Marieme on Collaborating with Bedouin and Why Authenticity Is Every Artist’s Superpower

Photo Credit Ogata | Styled by Dash Armstrong

Senegalese-American artist Marieme has built a career that fuses soul, spirituality, and electronic music into something unmistakably her own. With over 14 million streams, 200K monthly listeners, and collaborations spanning Groove Armada, Above & Beyond, Klangkarussell, and Vintage Culture, she’s carved a lane at the intersection of global dance culture and conscious songwriting. Her music has scored moments for Grey’s Anatomy, Apple TV, and even a Michelle Obama x Oprah Netflix special.

On stage, Marieme’s voice has filled Red Rocks, Pacha Ibiza, and Burning Man’s Robot Heart, blending the transcendence of a club set with the intimacy of a soul performance. Named a “Powerhouse” by Glamour and a “Next-Gen Icon” by V Magazine, she continues to expand what an artist rooted in both ancestral rhythm and modern consciousness can sound like.

Her latest single, “Reason”, created with Bedouin, distills that vision into a hypnotic meditation; a track that channels love as something infinite and elemental.

What’s the story behind ‘Reason’ created with Bedouin?

I met Tamer and Rami when I was invited by Guy LaLiberte (founder of Cirque Du Soleil) to perform a few songs with my shadow at Bedouin Saga night in Pacha. Then the same year we got in the studio in Miami and we created the track.

I love Bedouins sound and for me it always give me Ancient hypnotic vibes, so when I started singing the words I wanted to tap into the highest form of existence Love, which is not bound by  time and space and just is. I feel like the track just is, like it already existed and was channeled from all sides.

You’ve collaborated with global names like Groove Armada, Above & Beyond, and Klangkarussell. What have those partnerships taught you about connection and co-creation across different music worlds?

I was always nervous working with people of that caliber. I always walk into it grounded and try to honor the songs. I realize that I will always be a student and so I try to learn as much as I can from them and in the end by being authentic they’ve learned from me too which is cool. Music hits you when it’s good no matter what genre or language, and we’re all humans with same needs and so we all connect on that level.

For emerging artists, building genuine relationships can be just as important as making music. What’s your best advice for networking and connecting meaningfully in the industry?

Be real and honest, and don’t be too pushy and a no is just a moment thing, it could turn to a yes. And also create your own path, if you’re on your path people going the same way will find you, don’t wait for anyone. 

What’s something cool you’ve done outside the usual stage and studio world that you’re especially proud of?

Facilitating song writing camp in Lesotho, Africa, for amazing kids and showing them how easy it is to create and express themselves. I did it as part of a non profit called Kick4life that I’m on the board of. It was so magical for me and I’m doing many more of that around the world. The kids in the beautiful school came up with a song about love and I learned to record so I could record their voices and then had a friend produce it. When the kids heard it we were all teary eyed. One thing was the magic of releasing creative energy and also realizing the possibilities are endless. And staring where you are.

You’ve performed everywhere from Burning Man to Red Rocks to Pacha Ibiza. What’s one unforgettable moment from your live shows that still gives you goosebumps?

Burningman was epic, I have a shadow clone suit I made to represent going inside ourselves and the inner space journey. And bringing it out for sunrise on the legendary Robot Heart bus was so profound for me and for people to see my shadow dancing and being fre showcased my healing in real time, which is what I want to do with music, help people heal.

What’s one of the best tips you’ve learned along the way that you think every artist should know?

Be truly yourself because only you can do what you do, don’t compare yourself to anyone else 

What are you listening to right now that’s inspiring you?

My meditation music I’ve been making, LP Giobbi, Alice Coltrane

What are three things we’d always find in your bag?

Breath mint, honey throat spray, multiple USB’s, small perfume, lip gloss 

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Perera Elsewhere on Bringing the First Wave of Grime Artists to Berlin and New Album 'Just Wanna Live Some'

Photo credit: Gene Glover

Berlin-based producer, songwriter , trumpeter and sound voyager Perera Elsewhere returns with her fourth album, Just Wanna Live Some, out 24 October via LA label Friends of Friends. The record captures her distinct mix of experimental pop, dub, grime, and electronica, a sound she’s refined over a decade of boundary-pushing releases that first led critics to coin the term “doom folk.”

The album’s focus track, “Dream Like That,” pairs Perera’s poetic reflections on addiction and capitalism with cigarette lighter clicks, deep dub bass, and trumpet-led textures. Across twelve tracks, Just Wanna Live Some balances introspection with urgency, moving between moods of melancholy, defiance, and ecstatic release.

Known for her singular approach to voice manipulation and hybrid sound design, Perera — born Sasha Perera — has long blurred the lines between the cerebral and the physical. Her work has earned praise from Vogue, Pitchfork, and Clash, who have each celebrated her ability to fuse raw emotion with sonic experimentation. Over the years, she’s collaborated with artists such as Nina Hagen, Aho Ssan, Maral, and KMRU, while continuing to teach workshops and champion independent artistry from Berlin to Yale.

In this Q&A, we speak with Perera Elsewhere about the ideas behind Just Wanna Live Some, her collaboration with Ivorian rapper Andy S, early memories of bringing grime and dubstep to Berlin, and the creative exercises she uses to inspire the next generation of producers.

What’s the story behind your new album Just Wanna Live Some?

I guess reacting to the world we live in which is kinda depressing as usual and just wanting to live instinctually and take each day as it comes as reflecting on stuff sometimes is just too much. That is my take on the album title, which is kinda nihilist and hedonist in is stance. But as it is in life, you do end up reflecting and cant just ignore stuff, so as you can hear on the album there are some pretty huge mood swings; songs and tracks to dance to, to cry to and some very mega doom-folk soundtracks for the post-apocalypse. 

You and Andy S first connected after you played her track in a Boiler Room set. What drew you to her music, and what made this collaboration feel special?

I guess the fact I have been to Cote D’Ivore 3 times in my life; first for the Goethe Institut to teach Ableton and play and then later again to play directly with promoters there - specifically Isa aka DJ Chabela, who booked me there after being the only female in my audio production workshop. 

So I had some ‘70s Ivorian tunes in my Spotify and on vinyl. Thus the ‘algoriddim’ suggested an Andy S tune called ‘Prodada’. I bought it and played in in my Boiler Room set.  Ivory Coast might have had no meaning for another DJ, but I actually like returning to places on multiple occasions.  So working with Andy S was continuing/ deepening  a relationship I have with the artists, people, country and music of Ivory Coast.  Revisiting things makes sense to me. 

You were one of the first promoters to bring grime and dubstep to Berlin. Looking back, how do you remember that moment in the city’s music history?

I mean Berlin had an early appreciation of Jungle and DnB etc. There’s this old lie/myth that Berlin club life was only built on techno. It was actually build on DIY, and there was a hunger for all kinds of music, and also Bass Hardcore Continuum UK vibes. Clubs or events like Toaster, Hard Edged and more were before my time but there had also always been squats here and jungle was being played there too. 

Photo credit: Jamila Kae

Bringing UK artists over in 2004 was special because international gigging and ‘easyjet lifestyle’ had not been established yet, so some artists had to get a passport for the first time.

Berlin didn’t have the hype it does now, so artists came with less preconceptions in some ways. Berliners were also less exposed thus everything felt a bit more special. The city was no where near as international as it is now; it was literally a more German place and a more East German place in its vibe. There were less clubs , less clubbers, less hype, less internet! It was just the start.

We had a blog called Grimetime. I just remember BBK Skepta and JME literally doing backflips down Karl Marx Allee into the Burger King (LOL).  Berlin wasn’t ready for that energy! It was as a lot of fun doing that stuff with Christian Fussenegger at WMF club. I’m on the lord of the decks dVD coz Jammer, Kano, Lethal Bizzle and D Double came our studio at the time. 

I’m not in the ends, I’m in Germany, pure these girls they heard of me. I remember JME logging in to his Myspace on a desktop computer in our studio in Friedrichshain. We had no idea what he was doing at first. Feels like a whole other era. 

You’ve always pushed technology in unusual ways, from manipulating your voice to turning sound design into part of the storytelling. What keeps you excited about experimenting with new tools?

I guess also the unknown / unpredictable results that can occur and probably coz I also like to work alone it does suit me. Also, just not reading manuals or really watching tutorials and just messing about with stuff does suit my personality. However I really do love working with organic/ analogue stuff too and then messing with it.

Hybrid forms - eg. literally recording my trumpet and adding arpeggiators and having it end up sounding like a gangster rap violin or ‘grimey’ synth simply excites me in the process. I like getting the feeling that I’m doing something for the first time. dopamine addict I guess! JUST WANNA LIVE SOMEEEEEEEE. 

As someone who’s taught workshops from Yale to Berlin, what’s one exercise or mindset you share that always clicks with young producers?

I usually get them to record random things eg. everyday objects, voices, field recordings and make their own drum kits/ virtual instruments and adding other more ‘sophisticated’ sounds too, in order to make them feel like they are making their own sound palette and deciding on their own non-generic sound identity for a sec.  

That is how I started! Literally I got a kick out of from using my mum’s voice and the sound of me banging on a jar of muesli with a wooden spoon and a long 808 kick. Just nice to have some special sound-sources in there real, life stories. Stuff you know that happened where you actually partook in the process of making sound-wise can bring some vibes, spirituality and chaos to the equation. 

Photo credit: Noreyni Seck

You’ve had your music placed in films and theatre. What’s the biggest difference between writing for yourself and writing for a director’s vision?

For the synch licensing stuff eg. Paolo Sorrentino’s movie, they chose a track that was out on my album. Thus they saw my already existing musical vision fitting to the scene of their movie. 

When I have worked with Dukhee Lee Jordan (artist working on multi-sensory installations) then I have made music according to her descriptions and interpret her ideas / themes/ moods when making the score. I enjoy that a lot and it seems to work for us.  After that, usually the visuals or film sequences are composed to my soundtrack. It has to start somewhere.  

Probably the most challenging for me was working on a 72 min audio-visual dance piece called Reparation Nation where you had to keep making music for scenes that were being written parallel and for dancers where the choreography was in the making.

A lot of ideas, opinions and the worst of all of course… changes!  Endless patience is required for endless changes haha. Compromise is involved too. But it was very rewarding to work with dancers. Literally fun to be part of a crew and on a  production. Those are the vibes you don’t get when you are producing or composing alone in the safety of your studio.   

What’s one piece of advice you would give your younger self when you were just starting out?

Probably to have some kind of community of niche friends around the world.  Kinda bores me to be a straight up tourist so its nice to have music as the medium to go an explore stuff and connect with people, 

What are you listening to at the moment?

Sticky Dub 

Fly Anakin

Bina

_By.Alexander

JD Reid

Persian Empire

Khadija Al Hanafi

• Interview by ninakeh

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Album artwork by Hugo Holger Schneider x Gene Glover

PERERA ELSEWHERE’s ‘Just Wanna Live Some’ album is released on 24th October via Friends of Friends

Website | Instagram

Hatis Noit on her Aura Reworks album featuring Laraaji, Jlin, Herbert, Basinski and more

Photo credit: Özge Cöne

Japanese vocal artist Hatis Noit returns with Aura Reworks, a collection that invites a circle of collaborators to reinterpret her acclaimed 2022 debut Aura. Originally composed using only her own voice, Aura drew on influences from Japanese Gagaku, Bulgarian folk, opera and Gregorian chant to create a sound that felt both ancient and contemporary.

For Aura Reworks, Hatis Noit opens her work to a new dialogue featuring Laraaji, Jlin, Matthew Herbert, William Basinski, Armand Hammer with Preservation, Alex Somers, Yu Su and Emel. Each artist translates her voice through their own perspective, creating a series of reimaginings that move across genre, geography and emotional register.

Laraaji’s version of “Aura” floats through zither and kalimba, Jlin transforms “A Caso” into taut rhythmic patterns, and Armand Hammer’s verses on “Jomon” connect New York’s underground with echoes of Japan’s prehistoric past. Basinski’s “Inori” introduces fragile piano lines recorded near Fukushima, turning a moment of loss into reflection.

Born in Shiretoko, Hokkaido and now based in London, Hatis Noit is a self-taught performer whose range spans from operatic resonance to avant-garde experimentation. She has found fans in David Lynch, who invited her to perform at his Manchester International Festival showcase, and Rick Rubin, who featured her in his Showtime documentary Shangri-La. Her live performances at Womad, Rewire, Le Guess Who?, Big Ears, Mutek Montréal and Wonderfruit have drawn standing ovations, with The Guardian describing her as an artist who “moves audiences to tears.”

Following a short pause after the birth of her first child, Aura Reworks marks both her return and her expansion. The album connects her voice to a wider collective of artists united by curiosity and deep listening, reaffirming her place as one of the most distinctive vocal artists working today.

Many remix albums can feel like an afterthought, but Aura Reworks plays more like a dialogue between lineages and geographies. Was your intention to create an album of conversation rather than one of simple reinterpretation?

My usual creative process is very solitary, so I wanted Aura Reworks to be the opposite — a work born out of dialogue. But not dialogue in the sense of physically being together and exchanging words; rather, our shared exploration through the voice across time and space feels like a conversation in itself.

What has been the most valuable lesson you’ve learned so far in your artistic journey that you would want to share with emerging artists?

When I was making my debut album Aura, my producer Robert Raths told me: “Don’t look for who you want to be — find out who you are.” That remains the most important axis for me as an artist to this day.

Building artistic communities can be as important as the work itself. From your own journey, what have you learned about finding and sustaining the right collaborators and allies in the music world?

The most important thing is to be authentic with myself first. Once I’m able to be, the connections I need will come — naturally, and in their own time.

What practices or rituals help you return to balance after an intense day of work or performance?

Going for a walk, cooking, swimming and meditation. And since giving birth, I’ve also taken up knitting — it has become the perfect ritual for self-regulation.

Photo credit: Giorgio Perottino

What advice would you give to artists trying to find their way in today’s music industry, particularly those working outside the mainstream?

Have the courage to be alone sometimes in order to truly know yourself. Don’t be afraid of solitude.

Listening is often where ideas begin. Which recordings, voices or sound worlds are currently shaping the way you think about your own music?

Since traveling there this summer, I’ve been listening to Okinawan folk and court music a lot, introduced through their local radio. The fact that sometimes I can’t even understand their dialect only makes it more wonderful.

• Interview by ninakeh

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Photo credit: Robert Raths

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Hatis Noit’s Aura Reworks is out now

MEGA Talks 'I Am Enough EP' and What Every Emerging Artist Should Know

Photo by Chantal Azari

MEGA’s voice carries the weight of her Ugandan heritage, the discipline of her operatic training, and the spirit of her gospel roots. She first broke through in 2019 with Chariot, a debut single that has now surpassed 50 million streams. Since then, she has released three EPs -Future Me, Colour Your World, and Honour and Glory- each tracing themes of resilience, belonging, and self-worth.

Her new EP I Am Enough, out now, signals a clear step forward. The title track is a stripped-back affirmation of identity, while the single Roots reflects on home and community, drawing strength from what anchors us. It is a body of work that places her voice at the center, direct and unadorned.

This new chapter follows a summer highlight at Little Simz’s Meltdown Festival at the Southbank Centre, where MEGA shared a bill with The Streets, Ghetts, Sasha Keable, Lola Young, and Jon Batiste. With early champions at The Independent, NME, Wonderland, Clash, and BBC Radio 1, MEGA is carving out her place as one of the most distinctive new voices in UK soul.

Your EP I Am Enough drops in September, what’s the story behind it?

It’s about taking intentional steps to reclaim my power and now standing firmly in it. It is a reflection of my journey back to myself. The title 'I Am Enough' holds deep meaning for me- it’s about self-worth, self-realisation, and the understanding that I am deserving of love and respect exactly as I am.

What’s one thing every artist should know before signing anything?

I think it is important to make sure that you have a full understanding of what that contact/agreement means and to have a trusted Lawyer to look over your contract. It's important to make sure that you understand all the terms and conditions of that contract ( as some terms aren’t very clear and can be open to interpretation).

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

Join groups, look for events to go to, reach out to people ( don't be afraid to put yourself out there).

You played Meltdown, curated by Little Simz. What did you take away from being part of a lineup shaped by another artist? 

It was amazing to be able to celebrate and appreciate how incredible but different all the other artists were. 

Photo by Chantal Azari

What’s your favorite/least favorite part of making music?

My favourite part of making music is how healing the creative process is but more so playing the songs live and seeing how much it connects with my audience. It is so beautiful to be able to connect with them in person.

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

I think it’s important to not be afraid to be yourself and not to be afraid of the amount of time that it may take to figure that out. I always say that your uniqueness is your super power. Your voice is important and will be the very thing that connects you to the right audience.

What’s something that helps you stay grounded on a tough day?

I think one of the things that helps me stay grounded on difficult days is going back to the why ( why I started making music to begin with) and that always brings me back to what is important.

3 women in the industry that inspire you and why. 

3 women in the music industry that have inspired me have been: Nina Simone, Amy Winehouse and Pink. They were/are vulnerable and honest and were not afraid to be themselves; and did not conform but rather brought something new and unique to music - so so inspiring to me.

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Kelli-Leigh: From Chart-Topping Collaborations to Her Defining Debut Album 'Legacy'

Over 1 billion streams. Two UK No.1s. Three UK Top 10s. Kelli-Leigh’s voice has carried some of the biggest dance tracks of the past decade, from Duke Dumont’s “I Got U” to SecondCity’s “I Wanna Feel.” With the release of her debut album Legacy on 19 September, the Grammy-nominated singer-songwriter takes centre stage as a solo artist in her own right.

On stage, she has performed everywhere from Radio 1 Ibiza and the Capital Jingle Bell Ball to the Eurovision Opening Party and Pride celebrations across Europe. Her collaborations include work with Tiësto, Duke Dumont, Sonny Fodera, Low Steppa and many others. Through her own label Music Core, she has also built a solo catalogue supported by BBC Radio 1, Capital Dance and KISS FM, with singles such as “Unconditional” and “New Chic.”

Alongside her music, Kelli-Leigh is an advocate for artists’ rights. As a board member of the Featured Artists Coalition and host of the You Know My Voice podcast, she continues to push for better recognition and protection for vocalists in electronic music.

Legacy is a 16-track album of dance-pop that reflects her journey so far. From the retro grooves of “Broken Heart” to the uplifting energy of “Love Myself,” it marks a decisive step for an artist who has spent years shaping the sound of UK dance music.

You’ve been the voice behind multiple UK No.1s but often uncredited. What gave you the drive to finally step into the spotlight as Kelli-Leigh the solo artist, and what can other vocalists learn from that journey?

I realised that nothing was going to happen unless I started investing into myself and not waiting for anyone to give me permission or support to be the artist I wanted to be. Other vocalists coming up should definitely have the future vision for themselves at the forefront of their mind. It will be easier to grow a stronger journey without feeling like you’re being pulled in different directions. 

Over 1 billion streams and collaborations with some of the world’s biggest DJs is huge. Looking back, what were the pivotal decisions that helped you sustain longevity in such a fast-changing industry?

I guess consistency and backing myself. I often say I wouldn’t be where I am now had I not decided to start self releasing. Building my own journey and self worth in am industry that now values relevance above all else it was my way of keeping in peoples minds and still growing via my own path. Then the courage to say no to things that didn’t feel right for me or If I felt I was being devalued was a major part. It was loosing the fear mindset of saying yes to anything that came even if it didn’t feel right.

You are running your own label, Music Core, and have taken control of your releases. For artists considering going independent, what’s the biggest challenge and the biggest reward of owning your work?

The biggest challenges are definitely the financial costs associated with releasing records. If you can do as much as yourself as you can (making the artwork, editing/filming video clips, vocal production and production) you’ll save money as you build your team. The biggest rewards have to be having your own music and identity out there.

When someone sings back the lyrics you wrote or tells you they have your song on their playlist as it makes them feel a certain way (motivated, comforted, happy etc) it means so much! That’s the biggest joy from it, self releasing feels like breathing on your own terms.

Through your work with the Featured Artists Coalition and your You Know My Voice podcast, you’ve advocated for vocalists to protect their rights. What are the most common mistakes singers make when it comes to contracts and credits?

Being scared to rock the boat or going into a business situation with lack of knowledge . You never know what may be a hit and you never know when a song may see the light of day. Always take a session bounce home with you so you have a copy of your work. At the end of the day from my experience I believe that good people and people your’re meant to work with will respect you and do things correctly. 

You’ve moved from being a featured voice to building a full body of solo work. How does your creative process shift when writing for yourself versus collaborating on someone else’s track?

You realise you have to unlearn certain things. For example going from BV world to an Artist I had to shake certain session behaviours where you sometimes have to dumb yourself down & keep yourself small (and obviously professional) as at the end of the day you are the ‘backing’ section but an Artist has a competent different mentality and presence from the moment they walk into a room.

The same applies in a session, although the room has a lot more ‘artists' in it in general you are aiming to write something the lead artist will like so lyrically you often have to overthink is that simple enough but cool enough, is it impactful enough but repetitive enough (in case of dance music) writing your own music you get to go…at the end of the day do I love it yes or no? And to be honest with yourself, can you make it better, can you tweak it, can you hone in on sections to make a stronger record, or is this something you need to write for yourself so you can expand and write something better another day. Writing for yourself takes allowing yourself more freedom and trusting in who you are and what you want to say.

With 16 tracks, Legacy feels like a statement album. What story are you telling through this record

I love that! It very much is a statement album. It’s a statement that combines a lot of my last 7 years in the industry of being an independent artist. I started self releasing in 2018 with my first single ‘do you wanna be loved like this?’ Which ended up doing really well in the UAE and I played at Red Fest Festival and supported Fifth Harmony.

I found that I was getting more support abroad for my music then home at first but slowly I kept releasing and re investing in myself and my vision from the records I sang until eventually (after some great spot plays and tracks of the week from various radio stations) I landed my first ever solo play-listed record on BBC R1 with Unconditional.

I felt so emotional about it as that playlisting nod landed 10 years after I had sung 2 UK number 1s in 2014. I felt like I had finally cut through even though no label wanted to sign that record when I pitched it out in 2023.

From there I had a great meeting with the label that eventually signed Unconditional and I was really excited, I felt like a I had a team in place to take things to the next level. That then didn’t come to fruition which was followed by another disappointing release on another label which had spoke of exciting things.

I ended up ending what was an excellent year in 2024 feeling flat and that I was constantly so close to something major happening if a label or team could come and really invest properly so I decided it was time to shift my own narrative one again and finish off this last decade of my career and this huge journey I’ve been on by creating my own LEGACY.

With each one of the records on this album and the new ones too they tell a story of my resilience, my love of music and the sonics I’ve created and the fanbase that have discovered me along the way. It’s me claiming my own LEGACY in this industry that has profited off so much of my voice without really investing fully in return.

You’ve been in the industry long enough to experience both major-label and independent models. What advice would you give to younger artists about navigating those two worlds?

Ideally being independent is the way forward however the financial implications of that and the work required can be really full on, rewarding but draining. Signing to a label can be great for someone else taking the financial risk but you may feel frustrated that you can’t move as fast as you’d like to if you don’t have the right team on board. I don’t feel there is a right or wrong answer. I think you can do both self releasing and signing records to labels and build up your catalogue and ultimately you’ll learn which is the right process for you & what option makes you feel like you’re thriving.

Finally, for aspiring vocalists and songwriters reading this, what’s one thing you wish someone had told you at the start of your career?

Don’t wait for other people to give you acceptance for your own career. Start backing and building for yourself now. Start the journey of investing in yourself but learning the business side of the industry as well as the creative side. They all interplay together so the more knowledge you have the more you can set yourself off on a path to success.

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LEGACY debut album OUT NOW

Guchi: From Viral Breakthrough to 400M+ Streams and Her New EP 'No Skips Just Feelings'

Nigerian singer-songwriter Guchi has built a reputation on infectious hooks and cross-continental appeal. Born Ugochi Lydia Onuoha in Kaduna State and raised in Abuja, she broke out with 2021’s viral hit “Jennifer”, which later spawned a remix with Tanzanian star Rayvanny.

Her follow-up single “Benzema” climbed to No. 3 on Billboard’s Top Triller Global Chart, cementing her as one of Afropop’s rising exports. Along the way, she’s collaborated with Yemi Alade, Zlatan, Odumodu Blvck, Kuami Eugene and Wendy Shay, while earning nods from AFRIMA, AEAUSA, and The Headies.

Her latest project, the 7-track EP No Skips, Just Feelings, pushes further into her blend of Afropop, R&B, and dancehall. Across songs like the empowering opener “Your Type” and the Afrobeat-driven standout “Tsunami,” Guchi pairs melody-rich production with themes of love, self-worth, and emotional vulnerability. It’s her most cohesive body of work yet, marking another step in a career that shows no signs of slowing.

You’ve earned over 400 million career streams and become one of Nigeria’s most recognisable Afropop voices. How did your journey in music begin, and what helped you stay committed in the early days?

Well, I started music when I was just 7 years old. I started from the choir, and my dad kind of influenced my love for music because he always played music in the morning growing up. He played the likes of Michael Jackson, Osadébé—so I've been listening to music since I was little. And that has helped me stay committed to my passion. I have so much passion for music, and I love music so much.

From Lagos to global stages, you’ve built a strong fanbase and earned nominations at The Headies, AFRIMA, and AEAUSA. What were some of the biggest challenges you faced as an up-and-coming artist, and how did you push through?

My biggest challenge was visibility. But thank God for TikTok. My song went viral on TikTok, and over time, I've gathered lots of fans, and right now, they just keep me going

With over 5.8 million TikTok followers and 910,000 YouTube subscribers, you’ve built a huge digital presence. What are your best tips for independent or emerging artists who want to grow their socials on a tight budget?

My advice would be that they stay consistent, focus on what they can control, take social media very seriously, and believe in themselves.

How did you develop your identity as an artist, and what advice would you give to others trying to stand out?

I did that by telling myself that no one can be like me. I've always wanted to stand out, and one of the things I did was to pick a signature colour for myself. And so, for others trying to stand out, first being yourself and being conscious of who you are will always lead you to f inding your unique style.

Were there any strategies or platforms that really helped boost your visibility when you were still establishing yourself?

Well, social media played a huge role, especially TikTok, and of course, my team played a huge role too.

What keeps you inspired creatively?

I get inspired by things happening around me, daily life experiences, and real-life experiences.

What’s your advice for networking in the music industry, especially for new artists?

Engage before you enter people’s DMs. Consistently show love to other artists, producers, and media people. Comment with real insight, share their work, and make yourself memorable. Play the long game. Don’t overwhelm someone you just met with a bunch of requests. Build trust slowly. One small win can lead to bigger collaborations you didn’t even see coming

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Guchi No Skibs Just Feelings Out Now

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Nectar Woode on Her Ghana-Inspired EP It’s Like I Never Left

photo by Alexandre Eldoh

At just 25, British-Ghanaian artist Nectar Woode has carved a distinct place in UK soul and jazz. Raised in Milton Keynes by creatively minded parents, she grew up immersed in gospel, Lauryn Hill, Erykah Badu, and Stevie Wonder, roots that now pulse through her own work. Elton John recently compared her to Nina Simone on his Rocket Hour show, calling out her unmistakable voice and emotional depth.

Her 2022 debut EP Nothing to Lose (Communion) introduced her blend of neo-soul, folk, gospel, and jazz, led by breakout track “Good Vibrations,” which hit 11M streams. The follow-up, Head Above Water (2024), pushed further into jazz and won her a BBC Radio 1 Track of the Week, sold-out London headline shows, and tour slots with Leon Bridges and NAO.

Now signed to Since93/RCA, Woode’s latest project it’s like I never left (2025) deepens her exploration of dual heritage and identity, written partly in Ghana where she collaborated with Joey Turks & Øbed from Accra’s SuperJazzClub and drew on ancestral influence.  The record features production from Jordan Rakei and highlights like “Only Happen” and “Lose,” affirming her as both an heir to and an innovator within modern soul.

Alongside her own releases, Woode has become a respected voice in the UK independent scene—hosting a monthly Soho Radio show with Women in Jazz, performing at major festivals, and interviewing artists at Glastonbury for Spotify Fresh Finds. With over 815,000 monthly listeners, sold-out shows, and fans ranging from Elton John to the BBC, Nectar Woode is emerging as one of the most vital young voices in UK music.

Your new EP, it's like I never left is out now, what’s the story behind it? What were you processing or exploring when you wrote it?

The story behind my project is all through my dual heritage identity and the self-discovery of it all. I was lucky enough to go to ghana and finish writing the EP out there and beforehand I had wrote Only Happen which was me sharing my experience of being from dual heritage and not feeling like I belonged on either side and after writing this one it brought a lot of emotions and questions to the surface before going to ghana. Would I be accepted? How would people treat me, even though my heritage lies here. Fast forward me arriving in Ghana and being welcomed with open arms. I wanted to portray this whole journey in my project. 

Nectar Woode at Jools Holland photo by Alex Bean

What’s one thing every artist should know before stepping into a studio for the first time?

They shouldn’t know anything! Be yourself and in tune with yourself and that is when you create the most authentic music. 

What advice would you give to an artist who’s still playing open mics and figuring out their sound?

Don’t be offended if people talk over your set, that still happens to people that are playing the big boy festivals - it's not a reflection on you or your music - they just don’t know you yet. Also voice note your gigs so you can listen back and really hear how you did - sometimes the gig is different out front to what you hear. 

What’s something that helps you stay grounded when the pressure is high?

Cooking! I love to cook after a gig and during this project launch I found cooking grounded me and made me feel at peace when things became a bit much - I also love cooking in silence sometimes to quiet my mind. 

What’s one thing you wish more people understood about what it takes to grow as an independent artist?

It takes a whole bunch of studio sessions and gigs to discover who you are as an artist before people start to discover you. I know we live in an age of social media being very prominent but don't let that stop you from doing the active work of understanding your craft and your songwriting and identity and people will cling onto that more when you start to post 

3 women in the music industry who inspire you and why.

Carol King - amazing songwriter! Little Simz - challenging the norm/bending genres and an all round beautiful human, Kokoroko (band) - showing as a female musician/composer you can create a whole community 

What are you listening to on repeat right now?

Curiosity - Richie 

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Follow Nectar Woode Instagram | More Links

Cami Bear is the Miami Pop Artist Behind Atlas Lens-Backed ‘matchacoldbrew’

Miami-based R&B/pop singer, songwriter and visual artist Cami Bear is carving out a space of her own in today’s pop landscape.

Fresh off the release of her bold new single matchacoldbrew, and its hyper-stylized 2000s fever-dream video, backed by Atlas Lens Co. (Everything Everywhere All at Once, The Batman), Cami is stepping into what she calls a “new era.” Fusing alt-pop, R&B, glitchy Y2K nostalgia and a touch of Latin flair, her sound is both playful and deeply personal, transforming regret into confidence and chaos into glamour.

With over 4M streams to date, collaborations with Gorgon City and Westend, and global radio support, Cami Bear is quickly proving herself as one of Miami’s most exciting new voices.

Atlas Lens has backed ‘Everything Everywhere All At Once and The Batman’ now they’re behind your 2000s fever dream. How did the partnership come about?

It came through a one-off artist submissions program that Atlas Lens was running in collaboration with LA native director XAMNIL. 

And once it came together what was the experience like working with Atlas Lens and bringing your vision to life?

It was surreal, honestly. Atlas Lens gave me access to gear I never thought I’d touch this early in my career, and it made the whole process feel so legit. I will forever be grateful for that experience and for everyone who was involved in bringing something so special to me to life. A dream! <3 

You refer to your song matchacoldbrew as ‘cnty’. What’s the story behind it?

This song basically wrote itself. I needed to channel whatever spiral I always go down into something more playful. This song came from a place of burnout due to not writing from an honest place. I’d been wanting to romanticize more of the real and darker narratives in my life that I know a lot of girls my age would be able to relate to through songwriting. It just so happened that the first angle I took was the morning after.

How has growing up in Miami shaped your artistic identity from the way you write, to how you perform, to how you move through the industry?

Miami holds a lot of magic, and luckily I’ve been able to channel that through my artistry. By now it’s clear the city has its own glossary, and you can hear a lot of that in my lyrics and brand voice.

My music is also heavily influenced by the mix of sounds I grew up on here, and I see it as a true product of that tension. It’s a pretty unserious city, and if you’ve been to my shows, you’ll see the direct correlation. My Miami roots shape so much of me, but I feel it most in the social element.

Like any big city, Miami makes you grow up quickly, and that’s played a big role in how I carry myself in the industry. Miami breeds a very specific kind of person. Growing up here not only toughened me up, but helped me tap into my soul and charisma. There’s a lot of characters here that have prepared me to deal with a lot of the different kinds of personalities you can come across working in an industry like this. 

You’ve collaborated with Gorgon City, hit 4M+ streams, and your tracks are getting played worldwide. What mindset helped you stay focused as things started to grow?

Remembering why I started doing this in the first place is always very grounding. It’s easy to get caught up in the noise or start chasing trends, but I’ve learned to come back to honesty. If it doesn’t feel like me I don’t do it. As long as I do that, I know I'm focused on the right things. 

Did you ever feel pressure to lean into Latin or the ‘Miami Sound’? How did you stay true to your sound?

Yes, I’ve always felt that pressure- especially coming from a Latin family and being a native speaker. I’ve caught a lot of backlash for not using my fluency more. At times I’ve been insecure about not leaning into it ‘fully,’ but that doesn’t mean I don’t already.

The culture is already woven into my music, just not in the most obvious or typical ways people might expect- it lives in my DNA, in my delivery, and overall in my energy. I definitely see myself exploring that path more in the near future, but I want to do it with intention and work hard to find the right messages and the right cultural approach so it feels true to me, to Cami Bear, and to where I come from.

And in terms of the Miami sound, I think that can mean so many different things. It’s not one genre - it’s the tension of all the influences here. I stayed true to my sound by letting those influences show up naturally in my work.

I see myself as a pioneer of this movement for my generation, helping emphasize this lane of Miami pop and giving it a voice. It’s about building something authentic that reflects the city’s magic without being boxed in. Staying true to my sound means blending my roots into it on my own terms.

What’s one thing about being a pop artist in Miami that people don’t understand until they’re living it?

One thing people don’t realize is how different the landscape is here compared to cities like LA or New York. Miami doesn’t really have an OG built-in infrastructure for pop, so you’re carving your own lane. That makes it harder sometimes, but it also gives you freedom to create something really fresh! You have to hustle harder to get noticed- especially when it comes to bookings, but in return you develop this very strong sense of identity.

What are you listening to at the moment?

So many things but this week: the new Jim Legxacy album, all of Dominic Fike’s discography, and that one minute video SZA posted on a spam account

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Connect with cami bear on Instagram & TikTok

Kaitlyn Aurelia Smith on New Album ‘GUSH’, Modular Synths, and Creative Listening

Kaitlyn Aurelia Smith is a classically trained composer, producer, and performer from the Pacific Northwest.

Since self-releasing her debut album Tides in 2012, she has explored the expressive possibilities of modular synthesis, particularly her signature Buchla system, alongside orchestral textures and processed voice. Her music draws on synesthesia and an interest in the relationship between sound, color, shape, and physical sensation.

Her new album GUSH, out August 22nd, follows her 2024 Neptunes EP collaboration with Hot Chip’s Joe Goddard and marks her first solo release since 2022’s Let’s Turn It Into Sound, which was nominated for Best Electronic Album at the LIBERA Awards and praised by NPR Music, Pitchfork, The Guardian, and Bandcamp.

Where previous work leaned into meditative and mesmeric structures, GUSH moves with directness and intensity, focusing on aesthetic experience and moments of connection with people, objects, and the natural world. The album is rooted in Smith’s experience of synesthesia and her long-standing habit of personifying objects. Across its tracks, she draws out the sensuality in everyday interactions and gives form to emotional responses through synths, voice, and rhythm.

Across singles like “Urges,” “Drip,” and “Into Your Eyes,” we get glimpses into the emotional and sensory world of GUSH. What ideas or experiences were guiding you as the album started to take shape?

Love this question! I wanted to make an album that felt like I was falling in love. I wanted to make an album that shared my day to day inner existence with the outer world, that best describes my personality. I love to be in connection and relationship with everything. I interact with and I feel the most like myself, when I get to spend time just being in attention and presence with something.

I wrote these words about the meaning of GUSH: 

Gush - is about those “Look at this” moments…shared between people…

It is about flirtation with objects and the environment…

It is about sensuality and personification…

It is about synesthesia and surrendering to those moments when the senses melt together…

It is about “ the third thing” that is created when 2 things come together…

It is about the way the human form is in service of…

it is about experiencing the genius of everything…  

You’ve said GUSH is about things like personification and connection. How did those ideas influence how you made the music?

This album is a view into how I like to live my life, which is centered around my love of connection and feeling.

I love to imagine everything is a form of intelligence and that it is speaking. It feels like a very poetic way of filtering the world. 

Can you share a piece of advice that helped you develop your confidence as both a producer and performer?

Fall in love with practice, whatever that means to you. I think confidence is KNOWING something and I think that comes through experience and familiarity. Anytime I feel a lack of confidence in my craft - if I spend time with it daily - it subsides for me. 

You’ve worked with modular synths and rare instruments for years. For someone new to electronic music production, where do you recommend they begin?

I mean this in the most earnest way; listening and patience. Continue to develop the practice of knowing your preference.

Keep sitting with each aspect of a sound and find out what do you like, what do you not like. This has been the most valuable practice for me, beyond studying sound engineering, orchestration, technique, etc.

Photo Credit: Tim Saccenti

What’s one piece of gear, software, or even a non-musical object that’s been unexpectedly essential to your workflow lately?

I love non musical objects! I love objects in general! This whole album is about personification and object empathy - so I am going to speak to the object aspect.

My favorite palette cleansing activity is to walk around the world and look for objects that evoke a feeling in me. I dont usually bring them into my studio, but that activity always inspires me. 

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

My favorite thing is creating a form of communication for the ineffable.

My least favorite thing about making music is the underbelly of the music industry and the way music is consumed. The amount of energy expenditure that is expected of artists of all mediums.

Top tip for creatives wanting to become singer-songwriters etc.

Fall in love with the “fear” - whether its fear of failure, success, being seen, mistakes. Whatever it is, it’s a bridge to innovation, finding your sound. I also love this statement a teacher said to me; “live a life worth making music about”.

• Interview by ninakeh

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Follow Kaitlyn Aurelia Smith: Instagram | Bandcamp | Website

GUSH out August 22 Pre-save

Charlotte Dowsson Is Claiming Her Space in a New Era of R&B

Charlotte Dowsson is part of a new wave of R&B artists building momentum with little more than instinct, honesty, and a strong sense of self. Raised on ‘70s soul and early 2000s vocalists, her sound blends soft sax lines and sultry harmonies with the emotional clarity of someone who’s lived through what she’s writing about.

With just a handful of independent releases, she’s already earned more than 1.6 million streams, 75,000 TikTok creations using her songs, and support from BBC Introducing and the PPL x Trench Incubator programme.

Her latest single, “Slightest Change,” traces the emotional drift of a relationship with layered vocals, lap steel guitar, and a deep sense of restraint. We caught up with her to talk about where the track came from, how she’s building her audience in real time, and what she’s learning from the current R&B scene.

What’s the story behind Slightest Change? Did it start with the lyrics or the music?

It was me reflecting on not so great past relationship. I think I’m very good at realising things after the fact with love and romance but in the moment I get quite caught up in my lover girl feelings, but the song is about the sudden realisation that you get when you draw to the end of a toxic relationship and you realise that you deserve better.

It explores a range of emotions from frustration, doubt, pleading & confusion and love in relation to the other person. I wanted to show the inner conflict you feel when you know you should leave the situation but how hard it is so allow yourself to come to that conclusion. 

The current R&B scene is full of exciting voices right now. What are you enjoying about it, and where do you see yourself in it?

What I’m really loving about the current UK R&B seen is that there is there is so much diversity everyone is doing something different in this big umbrella of a genre & killing it.

I love the KWN and Natanya, I love Odeal I love Summer Banton I love Sasha Kebal I love FLO.

I think where I place myself in this renaissance of R&B is brining my love of 70s/80s soul and jazz and mixing that with the contemporary women of R&B that I love. My sonic signature right now is saxophone and strings definitely influenced by Sade, but I blend more contemporary sounds that are a homage to artists like Brandy and Aaliyah to create Charlotte Dowsson.

What’s one thing that’s helped you meet the right people in music, whether that’s collaborators, producers, or mentors?

I definitely think it’s been taking full advantage of the fact that I live in London. I feel incredibly grateful to live in one of the biggest centres of art and creativity and music in the world and I don’t I take that lightly.

There’s always an event, there’s always a jam there’s always something to go to, so I definitely think that was a big help for me and also reaching out to people online like shooting my shot and not really caring if I got a reply reply back. I have made such great connections & met such amazing creatives from doing that & I think I’m an age and a time that navigating a healthy relationship with social media can feel tricky using it and seeing it as a space to make new connections I think it really cool.

What advice would you give to someone trying to grow as an artist without a big team behind them?

I think realise the value you hold as the musician & artist because it’s immense. Without artist there are no managers, without artists there are no labels, without artist there isn’t a music industry to begin with.

When I first started out, I definitely felt that feeling of you know a big separation within myself and the infrastructure, but when I stopped thinking about trying to get a team and just focused on my over of doing music the perfect people entered my life AND I have faith that if I continue trying my best and creating things I’m proud of more of the right people will come.

Who are you listening to right now that’s inspiring you?

 I’ve got quite an eclectic music taste so my playlists can look a little crazy at times, you never really know what’s gonna come next. I love vocal stacking so I listen to lots of Boyz II Men, Brandy Mariah Carey and Beyoncé. But I’ve also been really banging out Odeal and Jim legacy and I think both of their recent tapes are crazy, I think their ability to keep growing as artists and not allowing themselves to be boxed in but still have a distinct sound is really inspiring. My voice can go quite low, so I love listening to Toni Braxton and definitely think she’s influenced my more sultry songs & as mentioned before Sade will always be on rotation. Most recently I’ve been re falling in love with is it a crime.

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Charlotte Dowsson

Instagram | TikTok |

New single Slightest Change

Meet Girl Group, the DIY Feminist Pop Act Backed by Elton John

Meet Girl Group, five close friends who met at college, bonded over feminist rants in their kitchen, and ended up forming one of the most exciting new DIY pop acts.

Their shared home quickly became the backdrop for creative chaos, late-night writing sessions, and the start of something bigger; a band built on friendship, frustration, and a desire to take up space.

After feeling sidelined in male-dominated studio spaces, they decided to take control and build something of their own. The result? Girl Group, a band that’s as much about catchy brat-pop bangers as it is about community, collaboration, and making space for women in music.

Their debut EP Think They’re Looking, Let’s Perform was out 20th June via Boys Boys Boys, the new Polydor imprint. It’s a self-written and self-produced release that blends sharp social commentary with slick, infectious hooks.

Lead single “Yay! Saturday” has gained early support from Elton John, who said “It’s a wonderful single”, scored a 10/10, won BBC Radio 6’s Roundtable and landed them playlist spots on BBC Radio 1, Apple Music, Spotify, and Norway’s P3.

Girl Group have thrown DIY launch parties in Dalston basements, hosted mock-press conferences at art galleries, and this summer they’re stepping onto their first UK festival stages (from Liverpool’s Sound City to by:Larm in Oslo) with their all-female team behind the scenes.

We caught up with the band ahead of the EP drop to talk about flink pike syndrome, friendship-fuelled creativity, and the joys (and chaos) of finishing a track when five people have five different opinions.

How did Girl Group come together?

What made you want to start creating music as a collective? We often credit the feminist rants we routinely had in first year with the creation of Girl Group.

One night while having pre’s in our kitchen, we’d started talking about how there seemed to be a bit of a ‘boys club’ at our uni.

There was a distinct culture amongst the boys of going to the studio and collaborating, whereas that culture didn’t seem to exist among the girls. Girls would rarely be invited to sessions with the boys too. If they were, it was on a guest-only basis, rather than as a collaborator/an equal.

It was from there that we decided to go to the studio ourselves and try to create that culture between ourselves and other women… but then we started writing Life Is Dumb and said, “Why don’t we be a girl group?”.

“Flink Pike” is such a standout track can you talk a bit more about that term and how the song came together?

The Norwegian term ‘flink pike’ (meaning ‘good girl’) relates to a phenomenon and medical syndrome caused by perfectionism, particularly in young girls. Women are taught from a young age that they must be everything to everyone, all at once. You must be the party girl who isn’t afraid to have fun but also get straight As, as well as being a kind friend, girlfriend, and family member.

This had been a song idea for us for some time, as it was something we all felt we related to and cared about addressing. It was Katya that had started writing Flink Pike; she had actually written about 5 different versions of each section when we saw the shared note she’d been working in we were all like “Wow, you are fascinating”. Thing is, that’s flink pike syndrome at its finest!

You’ve built a real sense of community around Girl Group. How do you keep that energy going?

Building community and making people who listen to our music or come see our gigs feel like they are part of Girl Group has been super important for us from the beginning. That sense of community most likely comes from the fact that we’re all such good friends. We were friends before we were band mates, which we feel does a lot for the dynamic of the group.

We’ve lived together for years, studied together, and now worked full time alongside each other, so we’re incredibly close. If the friendship we have for each other can exude beyond us to our audience members, then we’re incredibly happy.

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

We love being in the studio writing new stuff, and being on stage, singing and dancing around. They’re the bits that really make us feel like we’re living our childhood dreams. There is of course a lot of tedium in the creation process. Finishing songs is always the worst. Plus, as we’re all equal writers on every song, it can sometimes take forever to land on the smallest decision.

We’re also all extremely opinionated and different from one another, so we can spend hours dissecting one line. In some of these sessions, we can find ourselves sat around thinking “How the hell is this ever going to sound good?”, but then all of a sudden it clicks, and we all start to love it.

Any songs or artists you have on repeat? 

ADDISON RAE’S NEW ALBUM! We think she’s incredible. The sexy, unapologetic attitude that punches through her songs, that are all about longing for fame and money, is a beautiful reclamation of the ‘gold-digging, media-whore’ that we’ve been trained to see in women in the public eye. It also has such a nostalgic sound, reminding us of our favourite girlypop tunes from the early 00s. Love her.

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Listen to Girl Group’s Debut EP Think They're Looking, Let's Perform

Follow Girl Group: Instagram | Tiktok

Nat Oaks on Finding Her Voice in Alternative Hip-Hop

London-based singer-songwriter Nat Oaks is gaining recognition across the alternative hip-hop and indie pop scenes. Her latest single, ‘The Way You Want Me’, released during Pride Month 2025, marks a new chapter in her sound, moving away from people-pleasing and toward self-acceptance.

Following standout performances on the Main Stage at Love Saves The Day, Little Simz’s Meltdown Festival at the Southbank Centre, and her Glastonbury debut after placing second in the 2025 Glastonbury Emerging Talent Competition, Nat is making her mark on some of the UK’s most celebrated stages.

Influenced by artists like Loyle Carner, Arlo Parks, and Little Simz, she blends alternative hip-hop, R&B, and indie pop into a distinctive, emotionally honest style. Her live shows have led to support slots with Jelani Blackman, Pip Millett, and Master Peace, while her identity as a queer artist continues to shape her work and perspective.

We caught up with Nat as she enters a pivotal summer to talk new music, live shows, and letting go of expectations.

What’s the story behind your new single The Way You Want Me’?

The Way You Want Me came during one of the last mornings of a songwriting camp in the Cotswolds. My producer MSTRY had come up with a beat from the couch, and I mumbled over it coming up with a theme pretty quickly. I found myself reflecting on the position I was currently in – just wanting to enjoy the moment and not take things too seriously. I’m always cautious of not wanting to just make love songs, so this was a fun way to approach the topic.

How do you build trust and chemistry in a songwriting session, especially when time is limited, like at a camp?

I like to dedicate good time to get to know the other writers. It’s sets an important basis which allows us to open up and be more vulnerable. It’s generally a supporting environment because everyone comes wanting to make great music. I love getting to know them because it also gives you good insight to how they come up with lyrics, which helps me to adapt my own style and be more creative.

You’ve hit some huge stages this year at Love Saves The Day, Meltdown with Little Simz, and Glastonbury. What have those live moments taught you about performance, confidence, or connecting with a crowd?

I’ve been performing for five years now, since I was 18. It’s been really fulfilling to feel my confidence grow with every live show. With each show, I get a really warm response and it solidifies in my mind that I’m good at what I do. Once I had that realisation, which only really came about this year, it’s made it so much easier to get on the stage. I now know that the crowd is rooting for you to do well and give them a good show.

Nat Oaks - The Way You Want Me (2025 Glastonbury ETC Runner Up)

Your top tip to artists trying to find their own voice

Firstly, realise that it takes time. The type of songs I wrote and recorded when I was 18 are very different to the ones I make 5 years later. You have to trust yourself that your confidence will build, with each studio session and each show, until the point you know exactly who you are. I’m still on that journey, but feel a lot closer since I give myself the space to try new things and put them out there, no matter how successful they’d end up.

Your top tip to network with the right people in the industry.

Get creative! Remember, you’re your own brand. Be excited about what you have to offer, and take advantage of opportunities to get in the room. This can be attending events, whether industry or live shows, and being open to meeting all types of people. You never know where a conversation could take you. I had a funny experience at The Great Escape three years ago, where I got up on stage to dance (horrifically) with Ants Live. Through this, I met Dellessa James, who leads the exciting black music strategy at Amazon Music with +44.

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

When I get the time to make music, I often surprise myself with the lyrics I can come up with. I’ve always known myself as a creative person, even at school writing stories was my favourite thing. Being able to write a song that others can in some way connect to, and able to put on if they’re having a bad day, is really fulfilling. And the best thing about music is the endless possibilities of songwriting. It’s exciting to always feel like you’re yet to make your best song.

What are you listening to at the moment?

I’m listening to Little Simz’s new album Lotus. My favourite songs on there are Enough and Young. Sasha Keble is also filling up my playlist as I’m loving more soulful music at the moment. I’ve been lucky enough to see both of them live recently which brought the songs to life.

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Connect with Nat Oaks on Instagram

Gabriella Bongo on 'Breathe', Mentorship, and the Emotional Core of Drum & Bass

Gabriella Bongo is a writer, producer, and DJ from South London blending melodic depth with the soulful edges of drum & bass. A self-taught pianist who began producing at age nine using GarageBand, she honed her technical skills while studying sound engineering at ICMP London, where she recently graduated.

Influenced by artists like Dogger, Hybrid Minds, Rudimental, and Chase & Status, Gabriella’s music pairs sharp production with honest, lived experience. Since her debut in 2020, she’s gained early recognition through BBC 1Xtra and was selected as Hospital Records’ Women In Drum & Bass mentee in 2024. Her progress and production style stood out so strongly that Hospital offered her a full signing in March 2025.

Following her feature on Degs’ album (Spacesuit), she now makes her solo debut on the label with Breathe — the first of three upcoming singles exploring the more soulful and liquid side of the genre. With past performances at O2 Academy Islington and Hospitality In The Woods, and an appearance at Hospitality On The Beach in Croatia slated for July, Gabriella is proudly flying the flag for a new generation of drum & bass artists.

What’s the story behind your new single – ‘Breathe’ out on Hospital Records?

I think for a lot of musicians, music is an outlet - you end up expressing yourself unconsciously. Breathe was written at a time in my life where I was in a bit of a rough patch. I was having lots of panic attacks and the only way you’re taught to get through them is to breathe. I didn’t go into the session with the intention of writing about that - it just happened. I was in the studio with this amazing singer-songwriter called Sienna and without her I don’t think I’d have tapped into that.

Drum & bass rose from underground roots to a global audience, and lately we’ve seen a surge in vocal-led and more soulful cuts gaining traction. Why do you think it’s striking a chord?  How do you see your own sound contributing to that evolution?

I think people want to feel a bit more. The world is currently very fast paced and a lot of music today feels quite disposable to be honest. I think people want lyrics they can relate to and chords that make them feel sad or happy. I think my sound is for listeners across a multitude of genres. 

As someone who started producing from a very young age and now studies sound engineering, what’s one production trick or tool that totally changed the game for you?

Probably auxiliary sends. I love sidechaining my delay on vocals, doing some weird stuff to my parallel drum bus or even using a vocoder. I like how creative you can get with auxiliary channels/sends all whilst having the ability to keep a dry or less interesting version.

What’s your approach to collaborating with singers across different genres, and how do you make those pairings feel authentic?

I have to be a fan of their voice and they have to be up for trying something new - that’s the only criteria! These pairings often work and feel authentic because all they need to do is bring themselves and just do what they do best.

I never use reference tracks or try to alter their sound too much because I want it to be as original as possible - a piece of music that we’re both proud of. 

What’s one thing you wish more people understood about the work behind the scenes as a DnB producer?

I think all producers can relate to this but the session isn’t over for us once we leave the studio. I’ve been putting vocals through Melodyne in bed before, sending revisions of mixes while I’m on the go - the work is constant and sometimes not the most convenient.

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

My favourite thing would probably be that moment in a session where you think this is the best song you’ve ever made and you’ve outdone yourself. 

My least favourite thing would be writer's block.

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

Chewing Gum

Candy Kittens or Honey Roasted Peanuts

Water

What are you listening to at the moment?

Recently I’ve been listening to a lot of Florence + The Machine and Post Malone, very different artists.

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Gabriella Bongo x TJ - Breathe (feat. Jo) - Artwork

Connect with Gabriella Bongo

Instagram | TikTok

Iris Gold on André 3000, Stage Nerves, and Staying Inspired

Over the past few years, Iris Gold has carved out a distinctive space in the international music scene. From supporting artists like Doja Cat, Miguel, Blur, and Taylor Swift to collaborating with Dave Stewart and touring extensively across Europe, she has developed a reputation for her high-energy live shows and genre-blending sound.

Following the release of her latest single “André 3k”, Iris Gold reflects on the moment that sparked her long-standing admiration for André 3000 and how it evolved into a full-fledged tribute. Released just days before the Outkast icon’s birthday, the track is both a personal love letter and a playful invitation, capturing Iris’s signature mix of directness and charm.

In this short Q&A, Iris talks about finding creative balance, building long-term collaborations, and why authenticity matters more than ever in the music industry.

Where did the idea for “André 3k” come from?

When I first saw André 3000 in Outkast’s music video for “Prototype” wearing a short white wig and galactic charm. I hoped I could be his Prototype. It was a magical moment and I felt an instant connection.

You’ve supported artists like Miguel, Doja Cat, and Taylor Swift. What’s one thing you learned from being around artists at that level?

No matter how big you are there’s always nervousness involved before going on stage. I have truly enjoyed watching each of them walking out to their first song of the concert, cause that’s where their essence is most powerful. 

You worked closely with Dave Stewart on your latest album. How do you build creative partnerships that evolve over time?

I am lucky enough that Dave and mine’s collaboration is also a friendship that is never ending. I will join him shortly to record the title track for my upcoming album.

For artists balancing live shows, recording, and media—what’s helped you stay grounded and inspired?

Meditation and a lot of inner work. That’s when I get downloads from the cosmos :)

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

For me it’s about being as authentic as possible. Be bold and don’t be scared to approach people. If you don’t believe you are a rockstar - why should they?

Tips for finding your creativity on a tough day

Be present in whatever it is you are feeling and don’t try to force an energy that isn’t available. Try to never compare yourself to others. 

What are you listening to at the moment?

Outkast!

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Connect with Iris Gold on Instagram | YouTube

Refugee Week 2025: Spotlight on Artists with Refugee and Migrant Roots

Refugee Week is the world’s largest arts and culture festival celebrating the contributions, creativity, and resilience of refugees and people seeking sanctuary. Founded in the UK in 1998 and held annually around World Refugee Day (20th June), it has since grown into a global movement with events and initiatives taking place across the world.

To mark this year’s Refugee Week, we’ve put together a list of artists connected to refugee and migrant communities. While not all of them are refugees themselves, their work often draws from lived experiences—whether personal or inherited through family and community.

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anaiis

French-Senegalese artist anaiis grew up between continents, moving from Toulouse to Dublin and Dakar before settling in Oakland, California. She studied at Tisch School of Arts in New York before relocating to London to pursue her music career.

Her work is self-reflective and created in pursuit of a collective healing. 2024 sees anaiis add to her extensive list of collaborations with a joint mini-album with Brazilian Group Grupo Cosmo, including features from Luedji Luna, and Sessa - before a stunning new solo album in Fall 2025.

How has your cultural heritage influenced your artistic practice? 

My cultural heritage plays an important role in my work in the way I present and relate, as someone who lived in my places across the diaspora and studies blackness and belonging from different cultural viewpoints, a lot of my work seeks to create visibility and to tell these stories.

I do so both visually (OPENHEARTED film + B.P.E video) and also sonically by bringing in sounds from the places which I come from. My hope is to empower and inspire people who come from a similar heritage as me. 

This year’s Refugee Week theme is “Community as a Superpower” — what does this mean to you?

I think as soon as we start to move away from principals and practices of individualism, capitalism has less of a grip on us. Community becomes our wealth, our power, our safety, our home, our sense of belonging, our abundance. Together we are able to create beyond our imaginations and to reach further without becoming emotionally or resource depleted. The traditions and practices of where I come from are very community reliant in the most beautiful way and I try to remember to put these principles in practice in my Europeanised current living.

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Auclair Promo Cropped by Dark Angel Services

Auclair

British-Rwandan music and sound artist and composer. Auclair’s work explores rhythm, voice and electronica - treating everyday life like new mythologies and taking an embodied approach to exploring ideas with sound. 

Alongside a series of releases, recent commissions include In Solidarity with Striking Workers for the London Sinfonietta; Munganyinka is a Transformer for The Riot Ensemble and RUZUNGUZUNGU, commissioned by ISSUE Project Room in New York for their With Womens Work series, across these last two works I play with ideas around non-linear time, memory, ritual, grief, language/cadence, architecture and Rwandan folklore.

Collaborations include a choral reimagining of the Egba Market Revolt protest songs for Onyeka Igwe’s No Archive Can Restore This Chorus of (Diasporic) Shame; 5-channel exhibition soundscape All power emanates from the land with Jessica Ashman; scoring audio-visual and dance works with Yewande YoYo Odunubi for Calling the Body to attention; live re-score of Black Orpheus with Charlie Dark; working with pioneering Rwandan drum ensemble Ingoma Nshya; multi-sensory concert for blindfolded audience The Sensory Score; choral sound piece about bees, The Swarm; In Waves for the Roundhouse Choir; community multi-arts residency Co-Create: Walls on Walls; experimental vocal ensemble Blood Moon Project and live film score collective INVITATION TO LOVE.

Auclair’s latest EP Giramata is out now on Amorphous Sounds.

In relation to your cultural heritage, where have you drawn artistic influence and inspiration from? 

I’m dual heritage Rwandan and British and grew up in West London, around a lot of diasporas exploring new lenses and expressions for their cultures. I remember poring over rare live recordings of Rwandan and Burundian drumming and clapping songs, the whole region has an incredible artistic tradition.

I've always been drawn to the kind of complex polyrhythms, interesting time signatures and stick drum sounds I heard. I think you can hear that in the music I make. I'm so grateful that I got to learn a piece and work with Rwandan drumming ensemble Ingoma Nysha a couple of years ago in Butare. It was one of the hardest pieces of music I've ever learnt, it gave me so much, really opened my imagination and a feeling of connection.

This year's refugee week theme is 'community as a superpower' - what does this mean to you?

Oooof such a big question! So many ways to answer this, but for me it is in actions, shared values, care and finding ways to move with each other. The idea of it as a superpower is really potent right now - at a time where organising as a collective is the only way to resist systems of oppression and actualise the kind of world we want to live in.

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douniah Photo Credit: Elena Cremona

Douniah

douniah is an interdisciplinary artist exploring waves of sound and poetry. Her sound is heavily influenced by Black American music, North African Gnaoua music and everything in her mom's cassette collection while growing up between Hamburg and Agadir. With a strong, reflective voice, she sheds light on herself and her surroundings, creating art that resonates and lingers—a thoughtful echo for her audience to connect with.

How has your cultural heritage influenced your artistic practice?

I grew up listening to my mother's cassettes — Gnaoua music was the most played sound in our home in Hamburg. The call and response, the repetitive sounds that make you forget about time, the eight-minute-long songs that feel like prayers — poems that are easy to repeat yet so complex in meaning. I was exposed to spiritual music, music that liberates the mind, from a young age. It had a formative impact on how I approach making music.

This year’s Refugee Week theme is “Community as a Superpower” — what does this mean to you?

I think we've unlearned that this is where our power lies — in strengthening, encouraging, helping, and loving each other. In building trust, reminding ourselves to be patient, and allowing growth to happen. Teach – learn – teach – learn. Unlearning together, learning together, and learning from one another. Community is how we will survive this madness.

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Nour

Palestinian artist, DJ, and music producer whose work bridges sound, memory, and activism. In addition to crafting musical experiences, Nour is the creator of Refugee Chronicles, an ongoing documentary project that preserves the stories of Nakba survivors.

She is based in London, and is the Creative Director of Palestine House, where she curates events and workshops that foster community, deepen public understanding of Palestinian history and culture, and provide a vital space for Palestinians and allies to connect, create, and organise.

How has your cultural heritage influenced your artistic practice?

As a Palestinian, my heritage is at the heart of everything I create. My music and DJ sets are rooted in resistance, memory, and identity, often shaped by stories I document through Refugee Chronicles, which focuses on Nakba survivors. My work is a way to preserve our history, amplify our voices, and turn pain into creative expression. Whether I’m producing music or organising events at Palestine House in London, I see art as a powerful tool to connect, educate, and build solidarity.

What does Community as a superpower mean to you?

To me, community is everything. As Palestinians, we’ve survived through shared struggle, storytelling, and care for one another. Community means strength, healing, and resistance—it’s where we find power in our collective voice. Through my work, I try to create spaces where Palestinians and allies can gather, express themselves, and support each other. That togetherness is our superpower.

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Nū

Nū is an Ethiopian-Australian sound artist, vocalist and live coder whose work blends non-Western musical traditions, improvisation and Afrofuturism. Using the live coding program Sonic Pi, she creates immersive sonic worlds, weaving elements from ambient, jazz, R&B and electronic music. *Live coding is the real-time programming or manipulation of code to generate sound and/or visuals. 

Nū has performed at sold-out shows across Melbourne/Naarm, supported HTRK and Floodlights, and appeared at festivals including ArtsHouse BLEED, A3 and Sonder Music Festival. In 2024, she toured Asia performing in Kuala Lumpur and at the International Conference for Live Coding in Shanghai. In May, she embarked on an international tour with shows in Sydney, New York, London, Brighton, Berlin and Hobart. Her debut EP TECHNIFRO-185 is out now via Highly Contagious Records.

In relation to your cultural heritage, where have you drawn artistic influence and inspiration from?

I grew up working at my family’s Ethiopian restaurant, Ras Dashen, where I was immersed in the Amharic language and the sounds of Ethiopian instrumental music, jazz, and ballad classics. Today, I incorporate Amharic lyrics, Ethiopian pentatonic scales, and field recordings into my work. I’m especially drawn to the warmth, emotiveness, and joy found in Ethiopian music—qualities I continually strive to infuse into my practice. 

This year's refugee week theme is ‘community as a superpower’ - what does this mean to you?  

This means everything to me. Without my community of supportive friends and family, my life and career would not be the same. Even at the very start of my music journey, it was my friends who encouraged me to share my work, they were the ones who came to all my gigs. Now, whenever I want to create something new or enrich a concept with visuals, styling, marketing, or deeper knowledge, I rarely need to look beyond my community. We share our skills with each other and, in turn, we share our wins. My community IS my superpower.

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Refugee Week has evolved into an international movement, with events spanning the globe.

We Are The Many at EartH Theatre (London) on Sunday, 15th June:  https://dice.fm/event/q2gby9-we-are-the-many-festival-15th-jun-earth-london-tickets?lng=en

To discover events near you or to connect with local, regional, or international organisers, visit https://refugeeweek.org.uk/contact/national-and-regional-contacts/

Dornika: The Iranian Artist Turning Heads with Single 'Baggy Jeans'

Dornika is a queer Iranian-American emerging pop artist creating music that’s playful, powerful, and full of personality. You might already know her from tracks like Bush, Miniskirt, and Nobody—songs that put her on the radar for her raw lyrics and genre-blurring sound. Now, she’s back with her latest single Baggy Jeans, out April 17.

Blending music, fashion, and performance, Dornika uses her work to explore identity and challenge expectations around gender, beauty, and how we express ourselves. Her sound is a mix of dark electronics, hyperpop, and club bangers—always with a bit of edge and attitude.

She wrote Baggy Jeans during her first US tour, inspired by how people responded to her outfits on the streets of New York and LA—a mash-up of Berlin and NY streetwear that turns heads and sparks conversations. The track celebrates taking up space, especially for women and queer people in scenes where cis men have long been the focus.

Since her debut during the pandemic, Dornika’s played over 100 shows across Europe, including Pride events in Berlin, Munich, and Rotterdam, and festivals like Lollapalooza and Fusion. She’s also teamed up with brands like Spotify and Netflix—but Baggy Jeans is just the beginning of what she’s got planned this year.

We caught up with Dornika to chat about the story behind the song, her love of streetwear, and how she’s creating her own lane—one baggy fit at a time.

Baggy Jeans is rooted in your personal experiences with fashion and identity. Can you tell us about how fashion has helped you explore self-expression over the years?

Fashion has been a part of my life since I was very young. I wanted to be a fashion designer since I was 7 and had a sketchbook full of designs! I feel like growing up in Iran, where women’s bodies are controlled so heavily, fashion is a big part of resistance. Even with the restrictions people still find ways to be creative and individual and you can see that in the progression of fashion over the last decades. Being able to wear what you wantand 

You’ve talked about how people reacted to your style while walking through New York. What did those moments mean to you, especially coming from a background where your choices were often questioned?

I feel like I’ve always turned heads when I’m in a fit wherever I go. Even while I was in Tehran and had to wear hijab and had more limitations, I still put my own flavor on things and managed to make it my own.

I just love to experiment and play around and that’s ultimately what fashion is about! I guess I had a high expectation of New York fashion and was a bit anxious of how my style would be received but the compliments and attention made me feel affirmed in my creative energy and gender expression.

I felt lots of love from New Yorkers and I love how outwardly expressive people are with compliments. Something that I’m not so used to in Berlin hehe

The way you describe your experience in New York — being seen, being affirmed — speaks to something a lot of queer and trans people search for. What would you say to those still searching for that sense of freedom?

I would say don’t be afraid to experiment and try different things on (whether it’s clothes, pronouns or mannerisms) and look for what gives you a spark or a sense of comfort and keep rolling with that. It’s scary sometimes but it’s important to decenter other people’s approval and focus on the inside, trust that wherever you land and feel good in will bring you love and acceptance, even if it’s not from the norm. It first starts with you finding and accepting yourself! 

As someone who works across music, fashion, and visual art, what have you learned about the power of using multiple forms to tell one story?

I feel like for me it’s not just about the music, but about building a world around a concept and telling a story that people can get fully immersed in. Even the music is a tool for embodying the concept I have in mind and the purpose that it serves. When I write a track, I get visions from the beginning about what the visuals could be or the cover or my outfit. I’ve never just felt like doing one thing in life and so it’s very fulfilling for me to be able to express myself in all the ways that I find inspiring. 

What’s a music rule you love breaking?

I grew up with classical music and a lot of judgement surrounding pop music, as it’s seen as somehow inferior. I love breaking the rules of what is considered proper art or high level. I allow myself to be messy and sloppy and cringe and embracing my weird dorky brain when it comes to the lyrics. This has been a journey I’ve actively been on with my music and it’s been very freeing. 

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

My most favorite parts are coming up with the ideas and bringing the music to life in the studio. My least favorite parts are recording vocals and the anxiety and vulnerability of releasing the music. 

What’s your best networking tip?

If someone you admire and want to work with doesn’t notice you or respond to you at first, be patient and keep growing. Eventually they will. 

What’s one piece of advice you’d give to artists trying to break the mold?

Challenge yourself and be intentional about your art

What are you listening to at the moment?

Earth is Ghetto by Aliah Sheffield

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Connect with DORNINA on Instagram | More Links

ILĀ on EP 'Murmur' with Imogen Heap, Guy Sigsworth, Reeps One and What’s Next

Photo credit: Sophia Stefellé

ILĀ is an artist, producer, and vocalist working across voice, sound, and technology. Their practice spans live performance, immersive installation, and experimental composition. As co-founder and director of London Contemporary Voices, ILĀ has collaborated with over 25 Grammy-winning artists, including Florence + The Machine, Imogen Heap, and U2, and contributed to major projects such as the BBC Proms and runway shows for Burberry and Tommy Hilfiger.

Their recent work includes UN/BOUND, a holographic sound installation created with TRANS VOICES and MONOM for Feel the Sound at The Barbican. The piece combines choral voices with tone transfer models by NEUTONE and quantum computing tools developed with MOTH. ILĀ’s upcoming short film murmur features collaborations with Ai-Da (robot artist), Imogen Heap, Guy Sigsworth, BISHI, and Portrait XO.

ILĀ has performed and presented work internationally, including at the World Economic Forum, TED Countdown Summit, Silencio (Paris), Puzzle X (Barcelona), the University of Oxford, and Harvard University. Other commissions include Kindred (animated VR film), Loomaland’s Robot Swans, and a collaboration with Turner Prize-winner Jesse Darling on MISERERE.

They are a member of the Ivors Academy Future Sound Experience Council, the Earth/Percent Music Committee, a Redcliffe Advisory ambassador, and a research partner on AI and music at the University of Sheffield. In 2022, ILĀ co-founded TRANS VOICES, the UK’s first professional trans+ choir, which debuted with a music documentary for Guardian Films.

In this interview, ILĀ speaks about the making of murmur, working with artists like Imogen Heap and Guy Sigsworth, and recent projects that connect voice, technology, and live performance.

Your latest EP, murmur, features collaborations with groundbreaking artists like Imogen Heap, Guy Sigsworth, and Reeps One. What’s the through-line connecting all these voices, and what did you learn from working with them?

Murmur comes from a very deep and instinctual part of me - and is mostly all born from the voice in some way or another.

Of course, my identity as a brown trans person strongly informs my experience of life - and it’s lead to a lot of trauma - I think my early creativity was born from a very urgent need to give voice to that. I’m as interested in creating choral music with human singers, as I am in making electronic music or working with quantum.

For me, I find just as much beauty and possibility in both - I like go to the places I’m most scared of - because there’s usually some mystery there I want to tap into. I feel that intense curiosity in me is sparked around people like Imogen, Guy and Reeps One.

With the help of Portrait XO, I created hybrid voices of Imogen and I and Bishi and I. They are like a playful child - surprising, unpredictable. With Reeps One, there has been this exploration of permission - that the first idea is good enough.

But also finding a second self within these hybrid voices - that can almost act like a sparring partner - ever expanding what we can do. Guy would bring out this oxygenated side to my voice, putting together these phrases from what I would sing which I thought would be impossible for me to re-sing. Weirdly, I found myself able to - and went through these huge expansion of what was possible for me. 

Photo credit: Sophia Stefellé

You’ve spoken at Oxford University, collaborated with the European Space Agency, and composed with quantum computing. What’s the wildest or most unexpected place your music has taken you?

I’m going to be singing with Nightingales with Sam Lee and violinist and composer Anna Phoebe. I’m so curious about it - being in nature, singing - creating with these mysterious little birds in the woods. I’m hoping to create a piece of music from it for Earth/Percent - the music industry’s climate foundation -  who I’m on the music committee with. 

You’ve worked with some of the biggest names in music, from Björk’s collaborators to Grammy-winning artists. Looking back, what’s been the most defining moment of your career so far?

I think Murmur marks a really shift for me. Creating it with Imogen Heap, Guy Sigsworth, Bishi, Reeps One, Portrait XO, TRANS VOICES and Jake Miller just blew me open. I admire them all so much and have this deep bond of trust there. I feel I found this more instinctive part of my voice. A freedom. It’s also the first release that has my first steps into quantum computer music in it. This also said, in the spirit of quantum, I actually genuinely feel that the most defining things are always the smallest. The culmination of all the momentary interactions - a going this way rather than that way in a melody or a conversation - those things change everything. I love the chaos that brings to life. 

You’re constantly pushing into new territory—whether it’s AI music, DNA sequencing, or sonic storytelling. What’s next for you?

My next single Recurse comes out on 25th April. It has this playful rage in it - like a lightness but then it also felt so cathartic - like I could finally really embrace noise. I made it using quantum reservoir computing in partnership with MOTH. As part of it there will be an infinite quantum radio that will continuously stream an ever evolving of the piece that people can interact with. I got to do a performance of it at Havard a few weeks back. 

I’ve also co-created my first installation piece UN/BOUND with TRANS VOICES and MONOM which is part of theFeel The Soundexhibition at The Barbican. It’s a immersive holographic choral piece with electronics I’ve made using quantum. Audience members can also transform their voices into TRANS VOICES’ hybid voices using a tone morphing model by Neutone. The exhibition is going to be going on a 5 year world tour. The exhibition opens May 22.

• Interview by @ninakeh

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ILĀ on Instagram | Website

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KARABA: The Juno-Nominated Producer Drops New Single ‘Siren’ and Announces Upcoming EP TIDES

Photo Credit: Paulo Vivanco

KARABA is a French-Congolese DJ/producer and former professional dancer at the forefront of Afro house.

A professional dancer-turned-DJ and producer, she’s quickly established herself as one of the most exciting new names in Afro house. Now based in Los Angeles, her path has taken her from France to Canada to stages across Europe and Asia, blending her global influences with a sound grounded in her Congolese heritage.

With a combined following of over 1 million on TikTok and Instagram, KARABA is using her platform to spotlight rising Afro artists in her sets and bring more visibility to a scene she’s deeply invested in. Whether performing alongside Rampa of Keinemusik or sharing new music from her home studio, her focus remains the same: to create from a place of authenticity.

Earlier this year, she earned her first Juno Award nomination for Underground Dance Single of the Year with her breakout track Mad Mess.

Her latest release, SIREN, continues to build on that momentum—setting the tone for her upcoming EP “Tides”, which fuses Afro house rhythms with her background in dance and deep respect for the genre’s origins.

Your journey has taken you from being a professional dancer for Drake, Camila Cabello, and Selena Gomez to becoming a Juno-nominated DJ and producer. How did that transition happen, and what inspired you to step behind the decks?

I reached a point in my career where I felt like I had achieved what I set out to do as a dancer. Touring with A-list artists was my ultimate goal when I started dancing at seven years old, and I had accomplished that. But as a commercial dancer—mostly performing for other artists—I realized I couldn’t fully express myself the way I wanted to. I knew I had a bigger story to tell, and to do that, I had to step outside the dance world in a new way.

For many dancers, the next step is choreography or teaching, but I never felt like that was my path. I had always admired DJs, especially from going out to underground scenes in LA with my friends. So in 2016, I decided to take classes and learn how to DJ—and that’s really how it all started.

You’ve built a massive social following and use it to spotlight rising Afro acts. What advice would you give to DJs and producers looking to grow their audience while staying authentic?

Do what feels right to you. It’s easy to see what’s working for others and try to recreate it, but the key is finding what makes you unique and leaning into that. When I first started, I was just excited to share my art, so I never held back on who I was. I’m a high-energy DJ—I love to dance, smile, and let loose—and I want my audience to feel that with me. So I embraced that fully, and I think that’s what helped me build my audience. People connect with artists who are unapologetically themselves—at least, that’s how I connect with other artists—so that’s always been my approach. 

What’s the story behind your new single Siren?

My whole upcoming EP is about my relationship with water and how that translates into my everyday life. 2024 was a very chaotic year for me, and I kept having dreams about water while also watching a specific documentary about deep diving called The Deepest Breath. That inspired me to explore the different ways we navigate challenges, drawing a parallel between that and diving into the ocean.

With that in mind, Siren represents the moment when I’m deep in the water, where I’ve finally found calmness and am moving with the flow rather than against it. The bridge is my favorite part—it’s heavily inspired by my love for Daft Punk. I wanted to create something mystical, galactic, and yet somehow hopeful.

If you could go back and give one piece of advice to yourself at the start of your DJ/producer career, what would it be?

Don’t overthink, especially as a DJ. I’m an overthinker, and it sometimes kills my creativity, especially when I first started DJing. I’d spend so much time perfecting my sets, which is fine—dedicating time to your craft is important. But I’ve learned that at a certain point, you have to let go and just throw yourself into it. I often strive for perfection, but that doesn’t exist. Some of my best sets have been the ones where I just flow with the music, without overthinking.

Coming from dance, I’ve always tried to perfect things, but DJing has helped me slowly break free from that mindset. Now, when I step behind the decks, sometimes I have an idea of what I want to do, and other times, I just let myself freestyle. It’s so freeing. The same goes for producing—I don’t overthink it. In the studio, I just let myself flow and see where it takes me

What’s your best networking tip?

Don’t be afraid of rejection. Last year was tough for me—I felt like I wasn’t reaching the places I thought I should be. It forced me to sit down and rethink how I needed to move forward. So, I knew I had to get myself out there and start networking. One thing about me is I don’t handle rejection well, but I quickly reminded myself it’s just a part of the business.

You have to push past that and really put yourself out there anyway. I knocked on a lot of doors, and I told myself, ‘What’s the worst that could happen? A no.’ And then you move on. It’s all about staying persistent.

I’ve had times where networking led to immediate opportunities, and other times when it paid off months or even years later. You never know what a connection will bring, but you have to keep showing up and putting yourself out there. That’s my best networking tip—don’t let rejection stop you, and always keep going.

For young women and underrepresented artists trying to break into the electronic music scene, what’s one lesson you’ve learned that they should know?

Embrace solitude. I still struggle with seeing many women like me in the genre I’m part of, and I’d love to see more of us represented. But I’m also aware that there are women who’ve paved the way before me, and even though I might not see full equality during my time, I’m still a part of that movement. That thought keeps me going.

We don’t talk enough about how isolating it can feel, especially as a Black woman in the electronic music scene in this day and age. That’s a very real experience. But accepting it, while reminding yourself that you’re contributing to something bigger—that the next generation will thrive because you exist—that’s what it’s all about.

• Interview by @ninakeh

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KARABA's new single 'Siren' is out now along with the announcement of her upcoming TIDES EP. 

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Neva Demure’s "Antidote" Blends ALT Pop & Electronics with Confessional Songwriting

Photo Credit: Gil Curujeira

Neva Demure is a genre-defying artist, songwriter, and multi-instrumentalist reshaping the sound of electronic and alternative music. Emerging from the New York club scene with her hyper-pop debut EP Shame to Vengeance, Neva first made waves through tongue-in-cheek, hyper-sexual lyricism and bold sonic experimentation.

Now based in Berlin, she enters a new chapter with the release of her debut album Antidote via Movement—one marked by emotional rawness, stripped-back instrumentation, and unfiltered storytelling.

Written and recorded in 2024, Antidote is Neva’s most personal work to date, delving into themes of mental health, love, identity, and her lived experience as a trans woman in today’s political climate. Her latest single, Unnatural, channels that intensity into a fierce blend of distorted guitars, ghostly electronics, and urgent vocals—offering a darker, heavier edge to her evolving sound.

What’s the story behind your debut album Antidote?

Each song is its own antidote. They are like different flavors meant to be taken for different problems, while you´re just trying to look for a one-size-fits-all solution. It's just that discontent with life that exists inside and you don't know why. Probably childhood trauma or something, you try all these easy antidotes instead of facing yourself. Drugs, sex, toxic relationships, spending money, career obsession. They just always come up empty. There's no solution to any of the songs, until the end of the album. Even then, maybe it's only a solution if you´re looking to find one. By that point maybe it doesn't even matter.

Was there a specific moment while making Antidote that felt like a breakthrough for you?

When I started I wasn't sure if I was going to be making an electronic album or not, I knew I wanted a bit of guitar on it but assumed I would still be programming drums and using a lot of synths, creating more of a modern pop album. It wasn´t until I wrote Trauma Curl and realised it needed real drums that the album started transforming into a type of electronic/live acoustic instrument hybrid. I feel like that moment set the sound for the rest of the album. It was way more interesting to have a live drummer than to program a bunch of breakbeats and complex rhythms. It feels more human as a result. 

If Antidote were a film, what kind of visuals would it evoke, and who would direct it?

Claustrophobia, female lead who is crying a lot and smoking cigarettes, directed by gaspar noe climax vibe, a girl that likes to party wink wink.

As an artist navigating both the electronic scene and the queer music space, what changes do you hope to see in the industry for trans and non-binary artists?

I think there's a lot of assumptions about trans people in music and also just the music trans and queer people make and consume. I think it could be a lot uglier. I want more doom in trans music.

I´m really into Ethel Cain right now, her lyrics in particular. They are twisted. I like happy, hyperpop type music too but I feel like we need more of a sonic spectrum; I want to hear about trans people talking about how fucked up their lives are rather than this “I´m coming out”/”I will survive” anthem narrative. Where's our trans Kurt Cobain or Courtney Love?

The world is fucked, BRAT summer is a psyop. It doesn't matter if you're trans or not. 

Berlin has a rich underground music culture. How has being part of this scene influenced your approach to music and performance?

I totally get the reason why, say David Bowie, changed his sound so drastically upon coming here. Even though the wall is gone, it still has a thick energy. I really enjoy living here, even though there's alot to dislike about it.

My friends and community are amazing, and people don't care about as much superficial stuff as they do in New York or Paris. Berlin´s history didn´t inspire me to make minimal synth music, but it did inspire me to say something true to myself. 

Photo Credit: Gil Curujeira

Do you ever feel like music allows you to say things you wouldn’t otherwise say in words?

Probably not, I´m a yapper. I love talking. I could talk all day.

I like that in my music I don’t have to worry about being annoying. I can be funny, dark, heartbreaking, slutty, or whatever.

I like the idea of making my friends or fans think without having to actually talk to them. I like the idea of me putting my ideas into their head while they're cooking pasta or taking a bath.

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

Favorite thing is creating a world.

I loved making this album because I got to create a world to escape into lyrically, sonically, and visually.

Least favorite is probably the branding element. It feels like taking this baby you made, this whole world you put your heart into, and watering it down into something that feels like an advertisement.

Necessary evil, I'm actually starting to like it more I´m just really bad at it. I´ll get better. 

What are you listening to at the moment?

LOL in preparation of the album release I've been listening to bossa nova music a lot. Like Girl from Ipanema, Stan Getz and João Gilberto style. It's driving my girlfriend crazy and she says it's elevator music but it has been calming me down. I've been listening to Coil alot as well. PJ Harvey and Björk are always mainstays. My friend Lexci reminded me of Pantera and I forgot how good they are.

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Tresor Berlin Resident Nadia Struiwigh Releases New EP ‘X1 Shift’ on Blueprint Records

Nadia Struiwigh, the Berlin via Rotterdam-based DJ, live performer and producer, returns to James Ruskin’s Blueprint Records this April with her new EP X1 Shift. Known for her hybrid approach to techno and ambient electronics, Struiwigh continues to refine her sound through hardware-driven experimentation and improvisation.

Following previous releases on Blueprint (XTERNALIA, 2022), Dekmantel (Birds of Paradise, 2023), Nous’klaer Audio (Pax Aurora, 2021), and Central Processing Unit, X1 Shift marks a new chapter in her evolving discography. Technically centred around tools like the Korg Electribe, Yamaha DX200, NI Maschine+, Arturia Minifreak, and a selection of software plugins, the EP is both a personal and sonic statement.

In 2024, Struiwigh also launched her own label, Distorted Waves, focusing on hardware-based and experimental electronic music.

As a performer, she moves fluidly between ambient and peak-time techno, with live sets ranging from beatless soundscapes to high-energy improvisations. Her versatility has seen her perform at both concert venues and clubs, including her recent residency at Tresor in Berlin. She regularly features on respected platforms such as Resident Advisor, Red Light Radio, Bleep, and Phantasy.

Beyond the stage and studio, Struiwigh collaborates with leading music tech brands and offers coaching sessions and production courses, supporting emerging producers worldwide.

What’s the story behind your new EP X1 Shift?

This EP actually came together about two years ago, and I really feel music finds its own perfect moment to emerge into the world. I’ve worked with James Ruskin before—he’s such an inspiring human being, always radiating positivity and realness. That’s something I resonate with wholeheartedly.

Around that time, I was in the midst of a huge personal shift—redefining who I am, the company I keep, and the musical direction I wanted to explore. I’d lost my way for a bit, and on top of that, both of my parents fell quite ill. Everything in my life got shaken up. Yet amidst the chaos, my own vision and career began to blossom with a wonderful, supportive team around me.

I feel extremely grateful. This EP has a darker edge because I was releasing so much pent-up energy, but I still wanted it to be hypnotic—a reflection of this alternate reality I was living in.

You have a deep connection to hardware synths and live performance. What’s your go-to piece of gear, and why does it inspire you?

That’s so true! I’m a big nerd at heart. Growing up, I always felt I experienced and saw things differently. My dad worked in technology, which was super inspiring—I think it rubbed off on me because I connect so naturally with music equipment interfaces.

My go-to piece of gear is the Korg Electribe EMX. I never go on stage without it. If I do, I feel exposed and less confident. It’s an older unit (early 2000s), so I even carry a spare just in case.

Rather than it purely “inspiring” me, it’s like we speak the same language. It delivers the sounds and grooves I want to share with the world.

For those discovering your music for the first time, how would you describe your sound in just a few words?

I’d say it’s otherworldly. I often feel like I’m not entirely present on this planet, so I channel stories from both the past and the future. Sometimes it’s techno, IDM, ambient... whatever resonates at that moment. It does have a strong UK influence, funnily enough, even though I’m very Dutch. I love combining leads, trippy elements, and eclectic beats—but ambient music is my first love and the language that comes most naturally. Most of my albums carry that signature. 🌌

You’ve released music on Blueprint, Dekmantel, and Nous’klaer, and now run your own imprint. What advice would you give to artists trying to navigate the world of independent labels?

It’s been quite a ride, but a fulfilling one. Challenges are part of the journey and shape us into better artists. The music scene today can feel hectic and overwhelming compared to when I started out (around 16 years ago!).

My main tip is: keep pitching your music, but always have a plan B. A big, well-known label might sound amazing, but that doesn’t guarantee they’ll truly care for you or your art.

My best experience was releasing my first album with CPU—Chris was transparent, supportive, and set realistic expectations. That taught me the importance of working with people who align with your vision, because you’re entrusting them with something very personal and precious.

I started my own label because I felt there was a vibe missing—something reminiscent of that open, free 90s playground, where multiple genres can come together in a bigger story.

I also want to bring in different forms of art—painting, fashion, gaming—without the pressure of strict release schedules. My honest advice in today’s landscape: consider self-releasing if you can. Believe wholeheartedly in your art, and surround yourself with a team that believes in it just as much. That synergy counts for so much more than a fancy label name.

You work with leading music technology brands and offer coaching for producers. What’s the biggest mistake you see emerging artists make when trying to develop their sound?

It’s been such a humbling experience. I love sharing knowledge and seeing the amazement on new artists’ faces when they pick up something fresh.

Tech evolves so quickly, and I’m grateful to have a front-row seat so I can pass on insights. I don’t really like calling anything a mistake, because everything is a lesson. But if I had to point something out, I’d say a lot of emerging artists want instant results—things to blow up fast—without first grounding themselves in their identity and purpose.

That can lead to feeling lost later. Nowadays, it’s easy to focus on appearances, but I believe truly great artists shine from the inside. That’s what others see and value, be it fans, labels, or brands.

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

I genuinely love the entire process—pouring my heart into it, dealing with frustration when something won’t click, discovering new workflows. It’s all part of birthing something that feels uniquely personal.

If I had to pick something annoying, it would be when tech issues randomly pop up—like loose cables or a synth that decides to go out of tune for no reason. But then again, technology is a lot like us humans: we all glitch out once in a while! 😅

• Interview by @ninakeh

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OUT now! X1 SHIFT

Nadia Struiwigh | Instagram

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