THEBABEGABE: INTERVIEW

March 24, 2025

by kristen case

TheBabeGabe is a force to be reckoned with. As eager to sing you a ballad as she is to rap. Gabe is now taking that experience and stepping forward to create her own unique sound and legacy with her debut solo mixtape HONEYPOP. HONEYPOP crafts an eclectic tape that draws from personal experiences. Gabe discusses the creative process of HONEYPOP, collaborating with The Human and shares what's next on the horizon.

Major congratulations on your debut solo mixtape HONEYPOP! What was the creative process in the beginning stages?

TheBabeGabe: “The creative process for HoneyPop in beginning was very effortless. I feel like me and The Human (tyfaizon and Medici) weren’t over thinking about what we wanted to do. It really only took us a few songs to get into a groove and most of the songs we made ended up on the final tracklist. I feel I have a great chemistry with Ty and Medici that a lot of the things we work on come together so smoothly.”

Can you tell us a little about the inspiration behind HONEYPOP?

TheBabeGabe: “This being my first solo project, me and The Human were inspired to try so many different sounds and genres because it felt like we had this clean slate to work with. A lot of the inspiration came from artist like The Neptunes, Kelis, Jill Scott, and Lady Gaga. We definitely were looking at the 2000s era sonically and aesthetically. This project really came together so perfectly for me because I feel like I did everything I wanted to do on it.”

HONEYPOP incorporates an abundance of storytelling throughout each track. Do you draw from personal experiences or the world around you?

TheBabeGabe: “I definitely draw from a lot of personal experiences throughout this project. HONEYPOP has some of my most intimate songs I’ve ever written. It feels like I not only shared the rawness of what I’m going through currently but also past challenges I’ve faced in my life. A lot of my art comes from the world around me and what I might be experiencing at the time. I’m always trying to find new things to study and learn about. I think that is something very important to do as an artist.”

If you could describe your sound in three words, what would it be?

TheBabeGabe: “If I could describe my sound in three words it’d be HoneyPop, futuristic, and comforting.”

When it comes to sound selection and production for HONEYPOP, what was the process for sound selection like and did you ever have a specific vision for what you wanted each song to sound like?

TheBabeGabe: “When it comes to the production and working with The Human, the process is very natural. Me and Ty have talked about my solo mixtape for so long now before we even knew it was gonna be called HONEYPOP, back when we were both in high school. Ty has had so many ideas for what he wanted this project to sound like that when it came to make it we were both ready. Me and Ty knew that we wanted the tracklist to be a kaleidoscope of different sounds. We love a lot of different genres of music, so we definitely wanted to incorporate all the sounds that inspire us an artist.”

What would you say to young artists experiencing the feelings you articulate in HONEYPOP?

TheBabeGabe: “I’d like young artists to be able to listen to HONEYPOP and realize that you can overcome any obstacles that are thrown your way. It may not happen quickly, but you will eventually find yourself healing and acknowledging the growth you’ve had when looking back from where you started. As an artist, sometimes things are not meant to work out and that’s okay because maybe there’s another plan in store that is more fit for your journey.”

Can you describe the atmosphere you created with HONEYPOP and what's the biggest takeaway you have gained from this release?

TheBabeGabe: “I feel like I created the perfect reintroduction to who I am as an artist with all the emotions, experiences, and sounds that inspire me. My biggest takeaway from this release is that there are fans who care about me and are willing to support me on this new journey. Becoming a solo artist after being in a band can be a scary transition, but I feel like there is so much hype for what I’m doing now. It all feels really good.”

Lastly, are there any upcoming projects fans should know about?

TheBabeGabe: “HONEYPOP RELOADED which is the second half of HONEYPOP will be coming out this summer!”

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ELLIOT JAMES REAY: INTERVIEW

March 13, 2025

by alicia urrea

There’s a popular expression that has been floating across generations to signify the demise of a once beloved genre: rock ‘n’ roll is dead. It’s easy to stir up an argument on whether that phrase sings true, but a charming new artist is breaking out of the enclosure of mainstream music styles and is embracing a classic, oldies influence.

Elliot James Reay is a 22-year-old musician from Greater Manchester, England, who is challenging modern genres and has seemingly brought the rock ‘n’ roll era back to life with his two releases, “I Think They Call This Love” and “Boy In Love.” With a debut album releasing this spring, there’s still a lot to learn about the young rockstar.

I genuinely think it’s so cool that you’re utilizing a ‘50s and ‘60s style in your music. I can definitely hear the Elvis influence; who would you say are some of your other biggest musical influences?

Elliot: “Roy Orbison is a massive influence for me. I love his voice and the way he could channel his emotions through music. I try to channel his raw vocal style and his incredible songwriting into my own music where I can. Billy Fury is another big one, and if you go even further back, The Ink Spots. I love how timeless their melodies are. There’s something special about the way those artists made music — it wasn’t overcomplicated, just pure emotion and great songwriting.”

Do you have any influences that are unrelated to music?

Elliot: “I take a lot of inspiration from classic film stars — James Dean, Alain Delon and Marlon Brando. There was an effortless cool about them, but it wasn’t forced. I try to incorporate that classic, timeless style into what I wear and how I present myself.”

So far, your two releases, “I Think They Call This Love” and “Boy In Love,” thematically explore romance and all of the emotions that come with infatuation. What inspired you to write both tracks?

Elliot: “These songs are straight from the heart. I write about what I feel, and love is something I’ve never been afraid to express. I also love the idea of bringing back that classic ‘50s theme of devotion and infatuation. Back then, men weren’t afraid to sing about love in a pure and sincere way. I think there’s something really cool in that, and it inspires me to try and keep that spirit alive.”

Is the topic of love a commonality we’ll see on the album?

Elliot: “Every time I sit down to write a song, it somehow turns into a love song — I can’t seem to escape it! I’m trying my best to broaden the themes for the album, but I can’t promise anything.”

What is your creative process like?

Elliot: “My process is simple, just have fun. I feel extremely lucky to be making the music I love, so writing comes naturally. Both of my songs so far have only taken a few hours to write.

I also have an amazing team. My producers and writers are some of my closest friends, so every session is just a group of mates messing around, throwing ideas out, and seeing what sticks. Nothing is taken too seriously, but we all feel so passionately about the music we’re making together. I think you can hear that in the songs.”

What is your earliest memory with music? What made you want to pursue music and hone in on the rock ‘n’ roll genre specifically?

Elliot: “I’ve been listening to Elvis my entire life — literally. My mum told me she used to play his music to me when she was pregnant, so I guess it all started before I was even born.

Rock ‘n’ roll is just a massive part of me and my identity. To me, it is the greatest genre of music.

Growing up, people thought I was a bit odd for loving ‘50s rock ‘n’ roll, but I never cared. I wasn’t going to change just to fit in. I make this music because I love it — it’s who I am.”

How does it feel being compared to Elvis? It’s a huge compliment — but how do you maintain your individuality? What makes your artistry as Elliot James Reay unique?

Elliot: “It’s a massive compliment, but personally, I don’t hear it. Elvis is one of my idols, and I hold him in such high regard — I don’t think anyone can truly compare. When it comes to my music, I don’t want to impersonate Elvis; I want to create something that could be played alongside him. I want my music to feel fresh but to keep the spirit of these greats alive.

At the end of the day, I’m just Elliot. Loving Elvis and ‘50s music is a huge part of who I am, but I’m my own person. I think that’s what makes me unique — I’m bringing my own perspective, my own experiences, and my own voice to a genre that means the world to me.”

What do you feel is your biggest accomplishment so far?

Elliot: “Honestly, just releasing my first single was a massive accomplishment. I was definitely advised against making ‘I Think They Call This Love,’ but I stuck to my guns, and I’m glad I did —I’ve proved that this music still has a place today.”

If you could only listen to one album for the rest of your life, what would it be?

Elliot: “That’s a tough one because there are so many great albums, but I’d have to go with Elvis: Aloha from Hawaii. It’s a live performance, and I’ll never get over how flawless his vocals and the music are. It’s a huge inspiration for me. One day, I’d love to record a live album myself.”

How do you want people to feel when they listen to Elliot James Reay? What do you hope they take away from your songs?

Elliot: “I just want people to feel like they can relate — whether that’s through their own experiences, memories, or emotions. If someone finds comfort in my songs, that means everything to me. And if they tap their foot along the way, even better. I also want people who feel ‘different’ to feel seen. I grew up loving music that wasn’t necessarily what everyone else was listening to, and I know what it’s like to feel out of place. If my music can reach people who feel the same way and make them feel understood, then I’ve done something right.”

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LILY HONIGBERG: INTERVIEW

March 10, 2025

by kristen case

photo courtesy of lily honigberg

A violin virtuoso, fiddler, and composer raised in Washington DC, LA-based Lily Honigberg seamlessly weaves together a rich tapestry of Irish fiddle, classical, and contemporary improvisation in the music of singer-songwriters, rappers, and artists. She is the featured fiddle player on Shaboozey's 2024 hit “A Bar Song (Tipsy)”, appears on FINNEAS’ second album For Cryin’ Out Loud! and played on the Dungeons & Dragons (2023) feature film soundtrack in the specialty band. Lily works across a variety of genres with artists like FINNEAS, Shaboozey, Dasha, Denzel Curry, Juicy J, 070 Shake, Bebe Rexha, Quadeca, KennyHoopla, Alex Warren, and Felly. Lily is currently based in Los Angeles, and regularly on tour with rising pop country artist Dasha. Raised in a family of professional musicians, Lily dedicated herself to music at a young age. As a teenager, she studied at the Interlochen Arts Academy, and went on to complete a master’s degree in Contemporary Improvisation from the New England Conservatory. Lily has been fortunate to tour with the National Youth Orchestra (2014), and has performed all over, including at Carnegie Hall, Walt Disney Hall, Millennium Stage, and on The Late Late Show with James Corden. During college, she lived in Ireland’s County Mayo and spent hours sitting in pub sessions, learning Irish trad music by osmosis. She’s made a name for herself as an Irish folk fiddler, headlining the Korrö Music Festival and playing with the likes of Eric Rigler, John Doyle, Dennis Cahill, and Solas. The Sun’s Valley, Lily’s latest album, is a testament to her nuanced interpretation of Irish fiddle and elegantly bridges tradition and innovation.

What was the genesis of Lily Honigberg?

Lily: “I was born into a family of classical musicians — my dad gave me a violin for my fourth birthday. He played cello in the National Symphony Orchestra for 40 years, retiring last spring. As for my mom, she plays piano and the harpsichord. My grandmother was a concert pianist, and both of my parents run a concert series, so music was often playing in my house. I always loved the sound of string instruments. Also, something about the warmth and precision of the violin has kept me craving the instrument and striving to unlock all of the things I can do with it.

I grew up reading a lot of fantasy books — and listening to movie soundtracks — like the Lord of the Rings, Harry Potter, Tuck Everlasting, and Peter Pan. I classically ‘trained’ to be in an orchestra through school and a conservatory. Yet, I went over to Ireland during the summer when I was 19 and found myself fully immersed in Irish traditional music. I discovered then that I wanted to do more than read notes on a page. I wanted to write melodies, create atmospheres, and improvise with music. My intention became to become a fiddler, as well as, classical violinist, and also recreate some of the feelings the fantasy aspect of my childhood had upon me. I ended up staying at the New England Conservatory to earn a master’s degree in Contemporary Improvisation after finishing up my B.M. in Classical Violin Performance.”

I read that you were born and raised in Washington, DC, but had relocated to LA a few years back. How did the transition impact you as an artist and the music that you make?

Lily: “Los Angeles has everything. It has every kind of music and every type of opportunity. The city always surprises you! I love waking up and not knowing what I’m going to get called for. There are incredibly creative and ambitious people here, making huge strides in the music and artistic world. I feel incredibly inspired watching my friends and colleagues navigate the challenges of the industry in LA, too. However, the city is not always as glamorous as it looks on the outside! Yet, I feel like I can be the artist I’ve always wanted to be in LA, constantly learning and evolving with all of the things being thrown at me as a string player, fiddler, composer, and improvisor.”

Congratulations on being Grammy nominated for “A Bar Song (Tipsy)” by Shaboozey as a featured fiddle player breaking multiple records. Kudos on getting to play Lollapalooza this past summer and having released music with Elijah Fox, Nick Leng and Enluv! What emotions were you feeling having received such life changing news? Furthermore, what did you learn about yourself both personally and musically?

Lily: “Thank you! I am really proud of ‘Tipsy’ and all it has accomplished since it came out almost a year ago. It was an honor collaborating with the artists you listed, who are all also good friends of mine. Yes, I love that we can make music together. But, we can also explore our city, watch over our pet bunnies and look at the wind in the trees together. Doing these things together help make the music all the more special! The emotions that came along with it were joyful, along with a bit of the, ‘well that’s great, but what’s next?’ sort of emotion. It also took a while for it to hit that I had played on a Grammy nominated song. It’s hard to sometimes grasp the extent of how many people have listened to and loved it! I also feel extremely grateful for having had the opportunity to play on that particular song and being able to continue working on what I believe in.”

In addition to working with Shaboozey, you have gotten to collaborate with various artists like FINNEAS, Denzel Curry, and 070 Shake just to name a few! How was the collaboration process, as it varies from each artist differently, and what's your favorite part about the collaborative processes?

Lily: “Again, it's such an honor to work with these artists. It’s special to come in as a string player on sessions like these, usually not to read sheet music that has been prepared, but getting to collaborate and talk through ideas. All artists and producers have different languages for things, and I love decoding what they are trying to tell me with their languages around strings. It was especially wonderful to come in and recreate some of FINNEAS’ string parts, and also have him ask me to just rip a few takes of improvising over his incredible songs. I’ve admired Billie and FINNEAS as artists and people since they released ‘Ocean Eyes’ back in 2016, and it feels like a dream to be included as a very small part of that.”

You recently played fiddle in Dasha’s band on her recent tour which is absolutely amazing! What was the experience like? Is there a favorite memory you have playing live?

Lily: “I love Dasha. She is such a homie, and we have a great time on the road. I was never looking to tour like this with all I have going on in LA, but when the opportunity came out of nowhere, it felt right to roll with it. It took a few months for it to sink in about just how busy we’d be, but being on the road getting to play fiddle with a badass female artist is exactly what I’m supposed to be doing right now. I still get to come home and play sessions and work on projects in LA too. In addition, I have a remote set-up for recording that I take on the road.

One of my favorite memories on tour is when a fan at a show in Indiana screamed, ‘Play Drown Me!’ This is one of Dasha’s songs on the same album as ‘Austin,’ and she didn’t quite hear them, took out one of her earpieces and said, ‘Huh?? Play ground beef??’ It’s an awesome crew, band, and team. I feel lucky to be up there with people making music and traveling the world, surviving the curveballs that tour life throws at us, and also laughing at the absurdity of what we are doing with the little things that happen during our long days of travel and performances.”

Along with playing the violin, fiddle, and being a composer, are there ever any challenges searching for that necessary “sound?” How do you overcome that?

Lily: “Yes, there are lots of challenges in so many ways. I don’t know if I ‘overcame’ that. I do enjoy getting lost in the process of finding exactly what I am looking for in my own artistic projects as well as those of others. I think it’s important to make things you don’t like, and I feel like I’m still definitely working on being more comfortable with that.”

What is your favorite way to connect with fans?

Lily: “I love hearing about people’s personal experiences with music, specifically the violin and fiddle. Also, not about the fans, but it brings me great joy to ask artists I’m in the studio with if they’ve ever tried playing the violin. From there, I try to let them play mine. It’s always funny to me to observe how quickly they realize how hard it is to make a good sound, have no frets, and things like that. Then, I see how they explore trying to get a good sound, what they do with their bow hands, along with their left hand, too.”

Can you tell us something unexpected that your fans might be surprised to hear about your upcoming projects? Are there any items on your bucket list?

Lily: “I am working as part of a team scoring a new video game at the moment! I don’t think I can say much more about it. I am excited for the next phase of my career that will be playing on and creating more fantasy soundtracks.

I also have two new releases coming out under my own artist project, Lily Honigberg, for Saint Patrick’s Day on both March 7th and March 14th!”

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SAMI SITEMAN: INTERVIEW

February 15, 2025

by kristen case

Sami Siteman, the prolific singer/songwriter from Agoura Hills, CA (a suburb of Los Angeles), now based in Santa Barbara, CA, likes to say that she writes her music to express and process her own feelings and experiences, but records and shares it so that others can relate to it and heal through it the same way that her favorite artists have done for her. Her music, influenced by so many artists whose music extends beyond the bounds of a single genre, is a powerful mix of genres itself, including pop, country, and singer/songwriter. Her impressive catalog of 26 tracks (including three EPs) has been streamed more than 744k times by listeners from over 150 countries, demonstrating her innate ability and desire to connect with people through her songs. Her lifelong passion for music is evident in her heartfelt lyrics and catchy melodies that range from heartbreaking ballads to empowering anthems. Fans of Sara Bareilles, Carly Pearce, and Olivia Rodrigo will find a home in Sami's relatable storytelling.

Sami has had the incredible opportunities to collaborate with songwriters Caleb Oczkowski (Natalia Taylar, LIVIA, elijah) and Livvy Webb (Olivia Knox, Alison Ogden), as well as have many tracks produced by the amazing Dylan Emmet (Mykyl, Geena Fontanella). In addition to creating her music, Sami enjoys being able to play live as well and has been able to play at venues like The Hotel Cafe in Hollywood (BMI Artist Showcase) and The Canyon Club in Agoura Hills. She's also been featured in various digital magazines and blogs, including Luna Collective, Earmilk, Notion, BoldJourney, and LA Weekly. Her latest EP The Way It Went is out anywhere you get music, along with her new single “Glass Slipper.” She is currently working well on her debut album!

Congratulations on your new single “Glass Slipper!” Can you tell me about the creative process of this song?

Sami: “Thank you!! I am so excited to finally release this song. I think I wrote a bit of the first verse and the chorus just as lyrics on my phone back in early summer 2024, and then I later played around with chords on my keyboard and put a melody to it. Then I filled out the rest of the song, wrote the second verse and bridge, and fixed up some lyrics that didn't quite work! Each song’s creative process is a little different; some take years to complete while for others, I can sit down and write the whole thing in two hours. It really just depends! But this one took a few months of sitting on the concept and playing around with the melody and lyrics, and then I finally was able to put it all together.”

What was the story behind “Glass Slipper?”

Sami: “The concept of ‘Glass Slipper’ came to me as I was thinking about how my now fiancé is my perfect fit and feels like home to me, but how it really took a lot of dating and relationships to find him. So through one lens, this song is about how it can take a lot of exploration to find your perfect fit, your ‘Glass Slipper,’ or at least it did for me. But there's also a literal meaning behind the song that makes me chuckle a bit every time I think about it — I really do have a lot of trouble finding shoes that fit me well. All of the lyrics in the verses truly have a double meaning — I have gone through SO many pairs of shoes that have given me blisters and made my feet hurt so badly! So when I realized that my lifelong search for my perfect partner and my perfect shoes actually converged quite a bit, I couldn't help myself from writing about both experiences in double entendres.”

What's the first thing you do when you get inspiration for a song?

Sami: “Though each song’s creative process to completion can differ, the way they start for me is usually the same. I’ll get an idea for just a lyric or a lyric with a melody and I’ll make a note of it in my phone or record a voice memo immediately (because otherwise I will absolutely forget the idea). Once I have enough of a concept or a decent melody, I'll sit down at the keyboard and try to come up with chords to support the song and see where I go from there. I tend to write first verses, pre choruses, and choruses first, and follow them up later on with second verses and bridges once the song has more direction, but it truly just depends.”

I love that you use lyrics both literally and metaphorically. Do you think lyricism is an outlet you use to get your emotions in songwriting? How is it beneficial for yourself?

Sami: “Thank you! I always say that, for me, songwriting is truly an expression of and a way to process my emotions in a way that isn't accessible to me through any other modality; my songs are truly my heart on a platter. But I share and record and release my music because I want to be able to foster connection and provide solace and relatability for other people the same way that my favorite artists’s songs have done for me, through the best and worst times of my life. And in terms of the literal and metaphorical writing, lyrics with double meanings, or what I like to refer to as ‘clever lyrics’ to my fiancé, are truly my favorite kinds of lyrics out there, so being able to write a song with a double meaning was super fun and special to me, especially because both of the meanings are so true and authentic to me.”

You have this beautiful blend of pop and country that makes your unique sound. “Glass Slipper” was produced by Dylan Emmet! How was the collaborative process?

Sami: “Thank you! I always like to say that my music lives at the intersection of pop, singer/songwriter, and country, and I'm so grateful that you hear that too! It's a delicate balance to bring in elements of each of those genres, but Dylan Emmet, my producer on ‘Glass Slipper’ and my EP The Way It Went and an amazing artist in his own right, understands the vision I have for my music and my genre I think better than anyone I have ever met! He is able to hear the acoustic versions of my songs the way I write them and somehow bring them to life the way I hear them in my head, and add his own brilliant arrangement ideas as well! He is an incredibly talented musician and producer and our collaborative process is so much fun! I quite literally could not have created the existing versions of my EP songs or ‘Glass Slipper’ without his brilliance, hard work, and incredible execution.”

What does the new era of Sami Siteman look like to you?

Sami: “Most of my music that I have released thus far has been about heartbreak and healing. I'm very happy to be finally releasing ‘Glass Slipper,’ a happy love song, just in time for Valentine's Day! But beyond ‘Glass Slipper,’ I'm actually working on my debut album called Welcome to My Brain (likely to be released mid-2026 with some singles from it dropping periodically)! This album is a pretty big departure from the topic of love and heartbreak that most of my previous music has covered; it actually documents my journey with mental health over the past ten years, with one song being written over ten years ago that was originally going to be on my debut EP What I Should Have Done, and another being written mere months ago when I was feeling really lost after the passing of my grandma. Mental health is a hugely important topic to me, as it's something that I, along with so many close family and friends, have struggled with for a long time, so I am really excited to finally share more of that part of me and provide hope to other people who may be going through similar turmoil to know that their feelings are valid, but there truly is a light at the end of the tunnel.”

What do you want listeners to take away from “Glass Slipper?”

Sami: “For listeners who have already found the person they want to spend their life with, I hope this song makes them reminisce about how falling in love with their person made them feel and how at home they still do feel with them. For listeners who haven't yet found the person they want to spend their life with, I hope they take away that their person is out there — I truly believe there is someone out there for everyone — and that it just might take a lot of searching and persistence to find them.”

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MOONCHILD SANELLY: INTERVIEW

February 5, 2025

by kaleigh gieraltowski

Moonchild Sanelly is an unstoppable force — bold, boundary-pushing, and unapologetically herself. With the release of Full Moon, the powerhouse continues to redefine genre norms, blending afro-punk, edgy pop, kwaito, and hip-hop into her original “future ghetto-funk” sound. She opens up about the inspirations behind her latest album, her electrifying performance on Later… with Jools Holland, and her ever-evolving artistry. From dream collaborations to the inner workings of her creative process, Moonchild Sanelly proves that her music is as limitless as her energy. And with a European tour on the horizon, she’s just getting started.

Congratulations on the release of Full Moon! What inspired the themes and sound of this album?

Moonchild Sanelly: “Thank you! Definitely working with Johan Hugo to make the song sound, I mean, the music sound in unison in this album, and what inspired it, I guess it's the sounds that I heard coming from him, and I just let the stories come to life, whatever emotions are evoked.”

The album blends so many genres — afro-punk, edgy-pop, Kwaito, and hip-hop. How do you approach creating music that transcends traditional genre boundaries?

Moonchild Sanelly: “I think it's just my ability to tell stories. My storytelling is already its own thing because of how I think, but the genres that have been mentioned definitely are the ingredients to my future ghetto-funk which is a sound that I basically created and is free to make hits.”

Your recent performance on Later… with Jools Holland was electrifying! How did it feel to share your music on such an iconic platform?

Moonchild Sanelly: “Oh, my goodness. Jools Holland is the bomb — he’s so cool. It was amazing being on a platform that is so legendary. It just shows you that the world is your oyster and everything is possible.”

Are there any dream collaborators or producers you’d love to work with in the future?

Moonchild Sanelly: “Absolutely, I would love to work with Doechii, Doja, Meg, Lizzo, Nicki, Cardi. I’d love to work with all the artists that represent being a bad bitch.”

What was the creative process like for this album compared to your earlier work? Have there been any new rituals you use when you have creativity spark?

Moonchild Sanelly: “What's different is the fact that I'm working… I guess it’s because I was working with one person. The storytelling also came from a place of having been single, so I didn’t necessarily have relationship scenarios to complain about instead. I still have my anthems to liberate and all that jazz. With this one, it really felt like we just focused on it and had no distractions, and the one thing that I definitely learned is fishing. Because every time you just felt like everything was redundant. Bitches go fishing. This was something that we did in Malawi and that we did in Sweden.”

As your personal style and music career has grown over time, how do you balance the evolution of your artistry while staying true to yourself?

Moonchild Sanelly: “I don't necessarily balance, however, I grow in real life, that’s the diary you’re about to hear about in my music. So it's not necessarily a balance, it's you guys experience me as I grow, and it translates in the music.”

Did you always know you wanted to create art? What else do you think you’d be working towards if not?

Moonchild Sanelly: “Absolutely. I mean, I grew up in front of the camera. I competed in Latin ballroom dancing. I was allowed to be artistically free and express myself and be exposed to these platforms. I feel like that was inevitable. If I came from a strict family, I would’ve probably never written music. But in another world, I’d probably be a psychologist, and I think that’s how I get to use it in my music, just with regards to empowerment.”

Ghetto-funk is such a unique genre. For those unfamiliar with it, how would you describe it, and how did you come to define your sound?

Moonchild Sanelly: “My influences and my upbringing was with the Kwaito music, hip-hop, and jazz — and every other sound that I bumped into in the world, but those were my three main ingredients. So I think the future part comes from what I’ve cooked with those ingredients which don’t sound directly like each genre individually in a song, but they all play a part to make each song each time I make it. So the future is basically me — the dish I serve from the ingredients I’ve been given.”

How has being a role model and someone in the public eye changes your perspective on what it means to perform for others?

Moonchild Sanelly: “I think the first reason I'm a role model or seen as one is because I was doing myself. I think that freedom touches people because it's energy and it’s not through just the noise of saying ‘hey everybody, shake your ass.’ Me being on stage, the energy speaks for itself.”

Can you drop any hints for us on what’s to come next? Perhaps a tour?

Moonchild Sanelly: “Definitely, a tour is coming next, it’s starting on the 5th of March, and we are going to be in Europe and the UK and for more details, you can go to moonchildsanelly.com to find out where I am going to be for the rest of the year ‘cause I am definitely going to be touring Full Moon.”

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