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

June 09, 2025 in Artist Spotlight

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.

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.

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.

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.

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.

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.

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'

May 21, 2025 in Artist Spotlight, Up Next

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

Connect with DORNINA on Instagram | More Links

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

April 25, 2025 in Artist Spotlight

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.

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

ILĀ on Instagram | Website

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

April 21, 2025 in Artist Spotlight

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

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

April 18, 2025 in Artist Spotlight, Up Next

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.

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

April 08, 2025 in Artist Spotlight

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

OUT now! X1 SHIFT

Nadia Struiwigh | Instagram

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Ray Lozano: From DIY Artist to 62 Million Streams & Sophomore Album 'SILK&SORROW'

April 02, 2025 in Artist Spotlight, Up Next

Ray Lozano, the German-Filipino singer, songwriter, and producer from Cologne, has quickly established herself as one of the most compelling voices in indie R&B and future soul. Following her groundbreaking debut album Pairing Mode in 2023—which garnered over 62 million streams and secured Lozano prestigious recognitions such as the Holger Czukay Award and NICA artist residency—she continues to innovate and captivate listeners worldwide.

Lozano has now released her highly anticipated sophomore album, SILK&SORROW, via Melting Pot Music. Known for her meticulous production and boundary-pushing sound, the new record sees her diving deeper into the emotional complexities of modern love, vulnerability, and the delicate balance between connection and detachment.

Her latest single, 'CAN’T LOVE', co-produced with long-time collaborator Samon Kawamura, showcases a return to traditional R&B roots while maintaining her experimental edge. With critical support from influential platforms such as CLASH, COLORS, BBC 1Xtra, and a featured slot on Spotify’s EQUAL playlist, Lozano's music continues to resonate deeply.

In this Q&A, Ray Lozano opens up about the inspirations behind her emotionally charged new single, navigating vulnerability through music, and the powerful narrative woven throughout SILK&SORROW.

What’s the story behind your album SILK&SORROW?

The title says it all: "Silk" gives you warmth and comfort, while "Sorrow" hits you with an emotional gut punch you didn't see coming. It's a reminder that softness and pain aren't mutually exclusive—they're two sides of the same coin, constantly present in our daily lives, whether we're ready for them or not.

You’ve had support from COLORS, BBC 1Xtra, and Brick Lane Jazz Festival—what’s been the biggest moment in your journey so far that made you feel, "This is really happening"?

When I got the confirmation for the Brick Lane Jazz Festival, it felt like a dream. Playing live with my band is always special, but this festival—my first show abroad—feels like something truly meaningful.

How do you find the balance between making personal music and making it relatable to listeners?

It’s all about laying your truth bare in your music while making sure the feelings behind it hit a universal nerve—because at the end of the day, we’re all just looking for something that speaks to our own chaos.

Describe your music in 3 words.

Melancholic, Reflective, Vibey

What’s your advice for artists who are just starting out with home production and want to make high-quality music?

Home production is all about finding your vibe—focus on learning the basics, experiment freely, and let your creativity shape the sound.

What’s one underrated technique that helps artists make high-quality music in a DIY setup?

Layering sounds like a mad scientist—stacking different textures and frequencies can turn a basic track into something that feels way more polished, even if your setup is as DIY as it gets.

What is your top networking tip for connecting with the right people in the industry?

Forget the forced small talk—just be yourself. No need to over-perform. Listen, ask questions, and focus on real connections. The right people will vibe with your authenticity.

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

Glossier Generation G in Leo, EarPods, Lucky Coin

What are you listening to at the moment?

The Mighty Tiny & The Many Few

Keep Up with Ray Lozano

Instagram | TikTok

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NYX: The Vocal-Electronic Collective Turning Choral Music Into Sonic Ritual

April 01, 2025 in Artist Spotlight

After years spent weaving myth, ritual, and raw sonic experimentation into their live shows and collaborative projects, London-based vocal and electronic collective NYX are finally stepping into the spotlight with their self-titled debut album, NYX (out now) via their own imprint, NYX Collective Records.
Led by composer and music director Sian O’Gorman, the group has built a reputation for crafting intense, otherworldly performances that merge choral tradition with futuristic electronics. Now, that energy is bottled into ten shape-shifting tracks that roar, whisper, and howl with power.
The first single, “Daughters,” arrives as a bold initiation—an invitation to descend into grief, rage, and rebirth, and to meet the wildness that lives within us all.
We caught up with NYX to talk about the process behind the record, reclaiming the voice as ritual, and what it means to create from a place of collective vulnerability.

What was the creative spark behind your debut self-titled album, NYX?

This album is a culmination of our many years singing, performing and collaborating together, so to me the initial spark feels like the tenderness of connection and togetherness through the group - the memories of where these pieces originated and the different people who have shifted through the project as it’s blossomed and grown.
The music itself is incredibly colourful, psychedelic and cinematic ~ it's a big old journey of raw human emotion expressed through a range of voices. Voices painted and shapeshifted through shimmery and expansive electronics.

What are the biggest challenges and freedoms that come with operating independently?

Challenges - finances, engagement, admin. When you release music yourselves, I’m often comparing our output to artists on established labels that have a lot more money, human resource and favourable algorithms behind them. But there is so much to be learned in the process of putting out music, and it's all about finding more free range super star experts & cheerleaders in the field to help - we’ve been incredibly lucky to have support from State51 (who we have a P&D deal with), Andrew Ellis (huge legend / supportive NYX pal), and Sugar Factory PR who help connect us to the people we wouldn't otherwise have access to.

Philippa Neels (Creative Director / Co-Founder of NYX) has also been nurturing a wide expanse of industry relationships since our early days, and that has been by far the most helpful and effective strategy in terms of getting our music out there to the people that really care and support us. The DIY spirit is the biggest freedom for us - there's something about being brave enough to attempt putting the music out yourselves that means that people around you are extra keen to get stuck in, help out and think outside the box with us.

Your music has been featured in films, video games, and now an upcoming BBC TV score. How does composing for visual media differ from creating for a live performance or an album?

I love working to a creative brief - particularly something visual. The first part of any collaborative process we take on is to develop sound “swatches” in response to the themes or direction of the project that's been passed to us. Whether it's responsive to live, music led, or visual media, this is a really important step as it helps to develop a sonic language between us and whoever we’re working with - a foundation of mutual understanding for the work to grow out from.

I think in some ways I prefer the limitations and boundaries of an external project (as long as they're relatively aligned with our musical and creative values) - there’s something about having a structure of a brief that opens up a sense of lightness & freedom to me. I can experiment with sounds and approaches to composition that I may not have otherwise considered.

I love the pressure of a deadline to keep me motivated & inspired, and I appreciate the clarity of a collaborative agreement - the collective understanding of what everyone’s role is and a structure to the feedback process.

I've really learned over the years that I find working that way much more grounding and connected than wide open ambiguous creative spaces, so I now apply that to all ways of working - and that applies to albums and live shows as well. We give ourselves briefs, stories and deadlines to work towards. However, it's taken a really long time to be at peace with this preference within myself - I've got this voice at the back of my head saying I'm not a real artist if I prefer working within structures and deadlines, that it's somehow less authentic or creative. So I’ve had to go through a big process of accepting that this is just how I am, being grateful that I've found a way of working that flows, and that it's just different - not any better or any worse than anyone else's approach.

What is your top networking tip for connecting with the right people in music?

We have a lot of meetings with a lot of people, and I think it becomes very clear very early on in the conversations if the people we’re talking to have a genuine interest in our music and approach or not. You sometimes encounter industry experts who haven't really taken the time to get to know you or your work before they start to offer out wisdom or generic advice, and while I do think it's important to listen and assess whether that information is valuable from an open mind (because you can sometimes find a gems inside mansplanations, it is possible).

I don’t really want to work with someone unless we have a genuine interest in each other's work and there is a feeling of reciprocity and mutuality in what both sides can offer.

Like it's coming from a place of creativity and connection. I also think we really benefit by collaborating with a lot of people that come from artforms outside the music industry (theatre & visual art particularly). Diversity in the creative ecology has always proved beneficial for us. More than anything it has helped us forge different pathways to create work, which is becoming more and more essential in this day and age where the music industrial complex doesn't really appear to be effective for artists at most levels any more.

Tips for finding your creativity on a tough day

I don't have a single go-to for this - sometimes it's knowing when to take space, get out of the studio and into some trees. And sometimes it's actually pushing myself through the tough moments - not giving up even though I'm screaming in rage and crying at everything that's coming out.

For me it is a constant search for a balance between these two approaches - giving myself enough space vs dancing through the pain to that point beyond resistance. Both of these hold a lot of power to me. It's like stretching vs lifting weights - I want to develop my capacity for flexibility, peace and strength inside the multitude of pressure and magic of the work.

I have gone through years of pushing myself too hard and burning out, and then years of taking so much space where I’ve lost my sense of resilience. So now I'm on a daily mission to check in and find the balance. Sometimes it works, sometimes it doesn't.

What are you listening to at the moment?

Nicholas Snyder’s soundtrack to Scavengers Reign (eagerly awaiting the Common Side Effects OST 🤞), clipping., Ichiko Aoba, Lyra Pramuk, Antonina Nowacka, Harold Budd, Brighde Chaimbeul, Andy Aquarius, Daisy Rickman, Oklou, Clarissa Connelly & our Alicia Jane Turner’s new single Veil.

Interview by @ninakeh

Connect with NYX: Website | Instagram

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

March 27, 2025 in Artist Spotlight

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Lipbalm/Lipgloss, Handcreme, and tissues

What are you listening to at the moment?-

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

Connect with Midi KwaKwa:

Instagram | Listen | MOONFLOWER

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

March 14, 2025 in Artist Spotlight

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Follow Empara Mi on Instagram | Website

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Gayance on Her New Project & Signing to Tru Thoughts

February 26, 2025 in Artist Spotlight

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

Gayance is a Montreal-born Haitian-Canadian DJ, producer, and filmmaker whose sound moves between Soul, Hip Hop, Downtempo, House, Broken Beat, and Haitian rhythms. She’s been DJing for over a decade, playing festivals and clubs around the world, known for her high-energy sets and deep musical knowledge.
Her debut album Mascarade (2023), released on Rhythm Section International, was shortlisted for the Polaris Music Prize, and she’s also made a name for herself in film, with Mascarade: Origin Story (2023) screening at festivals like Cannes and São Paulo.
Gayance recently signed to Tru Thoughts, marking the next step in her journey.

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

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

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

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

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

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

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

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

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

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

What’s inspiring you right now?

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

What are you listening to at the moment?

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

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

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

What makes a creative partnership work for you?

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

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

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

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

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

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

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

Connect with Gayance | Tru Thoughts

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TRACE's Transgressive Pop Universe and New Album T4TEARS

January 29, 2025 in Artist Spotlight, Up Next

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Defiant, aching, joyful.

3 things you can’t live without in your bag

My hormones, my antidepressants, and my sleeping pills.

What are you listening to at the moment?

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

Interview by @ninakeh

TRACE - t4tears out now

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Fi McCluskey: Raising Awareness on Postnatal Depression

January 15, 2025 in Artist Spotlight

Fi McCluskey is an emerging singer/songwriter from the UK, known for her honest and heartfelt music. Born in Dagenham to Irish immigrant parents, her songs reflect a raw authenticity that resonates deeply with listeners.
McCluskey has worked with big names in dance music such as Josh Caffe and Horse Meat Disco, on their track, ‘Love If You Need It’ (The Mousse T remix is now at 2.4M Spotify streams).
She also wrote the standout track, ‘It’s Quiet Now’, on Honey Dijon's latest album, which now has over 4M streams. Fi has been building her reputation with compelling live performances, recently supporting Warmduscher at the O2 Forum and headlining the Roundhouse in Camden with Horse Meat Disco.
McCluskey’s single "Die Young," released in September 2024, addresses the challenges of postnatal depression. Described by the Irish-British singer/songwriter as a mantra to reassure women they are not alone, the track also features a remix by Hannah Holland.
Die Young’ is accompanied by a music video, directed by David Hughes. In it, Fi sits naked rotating and covered in tattoo-style chalk body drawings of eyes and women, hands, feet, and profound words. This black-and-white scene cuts back and forth with beautiful shots of Fi out in nature next to the seas, throwing pages to the wind.

What’s the story behind "Die Young"?

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

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

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

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

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

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

What’s your best advice to emerging artists?

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

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

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

3 artists who inspire you.

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

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

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

Three things that I cannot live without.

My headphones, red lipstick and a small handbag wine.

Connect with Fi on Instagram | More Links

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

January 09, 2025 in Artist Spotlight

BINA first emerged in 2019 with debut EP Humble Abode; the project’s experimental production and strong artistic direction marking BINA. as a fresh and unorthodox voice in the soul music space.
Taking inspiration from the likes of Tame Impala, Solange and BADBADNOTGOOD, BINA has continued to forge her own creative path, releasing the This Is Not A Film EP in 2021. Since then, she has continued building her catalogue, releasing singles throughout 2022 and 2023, as she matured as a songwriter, vocalist and musician.
As an artist who understands the power of community and collaboration, BINA has worked with a number of contemporary talents including Lex Amor and Intalekt.
On project ‘Chaos Is Her Name’ BINA collaborated with Subculture, Jaye Locke and Teo on production, and then features and performances from Essence Martins, Leonie Biney 9DAYS and Tora-ithe EP invites listeners on a captivating journey, highlighting BINA’s multifaceted character and artistic vision.
Throughout the EP, BINA. embraces her journey of self-discovery, exploring themes such as anxiety, imposter syndrome, and the complexities of love. “This project establishes my position as an artist in the Indie/Alternative scene, fully introducing my 'Indie-Soul' sound to the world,” she shares. “On an emotional level, it’s a project in which I reintroduce myself to myself—the woman I’ve become over the past few years since the last project and the meandering journey it’s taken to get here.”
This release marks a significant step forward in her career, receiving critical acclaim for its innovative sound and emotive storytelling.

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

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

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

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

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

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

Describe your music in 3 words.

Alternative, intoxicating, cinematic.

Tips for finding your creativity on a tough day.

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

An album that's changed your life.

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

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

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

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

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

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

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

What are you listening to at the moment?

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

3 things you can’t live without in your bag

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

Connect with BINA on Instagram |

Miranda Joan's Soulful Storytelling Through Music

December 19, 2024 in Artist Spotlight, Member Spotlight

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Soulful, silky and story-driven.

3 people who inspire you

My mom, my brother, Martha Cleary.

3 things you can’t live without in your bag

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

An album that changed your life

Honey by Robyn

What are you listening to at the moment?

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

Follow Miranda Joan on Instagram | Website

shesaid.so x Marshall: Memberships & Headphones for 12 Music Makers

December 17, 2024 in Artist Spotlight

To celebrate our 10th anniversary, shesaid.so is teamed up with Marshall back in May to give away memberships that unlocked access to 12 music makers based in the US and Canada to the shesaid.so community for one year. The selected 12 winners also received a pair of Marshall headphones each.

Diana Chica

Diana Chica is a music producer, composer, and singer from Bogotá, Colombia. She began her musical journey studying music theory and classical piano before earning a degree in music and audio engineering. In 2018, Diana founded Memophonic Studio, her recording studio, where she produced music for independent and emerging artists in Bogotá.

She also co-founded Monía, a female pop duo that gained local fame and built a significant online following, becoming a symbol of representation within the LGBTQ+ community. After relocating to Miami, Diana completed a Master's in Music Business and began working as a music producer for both Latin and U.S. artists. She also launched her new project, Cata Myla.

Currently, she serves as a Marketing Coordinator at Universal Music Group’s Regional and Iberian office in Miami.

Instagram | Music

Jessy Covets

"I'm grateful for this community (and the headphones I won). It is truly an honor to be a part of something so authentic & great!"

Jessy Covets is a genre-blending artist hailing from New York, now thriving in Los Angeles, the city that fuels her creativity. Known for her powerful vocals, heartfelt lyrics, and distinctive guitar work, Jessy seamlessly merges electronic pop with raw emotion and dynamic storytelling. Her music has been featured in major campaigns for Estée Lauder and Intuit, as well as on Netflix and HBO, showcasing her versatility as a composer and performer.

On stage, Jessy delivers electrifying performances that combine live vocals, guitar, DJing, and immersive visuals. She has captivated audiences at iconic venues like EDC Orlando, Red Rocks, and Wakaan Fest. Jessy has collaborated with celebrated EDM artists such as Liquid Stranger, Ravenscoon, Sully, and BUKU, consistently pushing creative boundaries. With every track and performance, she invites listeners into a world of innovation and authenticity, cementing her place as a force in electronic and alternative music.

Website | Instagram

Michelle Hopkins

Michelle Hopkins is a twenty-three-year-old singer-songwriter determined to introduce Swahili to the West. Michelle grew up in Dar-Es-Salaam and moved to Toronto when she was fifteen. She remains deeply connected to her culture infusing her lyrics with Swahili and Tanzanian influences.

Hopkins writes emotive, introspective lyrics, exploring themes of love, loss, and personal growth. Michelle creates R&B, Soul, Folk, and Afro-pop inspired music. Throughout her career, Michelle has participated in various programs and competitions that have helped shape her artistry.

She is currently a member of Soundstock Academy (2024). She was a member of the Remix Project round 18.0 (2023), a participant of Honey Jam (2021), and the winner of the RBC She's The One Bluesfest competition in Ottawa (2019). Michelle secured FACTOR funding for her 2023 Single “One Hour on Earth” and OAC funding for the music creation of “How Did We Get Here?” her Debut EP set to release in 2025.

Instagram | Music

Marie Jenkins

Kyns is Marie Jenkins, an artist, producer, and songwriter based in Los Angeles.

She has been producing her own music since the start of lockdown 2020 and despite facing a slew of challenges that came with battling severe chronic illness over recent years, she has pushed to release a handful of singles, has secured song placements in shows across NBC, ABC, MTV, and more, and is gearing up to release her debut EP later this year.

Having now crafted songs for herself and other artists in a variety of genres, she is currently loving experimenting with new approaches to production and storytelling, and aims to push the boundaries of genre and expression with her future releases.

Instagram | Website

Miranda Joan

Born in Montréal, Miranda Joan spent her formative years growing up on the north shore of Vancouver, filling diaries with emotions and experiences that would go on to form the basis of her songwriting. Her self-released album ‘Overstimulated’ has garnered over 500,000 streams since its release in November 2023. Miranda pressed/distributed the album on vinyl as an independent artist, headlined London’s 100 Club, supported Adi Oasis in New York and performed at SXSW. Miranda is currently on tour as a backing vocalist with The Killers.

Releasing ‘Overstimulated’,, she commissioned remixes from UK producers Ash Walker and ISHA, and garnered tastemaker support from NPR, CBC, BBC 1Xtra, BBC 6Music , Jazz FM, EARMILK, Wonderland, Consequence of Sound, KCRW, KEXP. Singles have received Spotify editorial support on Fresh Finds / Fresh Finds R&B.

Miranda recently starred in The Killers “Bright Lights” video and has performed with Kylie Minogue, Shawn Mendes, Lorde, and Andy Grammar. She has taken to the stage at Festival International de Jazz de Montréal multiple times, alongside the National de Jazz Montréal, CARRTOONS and Sly5thAve. She was selected as one of First Up with RBCxMusic Emerging Artists, leading to a sync placement on Canadian TV show The Strays.

Website | Instagram

K Á R Y Y N

Armenian-American vocalist, songwriter, videographer and composer/producer KÁRYYN is a quantum spiritual time traveller. Following a prolific period of inward healing and creating, she readies her Calm KAOSS! EP, a work created in partnership with British record producer James Ford.

The project sees KÁRYYN commune with her past, present and future selves, traveling through time to reveal transformative premonitions from the future in scientific and spiritual language. Her debut release The QUANTA Series saw her unpack and explode her past to dizzying effect. The press dubbed her “a sonic architect” (Dazed); “an electronic adventurer” (FACT) who “makes music as a way of travel, moving through memories with sound” (CLOT Magazine).

In the album’s Pitchfork review, Sasha Geffen wrote: “Death hangs heavy over the record, but in its shadow, KÁRYYN projects herself into the future.” KÁRYYN’s recent Calm KAOSS! EP was met with acclaim from the press, who described the work as “techno-symphonic grandeur” (The Guardian) and “a stylistic triumph” (CLASH). Accompanied by remixes from HAAi and Airspace, the EP served as a bridge to carry KÁRYYN from her formative inspirations into the future. On her latest track ‘Ground (which featured in a new campaign for Apple) she invites us to look deeper and act on our earned spiritual wisdom.

Website | Mute | Instagram

Jaslyn Loftin

Jaslyn Loftin (AKA, J.Lyn) is a singer/songwriter based in Hawai'i and specializes in writing songs for various artists around the world. She has played in world-renown venues such as the Troubadour in Los Angeles and the Blue Note Hawaii in Waikiki with ukulele virtuoso, Jake Shimabukuro.

In the early stages of her career, she penned the Chinese EDM hit “Make Me Forget” by Singer Ann-E1, which gained over 200,000 streams on NetEase Cloudmusic, reaching #23 on the Cloudmusic Soaring Chart and #6 on China’s Global Song Chart. She also partnered with TikTok for their Creative Learning Fund, sharing songwriting and music business tips.

In Spring 2024, her songs got placed in various opportunities for sync (TV/Film), including the hit reality show, “Love is Blind,” through the State of Hawaii Creative Lab Music Immersive. She is currently an “On the Rise” performing artist with the Henry Kapono Foundation and is currently a lecturer of Music Theory, PR, and Songwriting at the Music & Entertainment Learning Experience Program at Honolulu Community College.

Instagram | Website

Lucia Luna

"I am incredibly grateful to be part of a global community that is truly dedicated to uplifting women, femme, and nonbinary individuals in the music industry. Every aspect of this network ensures that diverse voices are not only heard but celebrated, creating space for creative expression and professional growth. Being part of this community has been empowering, inspiring, and an essential part of my journey in the music business. It's a powerful reminder that when we support each other, we all rise."

Lucia Luna is a trans nonbinary darkwave musician from Portland, OR. They channel ethereal melodies and spellbinding synthesis through voice, keys and creative sound manipulation; composing through temper and creating texture with shrill sounds and hollow layers.

Their moods hit the listener with elation, despair, and discernment of the subtleties between. Luna’s range traverses a journey from dreamscape to dancewave, relishing in the empowerment of imperfection, vulnerability, and deliciously raw expression.

Luna released their debut solo EP “Hunting Midnight” in 2020 on Occultists (Berlin), followed by a remix EP in 2021. Lucia released their first music video for “Shiver” (Orkis remix) in November of 2022. Other music projects include: Human Hollow (PDX) and Unicorn Domination (PDX / Joshua Tree). Lucia frequently collaborates with other producers, lending their vocals to various electronic and experimental projects.

Instagram | Bandcamp| YouTube

Lucki Price

Lucki Price is a business-savvy singer-songwriter with a degree in music business and a passion for R&B music. She currently serves as a Global Copyright Coordinator for Sony Music Publishing in Nashville, Tennessee, where she leverages her expertise to protect and manage intellectual property rights. Prior to this role, Lucki gained valuable experience as a Metadata Temp at Capital Music Group.

With an enthusiastic commitment to the music industry, Lucki's long-term goals are both ambitious and inspiring. She aims to establish a writers catalog of groundbreaking songs, own and operate a successful R&B-focused music company in Nashville, and create a pipeline for brown and Black students from MNPS to enter Nashville's music industry. Lucki is dedicated to fostering diversity and inclusion within the industry, believing that these values are essential for driving creativity and innovation.

Recently, Lucki participated in a songwriting workshop hosted by ASCAP. Out of many applicants, nine participants were selected and divided into groups of three, each guided by a mentor. Each group consisted of two songwriters and one producer, working together to create the best song possible and Lucki’s group excelled, winning the first-place prize!

Instagram | Linktree

Eb Rebel

EB Rebel's musical journey would begin in 2016. Rebel felt compelled to act after the murders of Trayvon Martin and Michael Brown. Rebel would write a Black Lives Matter anthem they hoped would inspire the movement. In May 2016, EB released the single and video for “Don’t Care”, the lead single from her EP "TRANCE". After sharing the single with BLM activist DeRay Mckesson, the song began to spread.

The song landed on Dallas/Fort Worth’s Central Track, and was featured in the national publication Afropunk. Within a week, the song would make it to the team of "Stay Woke" a BET documentary directed by Laurens Grant and produced by Jesse Williams. The documentary aired on BET May 26, 2016.

The soundtrack also featured hip hop heavyweights such as J.Cole and Kendrick Lamar. Since then, Rebel has released a number of single which have gone on to gain the attention of national publications/brands such as Afropunk, MTV, Sofar Sounds, Bose, and more.

Instagram | Music

Alicia Walter

“A tremendous thank you to the shesaid.so community for gifting me this incredible opportunity! I love getting to know the shesaid.so network more personally - I'm such a fan of the community's mission and ethos. I look forward to meeting more people here, sparking inspiring discussions and finding new ways to collaborate!"

Alicia Walter is a singer-songwriter, composer, and pianist in New York City, originally from Chicago. Known for her “near-cosmic voice” (WIRED) and “stratosphere of songwriting all her own” (Consequence of Sound), Walter has released two albums under her name, Right Noise (BIG EGO Records 2023) and I Am Alicia (Sooper Records 2021). She is currently performing in venues around the country, and she rose to acclaim as leader of the Chicago-based indie art rock outfit, Oshwa.

Website | Instagram

TABOO ZERO

“Hello everyone! My name is Mária Timchenko, and I’m so grateful to be part of the shesaid.so community. It’s inspiring to be surrounded by such a supportive group that celebrates music and art. I’m excited to connect, collaborate, and create together!
I’m an emerging dark pop artist from Honolulu, Hawaii, and I perform with my live band. We're currently seeking touring opportunities and exploring options with labels. I’d love for you to check out my music—your support would mean the world! Thank you all, and I can’t wait to get to know each of you better!”

Maria Timchenko, renowned as TABOO ZERO, emerges as a formidable figure within the realm of dark pop, drawing inspiration from the vibrant landscapes of Honolulu, Hawai’i, USA. Seamlessly blending elements of rock, electronic beats, and emotional ballads, she crafts a mesmerizing sonic tapestry that captivates listeners from the very first note. Influenced by the sounds of Evanescence, Billie Eilish, Led Zeppelin, Linkin Park, and Tatu, TABOO ZERO's music resonates with depth and intensity.

Her most recent work, the EP ‘Not Sober,’ is dedicated to exploring mental health, challenging stereotypes, and sparking crucial conversations. TABOO ZERO believes that vulnerability is a source of strength and aims to provide a safe space for her listeners to explore their emotions and find solace. Through her music, she hopes to foster a community where individuals can connect and heal together.

Spotify | Instagram | Youtube

Lauren Mayberry is in her Solo Era with Debut Album 'Vicious Creature'

December 11, 2024 in Artist Spotlight

Lauren Mayberry, the frontwoman for acclaimed electro-pop band CHVRCHES released her eagerly awaited debut solo album, Vicious Creature and announced a UK tour for March 2025.

Vicious Creature is both a startling new era in Mayberry’s artistry, and the culmination of two decades of life in a band that came before. Across its songs, she writes about sexuality and empowerment from a profoundly personal perspective for the very first time, reconnecting with the icons of her youth (Tori Amos, Fiona Apple, PJ Harvey and Kathleen Hanna) as well as ‘90s British girl groups such as All Saints and Sugababes, whose music made a formative impact on her in the 2000s.

“So much of this process has been an exercise in empowering myself to listen to my own intuition – something I really trained myself out of,” Mayberry says. “That's ultimately why you start making things – because you felt a feeling, and you wanted to articulate that somehow. I think it was important for me to relearn that kind of independence, and recognise what I bring to any table I choose to sit at.”

For her first full-length release outside of CHVRCHES, Mayberry sought freedom: from rules, expectations and preconceptions. Working with prolific producers like Greg Kurstin, Matthew Korma, Tobias Jesso Jr., Ethan Gruska and Dan McDougall, she accessed not only a new world of inspiration but the deep well of creativity she’s had within her all along.

Watch the video with Lauren to learn more about her favorite songs from the album, the UK tour, and what she listened to in 2024.

The tour kicked off with a hometown show at the legendary Barrowland Ballroom in Glasgow, before wrapping up at London’s Shepherd’s Bush Empire. Prior to the headline dates, Mayberry joined London Grammar for shows across the EU and UK before a major headline tour of North America in early 2025.

See all tour dates below.

North American headline tour 2025
1/28/25 - House of Blues - San Diego, CA
1/29/25 - Fillmore - San Francisco, CA
1/31/25 - Soundwell - Salt Lake City, UT
2/1/25 - Gothic - Denver, CO
2/2/25 - Granada Theater - Lawrence, KS
2/3/25 - Fine Line - Minneapolis, MN
2/5/25 - Thalia Hall - Chicago, IL
2/7/25 - Concert Hall - Toronto, ON
2/8/25 - Electric City - Buffalo, NY
2/9/25 - Newport Music Hall - Columbus, OH
2/11/25 - Royale - Boston, MA
2/13/25 - Webster Hall - New York, NY
2/14/25 - Empire Live - Albany, NY
2/17/25 - Union Transfer - Philadelphia, PA
2/18/25 - 9:30 Club - Washington, DC
2/20/25 - Masquerade - Hell - Atlanta, GA
2/21/25 - The Underground - Charlotte, NC
2/22/25 - The Mil at Cannery Hall - Nashville, TN
2/24/25 - White Oak Downstairs - Houston, TX
2/25/25 - Granada - Dallas, TX
2/26/25 - Emo’s - Austin, TX
2/28/25 - Crescent Ballroom - Phoenix, AZ
3/2/25 - The Belasco - Los Angeles, CA

UK headline tour 2025

3/20/25 - Barrowland Ballroom - Glasgow, UK
3/21/25 - La Belle Angele - Edinburgh, UK
3/23/25 - 02 Academy 2 - Birmingham, UK
3/24/25 - Academy 2 - Manchester, UK
3/25/25 - Brudenell Social Club - Leeds, UK
3/26/25 - 02 Shepherd’s Bush Empire - London, UK

UK Ticket Link

Connect with Lauren Mayberry

ROZET Releases 'EAT' via TOKiMONSTA’s Young Art Records

December 04, 2024 in Artist Spotlight

ROZET is a Nigerian/Italian queer singer, rapper, visual artist, and producer signed to Tokimonsta’s Young Art Records, making music that blends electronic sounds with R&B and vibrant, playful rap.
ROZET’s journey coming from a musical background (both parents were musicians) led them to begin performing at the age of 16, growing up as a competitive dancer specializing in voguing & popping rooted in the history of the houses of NY that allowed for the LGBTQ+ community express themselves.
More recently, ROZET has collaborated producers Jesse Boykins III and Machinedrum on ‘Thinking A Lot’ released via Ninjatune. Earlier this year they showcased some of the new music performing alongside Tokimonsta at Austin’s The Concourse Project. ROZET’s new single ‘EAT’ is out now.

How has your background in ballroom, voguing and dance shaped your approach to music and performance?

I've had a pretty strong connection to my Drag King/Butch Queen persona. Since I was pretty young, I started to perform at drag shows to earn extra cash. I realized how crucial the community was for my freedom of expression. They really supported me when I was up and coming as an artist and releasing music. So I feel like the dance community is really what contribute to my confidence and really instills that kind of stoic nature throughout all my art mediums, in a sense.

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

Study multiple topics and be well versed. Have your website,portfolio, and assets organized and updated so you can feel grounded in yourself self and present in conversations to sense healthy interactions and not be thinking about everything you have to do. I could answer this question for an hour so I’ll stop there lol.

What do you hope listeners will take away from your single "EAT"?

I hope when people listen to "EAT" they imagine themselves wearing leather boots and stomping out any doubts they may have while taking up as much space as they need to express themselves authentically. Send that email, request that salary you deserve, and build out your dream life.

What are you listening to at the moment?

I’ve been listening to experimental instrumentals and sci-fi movie soundtracks while I study.

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

Put on the fuzziest clothing I have. Eat dark cherries, chocolate and jalapeno chips and watch as sci-fi movie.

An album that changed your life.

It’s hard to name one so I’ll name all the ones that come to mind!

Any album from Missy Elliott & Timbaland from 1997-2006
KIWANUKA by Michael Kiwanuka Sound & Color by Alabama Shakes
How Big How Blue How Beautiful by Florence & The Machine
No Shape by Perfume Genius
Metropolis by Janelle Monae
All n All by Earth Wind & Fire

3 things you can’t live without in your bag

Headphones, my laptop and lip moisturizer.

ROZET on Instagram & YouTube | Stream ROZET’s ‘Eat’ | Young Art Records

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

November 27, 2024 in Artist Spotlight

Singer, songwriter and cult figure girli is a frontrunner of the next gen of alt-pop music and ambassador for the LGBTQIA+ community.
girli released her evocative new album Matriarchy earlier this year and on November 22nd she released the deluxe edition, Matriarchy: Queen Edition led by new singlex '2 Year Itch' and ‘Bulldoze’.
She also recently launched the online experience the girliverse - an innovative digital platform where girli’s community of fans can interact, socialise and keep up to date with the latest happenings in ‘Matriarchy Mansion’ - and uses the platform to have conversations around feminism, sexuality, identity and mental health.

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

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

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

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

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

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

What are you listening to at the moment

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

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

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

Official Website | Matriarchy | girliverse

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Six Questions with Sofia Kourtesis

November 06, 2024 in Artist Spotlight

Peruvian producer and DJ Sofia Kourtesis draws constant inspiration from her family. Her 2021 breakthrough single, La Perla, honored her late father, blending a flowing melody with voice recordings that capture her sense of longing for home from Berlin.
After remixing tracks for Caroline Polachek and Jungle, Kourtesis released her debut album. Madres in October 2023, dedicated to her mother and the neurosurgeon who performed life-saving cancer surgery on her.
The album features 10 tracks showcasing her emotive approach to electronic production and blends Sofia’s Peruvian roots and Berlin club influences, exploring both personal resilience and community.
Kourtesis answered six quick questions before her performance at Desert Air Festival.

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

Playful, happy, and nostalgic. I aim to evoke those emotions and take listeners on a journey through sound.

What’s your best networking tip?

I believe in making genuine connections. Look people in the eye, engage in natural conversations, and be yourself. Focus on building authentic relationships with those who share your passions—it's all about creating bonds that matter.

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

My favorite part of making music is the freedom to express myself and connect with others through sound. However, there are moments that can be tough, like dealing with creative blocks or the pressures of the industry. Despite these challenges, I choose to focus on the joy and fulfillment that music brings me, as it's a dream I've always wanted to pursue.

3 things you can't live without in your bag

My passport, phone, and my Venlafaxine antidepressant pills. These essentials keep me connected and grounded, especially when traveling or managing daily life.

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

There’s something liberating about stepping outside my routine and experiencing life in the moment.

What are you listening to at the moment?

Right now, I’m really into Floating Points, Caribou—who has been a great mentor to me—and Arca. Their unique sounds inspire me and keep my creativity flowing.

PALM SPRINGS AIR MUSEUM • NOVEMBER 15-16, 2024

Desert Air is a 2-day music festival taking place on Friday, November 15th and Saturday, November 16th, 2024 at the Palm Springs Air Museum.
A weekend dance floor destination in the desert, hosting two stages of international selectors.
2-Day & Single Day Passes On Sale Now!

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