Acclaimed Poet Sophia Thakur on the Making of ‘Affirmations’ and Her Shift Into Music

Sophia Thakur’s move into music arrives after years of shaping a distinct presence in British poetry. The BBC has referred to her as “The Poet of this Generation,” and Vogue has called her “one of the most adored poets of our time.”

She’s published four books, appeared on Forbes 30 Under 30, and built a live reputation through sold-out shows at The Jazz Café, Bush Hall, and Omeara, as well as performances at Glastonbury, Abbey Road Studios, and Royal Albert Hall.

Thakur introduced her musical direction with ‘My City’, a stripped-back alt-soul track built around voice, space, and personal transition. It was her first solo release and a clear signal that she was ready to carry her storytelling into a new medium. ‘Affirmations’ moves that approach forward. Recorded live with a five-piece band, it pushes deeper into the idea of documenting a moment rather than constructing one, prioritising interplay, presence, and the texture of the room.

What’s the story behind ‘Affirmations’ and how does it reflect where you are creatively right now?

Affirmations is an entirely live recording with 5 musicians in one room, jamming the song for almost an hour, before finding the perfect moment to bring the chorus and words in. Performing live with my musician friends has always been my happy place and Affirmations feels like that, on record.

Creatively I just really want to bring the magic of live performance onto a record. To create a world people can get lost in for a little while. With affirmations, that world is one of bliss, encouragement, hope and tranquility. The world that we deserve to be in as we close out 2025. 

In a time of constant noise, how can artists create work that actually makes people feel something again?

 I think the living is just as important as the making. I've created so many songs, but I'll probably only ever share the ones that reflect a deeply honest and human experience. People need to feel seen and held and I think a song is a perfect opportunity to hold a mirror up to a person and say 'look, I go through these things too'. I. hope my music can connect the world. 

As someone who mentors young writers and performers, what’s one discipline or creative habit you think every artist should cultivate early on?

I can't think of anything better than journaling. Learning how to slow down our thoughts, understand them, explore them...that's how we can arrange powerful stories in our songs. From a clear mind that knows how to explore a feeling.

There are so many distractions these days and when I'm not journaling, I struggle to focus with the level of clarity that I think music deserves.

I would advise that everyone journals but also reads new books. Books give us new language, new imaginations, new feelings and new storylines. It's a cheat code to being a songwriter really. 

You’ve said your goal is to make music you’d listen to at sunset. What does stillness mean to you creatively, and how do you protect it in a busy world?

Coming from a poetry background, it's meant that I'm used to complete, pin-drop, undivided attention during a performance. That acute level of focus from an audience has meant that often times, they're brought to tears or moved in such deep ways. That space of stillness has always been my favourite arena to perform into so I'm trying to do the same with music.

Affirmations has a long musical intro and outro and it's for this very reason. To slow people down, ground them and hopefully create a fertile heart to take in the verse and chorus. 

What keeps you grounded?

I'm human, so I'm not grounded all the time. To be honest, I'm helplessly sensitive and wildly passionate so that can sometimes be derailing.

To come back to my centre, I carve out time for the things that bring me peace and remind me of my greater purpose. I pray to Jesus a lot, for a peaceful mind and happy heart.

I make sure to stretch or exercise and also stay around people who keep my nervous system at peace 

What’s your best tip for finding creativity on a tough day?

I would say for me, going back to things that previously inspired me. Back to old books, old films or songs that used to spark something. Sometimes lightning does strike twice!

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

I love that music is basically our own, hand selected soundtrack to life and special moments. I guess the downside is that it also then, carries memories. There are some songs I can't listen to just yet because they carry a memory of a person who has maybe passed away. 

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Sophia Thakur - ‘Affirmations, I’ll Be Okay’ out now

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Kah-Lo: The Voice Behind Global Dance Hits Returns With “Somersaults”

Kah-Lo is a Nigeria-born, London-based artist and songwriter whose distinctive vocal style first caught global attention through her collaborations with Riton on tracks like Rinse & Repeat, Fake ID, and Ginger.

Since then, she’s continued to build her own path across pop, house, and electronic music, releasing her debut EP The Arrival and her 2023 album Pain/Pleasure, and collaborating widely across the UK, US, and beyond.

Her new single Somersaults continues that progression, opening up a new direction in her sound. With disco-leaning production, an elastic bassline, and lyrics that open up about giving too much of yourself, the track captures both the directness and emotional clarity that run through her work.

What’s the story behind ‘Somersaults’?

I gave a lot of myself to a couple of relationships and got little in return. I essentially found myself ‘bending over backwards’ and overextending myself to remain in the relationship when the other person wouldn’t even inconvenience themselves in any capacity – so I wrote a song about it. 

Your visuals and style are integral to how people experience your music. From a creative perspective, how do you think artists can use fashion and visual identity to build a stronger artistic brand?

I’m very into visual identity, especially hair theory, as a tool to build an artistic brand. I think everything about an artist should reflect the era they’re in. New era? New hair. I don’t make the rules.

What’s one mistake you see new artists make when trying to “break through” that you’d advise them to avoid?

I think anticipating ‘no’s before they happen and not collaborating. Fear of failure doesn’t really ever go away, so I’d advise against succumbing to it in the early stages. Also, collaborating can be a really strong tool to win over newer audiences.

What’s your best networking tip for artists trying to make authentic connections in the industry today?

Go to the party and have fun. People are more likely to remember the person they had a fun time with than the person that was trying to shove an idea down the entire night.

How do you stay inspired and avoid creative burnout when music becomes your full-time job?

Going to parties and having fun lol. I also recently started doing digital detoxes for about 2 weeks a year where I lock my smartphone away and just immerse myself in reality. Experiences feel heightened and I’m more in tune with myself and what’s actually going on within and around me.

Tips for finding your creativity on a tough day?

Stepping away from the computer or talking to people.

What’s your favourite thing about making music?

My favourite thing is getting to create something out of nothing and have it do things beyond my imagination

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"Somersaults" available at: https://kah-lo.com/somersaults

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

Photo Credit Ogata | Styled by Dash Armstrong

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Photo credit: Özge Cöne

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

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

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

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

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

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

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

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

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

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

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

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

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

Photo credit: Giorgio Perottino

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

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

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

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

• Interview by ninakeh

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Photo credit: Robert Raths

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Hatis Noit’s Aura Reworks is out now

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

Photo by Chantal Azari

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

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

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

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

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

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

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

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

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

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

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

Photo by Chantal Azari

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

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

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

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

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

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

3 women in the industry that inspire you and why. 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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LEGACY debut album OUT NOW

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

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

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

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

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

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

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

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

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

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

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

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

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

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

What keeps you inspired creatively?

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

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

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

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Guchi No Skibs Just Feelings Out Now

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

photo by Alexandre Eldoh

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

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

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

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

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

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

Nectar Woode at Jools Holland photo by Alex Bean

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

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

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

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

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

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

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

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

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

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

What are you listening to on repeat right now?

Curiosity - Richie 

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Follow Nectar Woode Instagram | More Links

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

What are you listening to at the moment?

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

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Connect with cami bear on Instagram & TikTok

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

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

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

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

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

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

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

I wrote these words about the meaning of GUSH: 

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

It is about flirtation with objects and the environment…

It is about sensuality and personification…

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

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

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

it is about experiencing the genius of everything…  

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

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

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

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

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

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

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

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

Photo Credit: Tim Saccenti

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

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

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

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

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

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

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

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

• Interview by ninakeh

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Follow Kaitlyn Aurelia Smith: Instagram | Bandcamp | Website

GUSH out August 22 Pre-save

FACTORY: The Brooklyn Collective Built on Friendship and a DIY Ethos

FACTORY is a self-produced, self-written, self-engineered collective formed by Halima, Von, Murielle, and Sophie Hintze; four artists who met at NYU’s Clive Davis Institute and turned nearly a decade of friendship into a creative engine. What began as weekly DIY workshops in their Brooklyn apartments evolved into a shared practice rooted in autonomy, experimentation, and community.

Their first songs emerged organically from those sessions, revealing a chemistry that cuts across their distinct solo careers.

Today, FACTORY operates as a boundary-pushing unit making club-ready music shaped by personal storytelling, collaboration, and a refusal to follow industry rules.

FACTORY is self-produced, self-managed, self-engineered. What made you want to form FACTORY together?

Years ago we would meet every Monday for a self run workshop where we acted as interchangeable parts of each other’s teams for our solo artist projects. Whether it was mixing notes, PR outreach or photo edits, we would show up to help each other, and called those sessions FACTORY.

As four completely different artists with really different sonic identities, we hadn’t considered making music as one unit. But after writing together on a whim it was too undeniable for us not to lean in. That was 3 years ago. Now FACTORY has really become its own name as one collective. 

What tools, platforms, or systems have been game-changers for you in keeping FACTORY running smoothly?

Good comms!!! Being able to communicate directly or attune to different types communication has been so key for us since we're all just really different people with different processes. We have so many group chats to keep all of our conversations and assets organized and use a lot of different organizational/file management tools, but really without good communication none of that solves anything anyways. 

 
Each of your first three releases shows a different side of FACTORY. Which track do you think best introduces who you are as a collective?

Honestly they all kind of encompass our collective breadth, which is important to us. BLOODLINE is a more chill, driving with the windows down kind of song. STICKY TONGUE is more of a charged anthem and BBH is a deep, sexy club track. They all introduce us as what we are: 4 multi hyphenates navigating friendship, career, love and the future. 

What’s one mistake you see new artists make again and again, and how would you avoid it?

Not trusting yourself. Right now especially the comparison game is so tempting. It’s easy to judge yourself or judge whatever’s happening next to you but that’s not actually ever productive. It sounds so simple but it’s so important to really just trust yourself and trust your own timing. Everyone’s lane is their own, everyone’s journey is their own. There’s actually a lot of peace and stability in that. 

What’s one overlooked skill that every artist should learn early on?

How to self regulate. Taking care of yourself, physically & mentally, isn’t overrated. It’s actually vital to having any type of sustainable career in this industry. Drink water, lean on your friends, go dancing, journal, take time for yourself. Learning how to regulate and care for yourself is never a waste of time, it’s a necessity. 

What are you listening to at the moment?

New releases by Halima & Sophie Hintze.

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Follow FACTORY Spotify | YouTube | Instagram 

Leah Cleaver: Taking Up Space Through Feminist Alt-Pop

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.

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Follow Leah Cleaver:

Instagram | U Gd, Girl?

Stream ‘Have You Ever’

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Charlotte Dowsson

Instagram | TikTok |

New single Slightest Change

Nat Oaks on Finding Her Voice in Alternative Hip-Hop

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

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

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

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

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

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

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

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

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

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

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

Your top tip to artists trying to find their own voice

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

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

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

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

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

What are you listening to at the moment?

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

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Connect with Nat Oaks on Instagram

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

My least favourite thing would be writer's block.

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

Chewing Gum

Candy Kittens or Honey Roasted Peanuts

Water

What are you listening to at the moment?

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

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

Connect with Gabriella Bongo

Instagram | TikTok

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Tips for finding your creativity on a tough day

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

What are you listening to at the moment?

Outkast!

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Connect with Iris Gold on Instagram | YouTube

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

What’s a music rule you love breaking?

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

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

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

What’s your best networking tip?

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

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

Challenge yourself and be intentional about your art

What are you listening to at the moment?

Earth is Ghetto by Aliah Sheffield

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Connect with DORNINA on Instagram | More Links

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

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.

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Mychelle on Spotify Instagram & TikTok 

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

Photo Credit: Paulo Vivanco

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

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

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

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

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

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

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

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

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

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

What’s the story behind your new single Siren?

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

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

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

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

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

What’s your best networking tip?

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

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

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

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

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

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

• Interview by @ninakeh

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

Instagram & TikTok | Website

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

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!

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Connect with Midi KwaKwa:

Instagram | Listen | MOONFLOWER