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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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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Gayance on Her New Project & Signing to Tru Thoughts

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

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

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

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

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

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

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

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

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

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

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

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

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

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

What’s inspiring you right now?

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

What are you listening to at the moment?

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

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

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

What makes a creative partnership work for you?

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

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

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

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

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

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

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

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Connect with Gayance | Tru Thoughts

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TRACE's Transgressive Pop Universe and New Album T4TEARS

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Defiant, aching, joyful.

3 things you can’t live without in your bag

My hormones, my antidepressants, and my sleeping pills.

What are you listening to at the moment?

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

• Interview by @ninakeh

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