Artist Spotlight

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

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

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

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

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

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

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

I wrote these words about the meaning of GUSH: 

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

It is about flirtation with objects and the environment…

It is about sensuality and personification…

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

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

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

it is about experiencing the genius of everything…  

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

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

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

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

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

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

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

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

Photo Credit: Tim Saccenti

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

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

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

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

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

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

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

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

Follow Kaitlyn Aurelia Smith: Instagram | Bandcamp | Website

GUSH out August 22 Pre-save

Leah Cleaver: Taking Up Space Through Feminist Alt-Pop

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Leah Cleaver is a London-based artist and activist whose music blends alt-pop with funk, hip hop, electro, and soul.

A former frontwoman of the neo-soul group Zebede, she’s performed at British Summer Time festival, recorded a session for Jamz Supernova, and now beginning her journey as a solo artist.

Her debut single ‘Last Time’ (released via PACE) captured late-night chaos and romantic tension over a shape-shifting production of keys, synths, and rattling drums. It was followed by ‘Have You Ever’, which Cleaver describes as the sunny morning-after to its predecessor’s dimly-lit cab ride.

Drawing influence from artists like Nina Simone, Channel Tres, Jungle, and Little Simz, she developed her signature alto vocal style during a period of vocal strain, learning to lean into grit and control over affectation.

Beyond her musical work, Cleaver co-founded U Gd, Girl?, a London-based intersectional feminist collective running monthly workshops and discussion circles for women and non-binary people. Her music is dedicated to the queer and trans community that continues to nurture her, and she prefers a literal approach over metaphor to communicate openly and with urgency.

‘Last Time’ introduced us to your sound and your story. With ‘Have You Ever’ coming next, where are you taking us now and how do the two songs connect?

Last time feels like 2am on a saturday night buzzing round through london in a cab and have you ever is 2pm on Sunday and you’re laying in the grass in the park with your friends in the sunshine absolutely GIGGLING and gossiping about the night before, it’s a nod to those  that sometimes put their foot in their mouths (like me!) and do cheeky things with gorgeous people but it’s all okay because their friends hold space and love for them. 

You started gigging around London early on. What’s one thing that helped you grow a buzz at the grassroots level?

I started going to jam nights, especially ones that made me nervous and my beautiful friends  would champion me, and i’d watch other amazing artists and see their authenticness and rawness to perform, so then I started to as well and I would tell those people who I was and I kept coming back, and I think that’s how you build community within grassroots organisations, you just keep going back.

What’s one tip you’d give to another artist who feels like they don’t fit into the industry’s boxes?

People will always try to ‘re-create what you do, rebrand it, manufacture it, mass produce it, water it down, claim it as their own (eventually) - so you may as well be the source! It might take time but you need to exist in the knowledge that your people will find you and will notice what you’re doing, keep your blinkers on and keep going

What’s something you’ve figured out about being an artist that no one told you?

I figured out that there are amazing people doing the same thing as you that will, and can pull you up alongside them so generously and without motive. Sometimes we focus so much on the competition of numbers and who’s  the ‘favourite’ right now that we forget that as artists we are our community, and especially as a black woman I know when one of us win we all win, so i’m hear to raise up others voices and I know people have been raising mine so I feel grateful. 

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

My favourite thing is when you know you’ve written a bop and you come home and show the people you love (100 times)

Least favourite thing is having to wait to show it to everyone!

3 artists that influence you right now.

DAMEDAME*, Lil Simz, BINA.

Follow Leah Cleaver:

Instagram | U Gd, Girl?

Stream ‘Have You Ever’

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

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

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

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

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

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

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

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

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

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

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

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

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

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

What keeps you inspired creatively?

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

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

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

Guchi No Skibs Just Feelings Out Now

Guchi on Instagram & YouTube

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

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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

Mychelle: From Busking to 2.5M+ Streams and Debut Album "Good Day"

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Hackney-born singer-songwriter Mychelle has just released her debut album Good Day, out now via FAMM—the independent label known for launching the careers of Maverick Sabre and Jorja Smith. The album captures a turning point for Mychelle as both a writer and performer, reflecting on difficult experiences and transforming them into soulful, uplifting songs.

A standout voice in UK soul and R&B, Mychelle’s rise has been steady and self-made. She first made her name busking on the streets of London, before being spotted at London Bridge and signed to FAMM. Since then, she’s gained critical support from Clash, The Metro, Evening Standard, and Dork, as well as airplay from DJ Target, Adele Roberts, and Jamz Supernova. Her collaboration with ENNY, Forbidden Fruit, has racked up nearly 2.5 million streams, and she’s released a string of acclaimed EPs, including Closure, Someone Who Knows, It’s Not You, It’s Me, and Me & Gaz.

Live, she’s played major festivals like Montreux Jazz Festival, Boardmasters, and Into the Great Wide Open, supported Michael Kiwanuka and George Ezra, and is now preparing for a packed summer—joining Jorja Smith’s UK tour and heading out on her own 10-date headline tour across Europe.

We caught up with Mychelle to talk about the making of Good Day, how she overcame creative blocks, and why this album feels like a full-circle moment.

What’s the story behind Good Day — is there a thread that runs through the album?

The final track on the project is called “Good Day” and when I was going to the studio the day I wrote it, I was having a string of bad days. When I left the studio, I was so excited by the song it literally turned in to a good day for me. When writing all of these songs it was the same feeling.

Good day is also a way of saying good bye and in most of the songs, i’m talking about letting go and saying good bye to the things not serving me. Being able to do that is always a good day too. 

“Seasons” came to you while on your way to play basketball — do you often find inspiration in those in-between moments, when you’re not actively making music?

All the timeee! I love making music when i’m cooking, walking, cycling, when i’m shopping - like you said the in-between moments. That’s when i’m not overthinking I guess. Making them in to a song is another story. Happy I managed to create Seasons and Sweet Nothings out of those moments though. 

You’ve said you used to be quite shy, but still chose to busk for years across London. What gave you the push to start — and what kept you going?

I started because I like to live by the quote ‘Luck is when preparation meets opportunity’ so in my mind if I’m out singing in public, frequently practicing my craft when opportunities come I will be ready for them. I feel like this has definitely served me well in my journey. 

What helps you stay grounded and focused, especially when the music industry can sometimes feel overwhelming?

Writing things down, working out/ going for a run & romanticising my life in tiny ways. 

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

My favourite thing is singing. I love to sing. Like the actual act of singing! I love it so much. 

Writer’s block is my least favourite thing. I hate it when I’m stuck and then I start over thinking. That then usually leads to me feeling like I’m not good enough and that’s not the one.

Mychelle on Spotify Instagram & TikTok 

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

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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

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

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NYX | Photo Credit: Joseph Lynn

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.

NYX | Photo Credit: Joseph Lynn

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'

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

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

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

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

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

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

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


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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Lipbalm/Lipgloss, Handcreme, and tissues 

What are you listening to at the moment?- 

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

Connect with Midi KwaKwa:

Instagram | Listen | MOONFLOWER

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

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

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

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

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

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

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

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

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

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

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

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


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

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

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

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

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

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

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

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

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

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

Follow Empara Mi on Instagram | Website

Gayance on Her New Project & Signing to Tru Thoughts

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

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

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

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

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

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

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

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

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

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

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

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

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

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

What’s inspiring you right now?

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

What are you listening to at the moment?

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

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

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

What makes a creative partnership work for you?

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

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

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

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

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

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

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

Connect with Gayance | Tru Thoughts

TRACE's Transgressive Pop Universe and New Album T4TEARS

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Defiant, aching, joyful.

3 things you can’t live without in your bag

My hormones, my antidepressants, and my sleeping pills.

What are you listening to at the moment?

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

  • Interview by @ninakeh

TRACE - t4tears out now

Connect with TRACE on Instagram, YouTube, Website

Fi McCluskey: Raising Awareness on Postnatal Depression

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

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

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

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

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

What’s the story behind "Die Young"?

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

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

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

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

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

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

What’s your best advice to emerging artists?

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

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

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

3 artists who inspire you.

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

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

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

Three things that I cannot live without.

My headphones, red lipstick and a small handbag wine.

Connect with Fi on Instagram | More Links

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

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Photo Credit: Erea Ferreiro

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

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

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

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

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

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

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

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

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

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

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

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

Describe your music in 3 words.

Alternative, intoxicating, cinematic.

Tips for finding your creativity on a tough day.

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

An album that's changed your life.

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

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

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

Photo Credit: Erea Ferreiro

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

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

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

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

What are you listening to at the moment?

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

3 things you can’t live without in your bag

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

Connect with BINA on Instagram |

Miranda Joan's Soulful Storytelling Through Music

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 Soulful, silky and story-driven. 

3 people who inspire you

My mom, my brother, Martha Cleary.

3 things you can’t live without in your bag

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

An album that changed your life

Honey by Robyn

What are you listening to at the moment?

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

Follow Miranda Joan on Instagram | Website

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

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Photo Credit: Charlotte Patmore

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

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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. 

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

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

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

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

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

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

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

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

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

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

What are you listening to at the moment

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

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

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

NOURI: My Music is Vulnerable, Honest, and Meaningful

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

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

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

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

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

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

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

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

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

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

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

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

Vulnerable. Honest. Meaningful.

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

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

What are you listening to at the moment?

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

Follow NOURI: Instagram | TikTok | Spotify

Red Bull Records' Morgan on Her Newest Project 'Emotional Gangster'

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Morgan is one of the UK’s most exciting rising stars in Pop and R&B, with over 80 million combined streams, a dedicated online following, and a new label home at Red Bull Records. Her forthcoming project, titled Emotional Gangster, features a collaboration with dancehall heavyweight Byron Messia.

Morgan's journey started young—she began performing at just three years old, and by 18, she was touring the world as a vocalist for Rudimental. Her solo career took off with the release of ‘My Year,’ a sparkling pop debut, followed by the hit collaboration ‘Mulholland Drive’ with Ebenezer, which earned over 10 million streams. Her subsequent EP Alien was packed with golden-era pop influences and featured collaborations with Anne-Marie, Cadenza, Dyo, Preditah, and Rudimental.

At 17, she wrote ‘ADCT,’ which later climbed to the top of both TikTok Trending Sounds and the UK Top 50, racking up over 25 million streams. Morgan has also co-written and featured on major tracks like Rudimental & Digga D’s ‘Be the One’ and Sigma’s ‘Adrenaline Rush,’ which sampled Bittersweet Symphony. Recently, she’s expanded her reach by writing for top K-pop artists like NCT’s Jaehyun and will feature on Purple Disco Machine’s upcoming album PARADISE later this year.

Now, with two sold-out London headline shows under her belt and her first UK headline tour set to kick off at the end of the year, Morgan is one of the most emerging talents in the scene. Her latest single, ‘Wheel Up,’ a collaboration with Jamaican superstar Byron Messia, dropped on 25th September via her upcoming sophomore EP Emotional Gangster, out on 25th October.

In this Q&A, Morgan opens up about her new single “Wheel Up”, working with Byron Messia, and what fans can expect from her highly anticipated EP.

Your new EP Emotional Gangster is dropping soon. What is the story/inspiration behind it?

I'm so excited for this EP to drop - it's been a minute since I dropped my own music. The story behind it is pretty simple. Firstly, a lot of people, especially my friends, think that I am this super tough person - I have an extremely tough exterior (it might be the Aries in me - I have a lot of fire). However, I am hugely emotional and sensitive at heart. Secondly, I wanted to create a project that incorporates both sides of my personality whilst also highlighting the versatility in my sound and songwriting. I absolutely hate being put in a box.

“Wheel Up” feels like an homage to Jamaican sound system culture, but also taps into the UK rave scene. How do these two worlds connect for you, and where do you fit in?

I'm half Jamaican and  half British so the connection is plain and simple. I'm a proud product of dual heritage and you can hear those influences in my music. 

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

Never rush into a working relationship. Take your time sussing people out and ensuring they have the best possible intentions. I built a relationship with my manager for at least a year before entering a business relationship with her. 

Tips for finding your creativity on a tough day

A producer once told me to keep on creating even when I feel creatively blocked as it helps you get all the s*** out - that stuck with me. I try to keep writing even if I'm not feeling inspired. Even if a session isn't how I have wanted it to go, I've still learnt something that day. 

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

Perseverance and shamelessness are key! 

3 things you can't live without in your bag

You will never see me without a lip gloss or lip liner - it's my makeup staple. I always need my phone - especially when I am in sessions, my notes section is literally where you will find all my song ideas and lyrics. Lastly, my car keys - I literally drive everywhere and always seem to be in my car (it's become a running joke with my team... even every zoom meeting involves me in or next to my car).

Morgan will go on a tour this November, headlining five shows across the UK, including a date at London’s iconic Jazz Cafe. The dates are as follows and tickets are available HERE:

November 25: Glasgow @ The Poetry Club

November 26: Manchester @ YES

November 28: London @ Jazz Café

November 30: Birmingham @ The Sunflower Lounge

December 1: Bristol @ The Louisiana

Ni Maxine's Afro-Centric and Soulful Sound

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

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

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

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

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

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

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

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

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

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

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

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

Tips for finding your creativity on a tough day

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

3 things you can't live without in your bag

  • My airpods

  • Lipgloss

  • A spare pair of knickers

Upcoming Live Shows

23 November 2024 - EFG London Jazz Festival

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