since I can remember myself. I mean it’s not only about the clothes- it’s a different world, and you can be whatever you want, just create your own outfit and put some glitter on! I’d like to describe my music as a fashion core- I want to bring all the fashion energy into the music world. 

If you were to send a message to new fans to know you and your music better, what would that message be?

At first- thank you for listening, and welcome to my world! And Up next-Please read my lyrics, they’re so meaningful! Read every single word, it’s there for a reason.

A moment in your career that had the most impact on your work.

The morning when I was reached by Billboard and had a Vogue article. I’ll never forget this day.

What is your most valuable piece of advice for new artists?


 Stay on your side. Do what YOU want, the time will come!

3 women who inspire you

Lady Gaga, Britney Spears, Natasha Poly

What would a dream music collaboration be?

Lady Gaga and Tokio Hotel. 

3 things you can't live without in your bag

My lipgloss, cigarettes and AirPods 

What's one genre or style of music you haven't explored yet but would love to experiment with in the future?

Unpopular fact, but I’m listening to rock music during my whole life! Green Day, Linkin Park, Blind Channel, Evanescence, Quantic…it’s so unexpected, ikr :) not sure I’d like to switch my genre to rock only, but I’d love to try at least once!

Listen to American Dream

Britney Manson in social media: TikTok & Instagram

Website: https://britneymanson.com

Artist Spotlight: Salle

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Nigerian artist Salle has amassed a growing fan base with her debut track "Icon," which gained viral attention on TikTok and Spotify. Following the success of the song, Salle released her second single, 'Countdown.'

Produced by Monro and mixed by JAE5, 'Countdown' serves as a preview of Salle's upcoming debut EP. The song is a reflective exploration of impermanence and the significance of embracing the present. Salle's vocals dazzle on this track, cementing her status as an emerging talent worth keeping an eye on.

How did your viral street performance in Lagos influence your decision to pursue music professionally?

It made me grow passionate about music as I’ve neglected and never believed in my talent, after the video went viral I Dre so much strength from everyone who supported me and believed in me.

What 1 valuable lesson have you learned as an emerging artist?

One valuable lesson I’ve learned as an artist is not to acknowledge any kind of pressure whatsoever. It’s me versus me and I’m doing my best to be the best version of myself.

What is your top advice for new music artists 

Be yourself, acknowledge every feeling and every experience you may meet positive or negative and in all improve your craft it’s the only thing that makes us artists.

If you could collaborate with any artist, who would it be and why?

I’d love to collaborate with lots of amazing artist but since I have to pick one off my list it’ll be “Rema” because of his mysterious tune that I enjoy.

Can you share a favorite moment from your journey in the music industry so far?

A favorite moment from my journey in the music industry so far will be the when I put out “ICON” it was the most liberating and remarkable so far.

What are your goals for the future as you continue to pursue your music career?

My goal for the future is to keep improving in my sound and in all aspect of my life.

3 things I can’t live without in my bag

Sunglasses, perfume and cash.

Artist Spotlight: Kelly Moran

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Kelly Moran, shot by Brandon Bowen

New York-based composer and producer Kelly Moran has spent the past decade challenging traditional piano conventions with an experimental approach.

Moran has collaborated with artists such as Oneohtrix Point Never and FKA Twigs, composing for classical musician Margaret Leng Tan and working with contemporaries like Kelsey Lu and Yves Tumor. Her solo albums, "Bloodroot" and "Ultraviolet," have explored extended piano techniques and received critical acclaim across various genres.

Her upcoming album, "Moves in the Field," moves away from prepared piano techniques and instead focuses on a more experimental use of the instrument, similar to her previous work on "Ultraviolet."

The inspiration for "Moves in the Field" originated from Moran's experience composing a piano duet with Missy Mazzoli in early 2020. During this collaboration, Yamaha Music loaned her a Disklavier—a state-of-the-art player piano, capable of surpassing human capabilities in composition.

During the pandemic, Moran began composing with the Disklavier as her duet partner in isolation. The duets between Moran and the Yamaha Disklavier embody her pursuit of both technical precision and emotional resonance, creating an interplay between human performance and the Disklavier's automation, resulting in multi-layered compositions.

Influenced by both classical minimalism and contemporary electronic music, "Moves in the Field" serves as a bridge between two distinct musical worlds. Mixed and recorded by Dan Bora (known for his collaborations with Philip Glass), and mastered by Joshua Eustis of Telefon Tel Aviv, the album exemplifies Moran's bold artistic vision and technical prowess.

"Moves in the Field" marks a departure from Moran's previous works, positioning her in a compositional league of her own. The album explores themes of humanity versus technology and the interplay between technicality and musicality. Released under Warp Records, it firmly establishes Kelly Moran as a leading figure in modern music.

What sparked your transition from prepared piano to the Disklavier piano, and how did it inspire the new direction for "Moves in the Field"?

My last record was music for prepared piano and electronics that was based heavily in improvisation. When I set out to make a new record, I intended to make another album exploring prepared piano, but this time with more repetitive song structures and loop-based grooves to evolve the rhythmic feel of the previous record. All the music from Ultraviolet was so loose and unmetered, and I wanted to create music people could dance to. But unfortunately after I began writing the record in this direction, I became bored and uninspired by the prepared piano because the pandemic hit. I needed fresh inspiration to feel motivated, and working with the familiar sound of the prepared piano wasn’t doing it for me.

Around this time, Yamaha loaned me a disklavier player piano, and it provided a new way for me to compose and interact with the piano. I suddenly had a flood of new ideas that I wanted to explore, and it was then when I decided to abandon the prepared piano music and head in a fresh direction. 

The album title draws a connection to skating rudiments. How does this thematic element tie into the music and what role did the Disklavier play in bringing these movements to life?

I started figure skating as a hobby a few years ago, and all skaters learn basic patterns to master control over your blade edge. These patterns are called Moves in the Field, as the ice rink is often referred to as the field. You’re supposed to practice small simple patterns so you can build up your skills to achieve more intricate, difficult moves. I saw a lot of parallels in the process of learning to skate and learning how to play music - moves in the field are like scales and arpeggios for musicians.

When I started working with the disklavier, I would often record a simple pattern and then complicate it by adding layers, so it reminded me a lot of the practice of building up skating skills so you can skate more difficult elements.

How did you use the Disklavier in these compositions?

A Disklavier is a player piano that allows you to record your performance and have the piano play it back with expressive and dynamic accuracy. It uses an advanced system of MIDI to translate the touch of a pianist to MIDI information and have the playback sound identical to the performance that was played into it.

One of my favorite aspects of working with this piano is being able to listen to my music being played on the piano from the listener’s perspective. As a pianist, I can be very emotional and get swept up in the music I’m playing because it feels so good physically. But this doesn’t always sound the best from the listener’s perspective - some songs need more sensitivity and control, and I wouldn’t realize this if I weren’t able to listen back to my playing the way the disklavier plays back my performances. 

Did you encounter any challenges or revelations during the compositional process?

When working with a player piano, it’s very tempting to want to over-correct in the editing process. You have the ability to record a take and then delete all your wrong notes, or correct your dynamics. But the more you edit your playing, the less human it sounds, and I had to find a middle ground between perfection and expression.

Moves in the Field seems to bridge classical minimalism with modernized and synthesized textures found in electronic music. How did you balance these influences?

I like to write a lot of dancey patterns that might be found in techno or other dance music - I was working a lot with my synth arpeggiator on early versions of the music. It was fun sending these MIDI patterns to an acoustic piano because it’s the kind of music I would never physically play on the piano, but still sounds very satisfying to listen to. I used a sub bass as the only non-piano sound on the album just to add a bit of weight to the low end because I wanted to keep the focus on the purity of the acoustic piano sound.

The album is mixed and recorded by Dan Bora, known as Philip Glass' sound engineer. How did this collaboration impact the overall sound of Moves in the Field?

Philip Glass has been a huge inspiration for me as a composer and his music always sounds incredible. Because this record is more reliant on the acoustic piano sound and less on electronic elements (than a low of my past works) I wanted to try to work with an engineer who was very experienced in mixing classical music. Dan was extremely thorough and mathematical in his mixing, which is very different from my approach, but I learned so much from him about all the little ways you can make a piano sound better on a recording!

Kelly Moran, shot by Brandon Bowen

Does this album mark a departure from your previous works, defining a new sound? 

It doesn’t feel like a total departure to me, honestly. I’ve made a lot of records and most of them exist in their own unique sound world. This record felt like going back to my roots as a pianist, because piano was the first instrument I ever learned and so much of my experience as a composer has been about combining the piano with other sounds, or manipulating its sound in some way. I tried to restrain myself in some way by working only with the acoustic, natural sound of the piano as the main basis for the pieces, instead of relying on electronic or synthesized sounds.

As a musician, do you draw inspiration from other genres?

I listen to a lot of music, and most of it is not in the vein of music I write. I think I get most of my inspiration from artists who make music completely different to what I make. 

How do you tap into your creativity on particularly tough days?

Get out of your house, get your body moving. I like going on runs to clear my head and reset my energy. Make contact with a friend if you’ve been home alone all day. Even though I make most of my music alone, I don’t recommend letting yourself get too isolated from the world. It’s important to connect with other people and find purpose outside of your own creative practice.

What’s your top advice for artists who want to enter this industry?

In order to pursue music for a living, it has to be your main passion. I never allowed myself to entertain the possibility of doing anything but music for a living because I knew I would be miserable. You have to be in it for the right reasons.


  • Interview by ninakeh for shesaid.so

Moves in the Field is out now on Warp Records

Up Next: Kito

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Australian-born, LA-based producer, DJ, and songwriter Kito has steadily ascended in electronic, indie, and pop genres for over a decade.

Her notable collaborations include working with Skrillex and Aluna on 'Inhale Exhale' from Skrillex's Grammy-nominated album, QUEST FOR FIRE (Best Dance/Electronic Album) and a Grimes endorsed official release of 'Gold Touch,' marking Kito's first AI-generated vocal track.

Kito’s first official release came through Skream’s label Disfigured Dubs, with future releases on Mad Decent, Ed Banger, and Astralwerks.

Producing for a range of artists including Banks, Jeremih, ZHU, Channel Tres, Hudson Mohawke, Jorja Smith, and Fletcher, whom she received a Gold Record for her work on ‘Bitter’, Kito’s work has also landed her performances for Luxury brands like Gucci and Fendi. 

In 2024, Kito is returning to Mad Decent for upcoming solo releases and collaborations set for spring and summer, reflecting her London club scene upbringing.

"COLD TOUCH" released in 2023 featured A.I.-generated vocals from Grimes. What excites you about the intersection of AI and artistic expression?

The thing that excites me the most is the possibilities of cutting out tedious parts of the creative process. I’m not so excited about using AI to come with ideas - more about leveraging it as a tool to help me see my ideas through. 

As an artist who has worked across various labels, what insights can you share about getting in touch with record labels?

I’m not entirely sure if I have any secret tips here! I think labels are less and less important for artists starting out. For me, I had my heart set on a few labels to begin with and sent demos through social media. In my opinion, the best way to get a labels attention is to create a world with your music and audience yourself. 

Share a memorable behind-the-scenes moment while working on a collaborative project

I have so many! Doing a writing camp at Shangri La was pretty memorable. Just knowing so many amazing albums were made in the space we were working felt special. 

3 women who inspire you

My mum and my sisters.

Tips for finding your creativity on a tough day

Get outside and move your body! Or tap in a friend to share the burden of breaking through a block on your own. 

Your top advice for young people wanting to become music producers/singer-songwriters etc.

Have fun, and perhaps don’t quit your day job until you have to? I know that once I had to make money from music, it did limit my creativity for a little bit but once I found financial stability it opened up my creativity again as I felt less afraid to take risks. 

What's your favorite and least favorite thing about making music?

Favourite thing is the buzz you get when you make something you love with people you love, and least favourite thing is the self doubt. 

3 things you can't live without in your bag

paw paw ointment because I’m Australian, orange blossom perfume, a little chocolate treat 

An artist or album that's changed your life

Burial changed my life. I may not have started making music if it wasn’t for Burial.

Describe your morning routine

I love to get outside and get a coffee! 

Kito will be debuting her new project IS U IS U with Chrome Sparks with their first single 'All I Need' out on March 27th via Mad Decent.

Connect with Kito

Music Insider: Zamaera

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Malaysian artist Zamaera is a household name in Southeast Asian music, navigating an 11-year career that transitioned from TV hosting to music. She’s a skilled storyteller who continues to break barriers and recently organized Malaysia's inaugural all-female music festival, 'Queendom Fest' dedicated to spotlighting and empowering talent in the industry.

Zamaera marked her solo debut with the grime-inspired single 'Helly Kelly' in 2017 - featured alongside Malaysia’s hip-hop icon Joe Flizzow and has been independent since 2021. Her music skills flourished in a male-dominated scene, where she had to break boundaries and prove herself.

Her new track 'Big Fish' features Kuala Lumpur-based DJ/producer Daaliah, is influenced by hip-hop, pop, garage, and soul, and reflects Zamaera's desire to break free from her artistic constraints.

The song originated from a candid conversation with Daaliah in July 2023, expressing her feeling of being a 'big fish in a small pond' and her aspiration to step outside her comfort zone. 'Big Fish' is out now through Zamaera’s ‘Mean Malaya Entertainment’.

Tell us more about your collaboration with Daaliah on Big Fish.

‘Big Fish’ is me stepping out of my comfort zone and I really love this new venture. It’s a very different kind of song that I wouldn’t normally do, because I predominantly work on Hip Hop and R&B music (but I've always loved electronic and I’ve always loved House Music and Techno). My relationship with Daaliah is that we were the only German speaking artists in Malaysia and it kind of grew from there. We've known each other since 2019 and made some demos together but never really had the chance to put something out.

I met up with him last year and we had this conversation about how we were doing (just catching up) and I told him in my exact words “I felt like a big fish in a small pond”. That exact sentence was what sparked the idea.

We went to Daaliah’s studio and it was just the right vibe, the right energy as Daaliah had just come back from a tour in Europe and he was really inspired by Garage Music and different types of sounds (that in Malaysia, producers won't particularly look or touch on).

You had a 30 minute time crunch when creating “Big Fish”. How did you tap into creativity and stay focused under pressure?

Honestly for this project, I did not feel like there was any pressure involved just because everything felt so seamless and natural; from the moment that we were talking, to us deciding that we were going to make a song. It really felt like it was exactly what it needed to be. Even though there was this “time crunch”, we were using it as a way to to be even more creative. The time crunch helped us find exactly what we wanted.

It took out that deciding factor, that time to think and decide whether we wanted something “in this way or that way”. For example, there is a sound that you hear (the piano) that’s a sample by an amazing producer and I was writing at the back (coming with the melody) while Daaliah was producing and it just came together. I think the pressure on the time was a great thing for us.

As an independent artist, how do you think the independent music scene in Malaysia has grown?

I do feel that independent music and independent artists have taken a step forward hugely - all thanks to accessibility and information coming via YouTube videos, courses, social media etc. A lot of people understand now that we don't need to rely on traditional mediums such as radio or TV to get to the point of visibility. We can always use socials and also other forms of content for us to showcase our creativity.

Artists are now pivoting to a more independent style that is giving us the freedom and leeway to really be fully and creatively ourselves.

I do feel that a lot of independent artists (such as myself) lean towards working with brands. For example, with Big Fish and our music video premiere party, we got the chance to work with a really amazing global brand (they unearth and uplift independent artists such as myself and Daaliah and graffiti artists in Malaysia).

Can you share a memorable moment from your music career

I would say that the biggest one or the most recent one for me was organising my very first all female music festival. Throughout all my years of being a musician I had never ever organised an event for more than 5 - 10 artists (let alone 15 women and creatives) with the idea of building a strong community and platform to really uplift and showcase their talent in Malaysia.

After 11 years of doing this work, I realised we have all this amazing talent which was not reflected in the live performance space in Malaysia (and I thought that was really necessary). That's one of the most memorable things. I have a lot more, but then this conversation might never end!

What are your goals for ‘Queendom Fest’ in 2024?

My goal is to take everything I’ve learned from the first edition (the feedback, the critique etc) and really look into how we can better manage the festival. As an artist, I tend to look at things more on the artistic side (e.g. whether the artists are going to have a great time performing or how the lighting and the visuals, the music and the sound will be), but there's also this very important aspect which is the management of behind the scenes (running with your project manager, the vendors, the production team, and stuff like that).

I really want to take everything that I've learned and make it bigger, make it better. And of course I want to have more way more artists for 2024 and also hopefully international acts as well. So stay tuned.

What's your least favorite thing about making music?

That's actually quite an easy question to answer. My least favourite thing about making music is that I do not know how to play all of the instruments and that really frustrates me sometimes.

I know that you can learn stuff (make sounds on e.g. Logic or any digital audio workstation) but I feel like I always am so hard on myself because I feel like “oh my gosh, if I just knew how to play the violin, or if I just knew how to play the cello”. It stops me from actually going out and learn.

Thinking that “I can only play the piano or the guitar” makes me feel like it's not enough. I want to be able to do more but I have to take a little step back and chill. You can’t play everything but you can collaborate with so many amazing, talented people out there. So if you play the cello, you know who to call.. (call me, I'm gonna work with you).

What is a valuable piece of advice for an artist that wants to enter your industry?

You should just not think and do it. A lot of people might be worried about what other people might think because of maybe e.g. a taboo that surrounds your passions. I don't think this is only the case with music, it goes with pretty much with anything you want to achieve in your life.

Stopping yourself because of what other people might think and not taking a chance on doing what you love could be one of the biggest regrets.

Don't think about what other people think of you (because people are going to say something anyway, so you might as well just do what you love). Let the music be your life.

Connect with Zamaera

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Artist Spotlight: Belle Chen

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Belle Chen is a pianist and composer that skillfully blends piano melodies with synths, creating a seamless fusion of acoustic and electronic music.

Belle released the single 'Three Birds', as a preview of her upcoming album, "Ravel In The Forest," set to be released on February 16, 2024, through Platoon. The album, inspired by nature and created as an imaginative world through music, invites listeners on a journey filled with richly cinematic, ethereal compositions.

The album's production involves a collaboration with the Budapest Art Orchestra in tracks like 'Closer' and 'Moonrise,' showcasing Belle's diverse and intriguing approach to music creation. 'Ravel In The Forest' defies categorization, providing a refreshing experience that reconnects audiences with nature, music, and introspection.

Your new album, 'Ravel In The Forest,' takes listeners on a journey through nature and imagination. Can you share more about the inspiration behind it?

My new album Ravel In The Forest was inspired by the feeling of losing oneself in your imagination while being in nature. So in this album, you’ll hear textures and colors and sounds that were inspired by the movements and the colous of the flora and fauna found in forests.

Could you provide some insights into your classical training and its influence on your work, particularly when blending contemporary and electronic music? How did your classical background play a role in shaping the sound of this album?

My classical training is like the foundation that I build my own music language upon. And for me, it's like a big dictionary that I can draw words from to tell my own musical story. In this particular album (Ravel in the Forest), I draw inspirations from the approaches of Impressionist composers such as Maurice Ravel, and how they evoke certain feelings through the use of colors, light and shade and combining that approach with the technology that we have today, through the use of synths and production technique to create this whimsical, imaginative world that's this new album.

Making music for me is a very intuitive process. I'm always guided by the end feeling of what I want to create for the listeners. And in this journey to get there I would explore the different options and textures and colors that's available, and are the most appropriate to create this end feeling. Sometimes I find it through classical approach and sometimes I find it through more electronica kind of approach. Sometimes it's a hybrid, so it's never really the same.

The concept of 'Ravel In The Forest' seems deeply connected to nature and introspection. How do you believe music can serve as a medium for self-reflection and connection to the world around us?

For me, music is a really important medium for self reflection and introspection, because I think it creates this pocket of time and space to be really with yourself, and be really honest with how you're feeling and seeing the world. And in a way, music can also be a shared experience.

When a musician shares a piece of music with a world, we're actually sharing a part of how we see the world and our perspective as well.

And when two people share what they're listening to is similar; they're sharing how they see the world. It is a moment and a medium for connection, as well as self reflection.

As an artist who has performed globally, can you share a memorable moment from your performances at venues like the Royal Albert Hall’s Steinway Series and the National Theatre of Korea?

My most memorable moments when I'm performing happens when I feel like I'm in sync with the audience. You can feel the energy coming back in and I feel like we're on a journey together. And I feel like I'm getting to know them on a very deep and personal level. And so those are the most fun and memorable moments for me.

Your journey includes being recognized as an Associate of the Royal Academy of Music in London and being a Yamaha artist. How have these affiliations influenced your growth as a musician?

I'm hugely grateful for the affiliations. I think both the academy and Yamaha has played such important roles in my musical DNA and in my journey so far, and to be able to partner with Yamaha on special projects especially has made a big difference.

What does your morning routine look like?

My morning routines are usually done in silence and solitude. That's where I think most clearly and my best and usually that involves meditation, reading, journaling, and then plotting up my day with a good cup of coffee before getting started.

Your tips for finding your creativity on a tough day

So when I'm having a tough day, I usually time box an hour or so to create as freely as possible. And usually that involves sitting in front of the piano and improvising and recording that on the voice memo. I think it is done without any intention, without any pressure. And then I'll step away go for a walk around the block clear my mind. And usually on these days I try to be gentle with myself and kind with myself, because some things just take time and sometimes it takes longer, and that's okay to take longer.

Artist Spotlight: Samantha Urbani

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Samantha Urbani is the artist behind the debut LP "Showing Up." From her rebellious roots in Mystic, Connecticut, to conquering Brooklyn's DIY scene with Friends in 2010, Samantha's journey is anything but ordinary.

After her old group “Friends” disbanded in 2013, Samantha chose collaboration over solo stardom, joining “Blood Orange” and diving into various projects. Tragedy struck in 2018 with the loss of close friend and producer Sam Mehran, propelling her into a six-month hiatus.

Nick Weiss, aka Nightfeelings, who pulled her back into music and sparked the creative process for "Showing Up."Co-produced by Samantha and Weiss, the album captures her spontaneous spirit. With contributions from friends like Rostam Batmanglij and Stuart Matthewman, it's a celebration of resilience and creative resurgence.

Want do you want people to get out of your new album ‘Showing Up”?

“Showing Up” that just came out is the health and the power of multiple feelings coexisting at once. There are lyrics and movements and music about a lot of really hard things. Heartbreak and alienation and mental health stuff and really close friends and family dying. And all of that is on this album. But on first listen, you might not know because a lot of it has very sick grooves. And a lot of it is quite danceable. And that was all very intentional. Because I think when you mute multiple feelings and truths existing at once is something that is really powerful to embrace. I think I was I went through a lot of hard things before the making of this album.

And for a while I was writing a lot of songs that really sounded sad. And I knew that that wasn't the way that I wanted to present these experiences. I wanted to find a way to make music that felt cathartic and joyful, and connective and energetic, almost like the breakthrough of celebrating survival through those things versus sitting in the pain of those things. I think that you can still honour the pain of those things. Feeling like a breakthrough or a sense of survival. I want this record to be the upbeat companion for anybody who's having a fucking hard time and anybody who's experiencing grief. Anybody who's had a really close friend leave, you know, this this existence. I want the record to be a companion that feels cathartic and feels optimistic, but also is like a witness to those kinds of experiences.

What’s your top advice to songwriters?

First of all, I think that we need to take these titles off of a pedestal, you don't need to think about yourself as an “aspiring songwriter”, or an aspiring artist, you are an artist, you are a songwriter. Trust your instincts, get in touch with that thread of unique insight and perspective that you have versus being a student, of how other people do their thing. I also always tell people not to let what kind of equipment or education, they have access to stop them from getting ideas down. I talk to a lot of people who are like, Oh, I have ideas for songs. But I don't play a lot of instruments. I don't know how to make a demo. I’m not where I want to be as a producer or something.

Don't let those ideas get away, because you think that they need to be represented more professionally or traditionally. I think that making weird little voice memos, kind of like… scrappy demos, in GarageBand, or whatever you have often is way more interesting and more authentic and cool than if you wait and find an engineer or somebody to help you do it in what you might think is the right way.

Don't let a lack of equipment or knowledge stop you from getting ideas down. Or make you think that your ideas aren't real, because you're not like “a real musician”, or there's something. I think a lot of stuff that's done really properly or traditionally can be boring. So yeah, mess around with whatever it is that you have.

Everybody who has an iPhone, or a MacBook has GarageBand on their phone, or laptop. That's actually how I started making demos for my old band. I had a lot of vocal ideas and melodies. I think if I had waited to do it ‘the right way’, I don't know if I would have ever done it. I started just recording all my vocal ideas to drum loops. And I had ideas for baselines, and I would just sing them and pitch them down. And I had ideas for synth lines, and I'd sing them and pitch them up.

I was a college student in a shitty small bedroom in New York doing that, and it turned into a successful band. So I always try to tell people not to look down on their ideas, because they think that they're not like a real musician. What the fuck does that mean? What does it mean? Just make stuff the same way that you can pick up a pencil on a piece of paper and draw. Pick up whatever you have and get your idea down. And if you want to collaborate with other people on it. That's awesome. I think it's like a very fun, cool, strong thing to do to find your collaborators. But it's great to approach them with a representation of what you want to make. So don't be scared to to make things from scratch and do things in your homemade way.

What has been the most rewarding part of my journey so far?

It's crazy, amazing, beautiful when you travel to parts of the world that you've never been to before, and you play a show, and there are people in the audience singing words that you made up in your bedroom. That is an incredible feeling, especially when those people are not only just reciting them back to you, it's like, they're this mirror, where the emotional thing that you were feeling that you put into words is actually something amazing. As a musician or a writer, that's definitely just seeing things translate and feeling that maybe you could do that for people in the same way that your favourite musicians have done that for you throughout your life.

But as far as my music journey at large, I have loved just time going by and getting a little bit older and being able to sort of be like a big sister figure to people who are at the age that I was when I started making music, any kind of like professional sense.People feel they're supposed to be anxious about getting older or time going by but to me, it's something that is so valuable and beautiful and can't be faked. It can't be rushed.

Having a length of experience that continues and grows is so special to me and being able to realise that I want to pursue more avenues than just making music but also working in music as I did a year I worked for an agile at. I worked for a year as an adjunct professor at NYU mentoring songwriting and production students. And now I work as an A&R at Secretly Group, discovering artists, developing artists, helping advocate for artists on the inside of a company like that. Just finding ways that it feels all of my experience matters good and bad. All the bad experiences that I had throughout my 20s I feel I've found a way to channel those things to really mean something for other people.

Sometimes in the moment, when things are either going good or bad, it's hard to see the value in them and it does take time for things to review reveal sort of their, their meaning or their value. Being able to sort of be like a shoulder and a voice of reason and a big sister and a mentor or whatever to people now is so fun and valuable to me. I wish I had somebody like that when I was younger. To be able to be a support system for other people is amazing.

Things you can't live without in your bag.

  1. A notebook. But not a regular notebook. It has to be a notebook that is like a monthly calendar kind of thing for the year because I really don't do well with Google Calendar. Only remember that I have to do things if I break them down. And also lyrics and stuff like that. I think I'm a lot more creative when there's some tactility to my actual writing and you can physically cross things out or you can kind of keep building by adding words to things. I just feel like there's a tactility to words themselves even the sounds that words make and especially as singers, vocalist, lyricist, whatever. There can be a disconnect in the tactility of words, if you're typing them. You can actually feel the shape of words when you're writing out letters in the same way that you can feel the shape of them in your mouth. That makes sense. No, that's crazy.

  2. What else do I like to have in my bag? I also shades because sometimes you need to be incognito. I often, go to coffee places or get food by myself. You have to kind of be in your own little forcefield world. So shades for sure.

  3. My phone? I hate to say it but how else are we going to record voice memos. I did use to have a cassette recorder and maybe that's cooler. I do like to talk about anti social media. It's nice to have mediums of recording that will also distract you with all the other bullshit that's on your phone.

  4. But maybe most importantly; two types of cards, a regular classic deck of cards, and a deck of monopoly deal. I've been playing cards, especially in the morning with another person. It’s a very centering thing that just feels really meditative. I used to use tarot cards a lot, but now I like to play Monopoly deal. I highly recommend it as something that’s slightly escapist, but not as bad as sprawling bad things.

Connect with Samantha on Instagram

Music Links

Up Next: MEYY

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In this month's edition of 'Up Next’ (our series showcasing rising talent), we're excited to feature London-based Belgian-Korean alt-pop artist MEYY, whose ethereal vocals and soundscapes redefine R&B and progressive pop. MEYY infuses creative songwriting with imaginative aesthetic references, shaping a musical narrative that calls listeners into a glossy digital universe.

MEYY joined forces with object blue on ‘Shut Up’, the result of an inspiring music writing camp organised by Platoon’s She Runs The Board, shesaid.so and ESEA Music, the community for the UK’s East and South East Asian music industry. Shining a light on the ESEA music community and female producers, songwriters & engineers in the industry, it’s a project close to the artist’s hearts.

‘Shut Up’ draws on a myriad of influences from RnB, soul, pop, UK bass, dubstep and techno, which melds seamlessly over MEYY’s sultry delivery and object blue’s deft inspired production, all the while maintaining an authentic DIY feel. London based Belgian-Korean alt-pop star MEYY joined fellow London based / Beijing raised DJ / producer object blue for a 3 day writing camp over Summer and everything just clicked.

MEYY said:

“Working with object blue was incredible. She’s so effortlessly talented and sharp and I think her deep affection and love for music is felt so thoroughly in everything she makes.” object blue: “It’s really nice to work with someone who has a different skillset.

‘Shut Up’ is an ode to all the heartbreakers trying to stand tall in their innocence. To all the actors and actresses who are, consciously or subconsciously, holding up the mirror while blowing smoke into your bedroom. A sleazy lullaby for a fever dream. I love that this song has tragedy and despair as well as sassy and silly bits. I think both parts are really important.”

This coming together of minds was made possible through Platoon’s ’She Runs The Boards’ music writing camp in partnership with ESEA Music and shesaid.so.

For this brand new program, ESEA Music worked with Platoon to curate and A&R the artists’ group sessions that took place across 3 full days at Platoon’s new state of the art Platoon 7 Studios over in Tileyard London. The aim was to shine a light on the ESEA Music community and to increase the number and visibility of female producers, songwriters & engineers in the industry. These sessions resulted in 2 brilliant singles from each of the artist groups, the first of which is MEYY x object blue’s ’Shut Up’.

Can you share a bit about the collaborative process behind 'Shut Up'?

Making ‘Shut Up’ was so much fun - shout out to ESAE community and Platoon for setting up this camp. Very talented Asian women making music was sick. object blue and I just got along so well. We laughed so much, talked so much shit and obviously we made music. This is my ideal setup for life in general.

The song also feels so intimate, so honest and close to us because we made it in two days and then a couple of months later it was released, which is something I've never done before. That was a cool experiment. For me it was nice to go back into the ease of things and music. So yeah making ‘Shut Up’ was super cool.

What's your top advice for young people wanting to become music producers/singer-songwriters?

So my advice for people that are just starting out would be to just push the button. I think that because of the internet we are so aware of all the information that's out there and all the plugins or all the skills that may or may not be required anything can be quite overwhelming, sometimes even paralysing. I feel sometimes we think that we need to know and be prepared very well before we want to do something like that because we don't want to do something and then suck at it.

The point is to not think and obviously begin where there's this gap in between of what you want or what you can do, because you don't have all the skills yet to translate it. And that can be really struggle. But you will become better and should try and not focus too much on becoming better anyway. I think consciously or subconsciously you'll start making decisions that you wouldn't make if you would just go at your first incentive. At the core of it music should be really easy and really fun. to make and really important. So yeah, yeah, I would just say, push the button.

What influences your work the most? Science, dancing or music? Or anything else?

I don't know if anything really very explicitly influenced something else. I started singing before I started dancing, I've been singing since I was really really small. I think everything stems from the same place and intertwined in some ways. But it's not clear for me if something influenced me very suddenly. I think in general, though, everything I do, I make it very big in my head, I'm very dramatic in that sense. Everything feels really important for me and I kind of do that with everything.

MEYY joined forces with object blue on ‘Shut Up’, the result of an inspiring music writing camp organised by Platoon’s She Runs The Board, shesaid.so and ESEA Music, the community for the UK’s East and South East Asian music industry. Shining a light on the ESEA music community and female producers, songwriters & engineers in the industry, it’s a project close to the artist’s hearts.

MEYY has been featured on Wonderland, Dazed, Notion, Mixmag, DMY, BBC Radio 1’s Future Artists with Jack Saunders and more.

Object Blue can be seen on DJ Mag, Mixmag, RA, FACT, i-D, Pitchfork, The Face, BBC Radio 1 Annie Nightingale and more.