INTERVIEW: Eska

ESKA’s been such an innovative creator for the last decade, having wowed listeners with her incredible eponymous debut album back in 2015, collaborated with legends such as Grace Jones and Baxter Dury and been a key part of a number of exciting projects including a Royal Opera House commission and Meltdown Festival. Now, she’s showcasing her exquisite musical prowess and songwriting ability with the release of her brand new album, The Ordinary Life Of A Magic Woman. Propelled by an uplifting power, it showcases ESKA’s empowering, glistening energy and a captivating majestic splendour as she offers poignant reflections on motherhood, creativity and life as an African-British middle-aged woman.

We were lucky enough to catch up with Eska to find out more about the album, her creative journey and the process of getting to know herself. Have a read, and make sure you check the album out now – it’s out today!

Hi Eska, welcome to Get In Her Ears! Hope you’re doing well today. Are you able to tell us a bit about what initially inspired you to start creating music?
The initial kick would have been my dad’s eclectic vinyl collection, which would have included Oscar Peterson and Duke Ellington, alongside Phil Collins, old Madonna. He’d buy us vinyl as well – he’d ask us what we wanted to listen to, so we’d have the likes of Japan and Kate Bush in our collection. That love for diverse styles of music was echoed by my incredible music teachers in secondary school who also showed us that all kinds of music was for us, whether that was Vivaldi’s ‘Gloria’, Handel’s ‘Messiah’ or Purcell’s ‘Dido’s Lament’. We were given all that alongside Bob Marley. So, that also just made me retain an openness. In terms of instrument, I’ve got a lot to thank the recorder for because that was the instrument that I initially learnt to read music with, so it holds a very special place in my heart!

I love your soulful, gritty genre-defying sounds and the empowering energy that shines through in your songs, but who would you consider to be your main musical influences?
This is always a really difficult question to answer, just because I listen to A LOT of music, and as I evolve, my listening tastes evolve. And it also depends on whatever project I might be doing at the time; whatever I’m writing for, I’ll be listening to music for inspiration. At any given moment in time, it really can change drastically, and I remain open to that. The interesting thing is that, over time, you can educate your ears to get into the groove of music that maybe – years before – you would have never listened to. I find that really interesting – one has to train one’s ears to listen to music. There are some things that we might naturally gravitate to, and there are a host of reasons as to why that is, but I find that I have to – for my work, if I’m to be true to being as creative as I can be – try and keep that childlike openness and curiosity. For this new record specifically, there are probably a host of people that I was listening to at the time, but it was a heck of a lot of different music!

You’ve just released your new album The Ordinary Life Of A Magic Woman, which is super exciting! Are you able to tell me a bit about the writing of the album and the themes running throughout it?
I wanted to bring in my ordinary, everyday life. That woman, the magic woman. The woman who enables me to be Eska the artist. It’s an ode to her. Her triumph against the resistances that she has to work against in order to be an artist; living in South East London, seeing the gentrification of her neighbourhood, the cost of living crisis, all the global narratives that we’re all familiar with. All of those things. Raising a ten year old as a single parent. Yet still having this compulsion to make art, feeling that it’s an important legacy for myself, as well as for my daughter. In making this record, I felt that is was important to acknowledge that; to make these statements about this woman who has lived her life as a first generation African Brit, and the way that she’s lived it. All of these experiences, and this is what she sounds like. I thought that was really interesting. I sound like this because of all of my history – how else would I sound, growing up in South East London, a kid of the ‘80s and ‘90s? To me, this is how a woman with my story, my background, sounds. And I think that’s interesting as an offering to others in terms of personal artistic expression, and how we put all of our history into what we make; all of our identity. To see what comes up when we’re just being honest, being true to ourselves; to see what it sounds like for Eska to be alive today with all of that history and all the things that she’s experienced. All of those influences, from her dad, from school, from friends, from being in bands; what does that woman sound like today? 

You’ve mentioned that, in part, the album reflects on your experience as a mother – how do you find balancing motherhood with a career in music, especially as by day you home educate your daughter?
The key is getting enough sleep! That is really about it. The key is wellbeing. As I get older, I want to ensure that wellbeing becomes a focus because I want to be around to see my daughter grow into a woman. I want to be around to enjoy that phase of my motherhood. So, wellbeing is key to all of it. If mother is well, then Eska is well – it has to be in that order. 

As someone who’s been involved in the industry for over two decades now, how did the writing and recording of this album differ from your previous releases? Did you incorporate any new ideas or processes into the creating of it?
There was a huge focus on the production side of the record, for me developing my own production skills. This album isn’t as acoustic as my debut solo album, so there’s a lot more going on. From a technical point of view, I really challenged myself to sit with the music and get with a load of YouTube tutorials! I just wanted to hone my craft really. I also really wanted to learn to enjoy what Eska enjoys; this is Eska getting to collaborate with Eska. I was able to learn what I enjoy about my voice, learn what I enjoy about sound. Learning myself has been so much fun. That’s not to say that there haven’t been other artistic contributors and co-writers or co-producers, but it has been such a delight to find myself at this juncture thinking, “Hey Eska, you’re a lot of fun to work with!” The realisation that you’re worth investing in; your ideas are worth something. I’m just really enjoying myself and my ideas, honouring myself and my ideas. It’s a really powerful thing! 

You’ve performed live at a number of really special events – including a beautiful evening celebrating Joni Mitchell at The Roundhouse last year, which I was lucky enough to attend! But is there a particular time you’ve performed that stands out as a highlight for you throughout your career?
Well, to me, the most immediate highlight is the London Rough Trade East in-store recently, marking my return to live performance in my home town – that was such a thrill! I was with my new band, and it really felt like such a huge highlight for me. Other highlights include opportunities to collaborate with different emerging artists, and work with ‘normal’ everyday people in the creative process; I got to do this with the lyric piece for the song ‘Human’ on this record, where we had six people contribute movement pieces towards the montage of movers that we put together for the piece. That was an extraordinary moment. I love it when I get to be part of a journey of making. My work is about community and connection, about making artistic social commentary through my work and involving others in the process at a particular level, which can in turn enable them to go on a journey, with me, that might be foreign to them. Work like that, participatory work, always excites me. And that component of my work has been a huge highlight of my career.

How do you feel the industry is for female and queer artists at the moment? And do you feel much has changed over the years?
It’s hard to say, as I’ve had a ten year hiatus from solo work, as a solo artist. So, it will be interesting to see what the industry reception will be like towards an artist like me, to music like this. In this digital age, when there’s been so many changes in terms of the infrastructure. I don’t know, I guess I can be my main case study – hit me up in twelve months, and I can give you an update!

And are there any other artists that you’re enjoying listening to at the moment that you’d recommend that we check out?
I know I’m biased, but go check out Wonder Hackett! She’s my daughter. She’s only ten, but she’s been featured on a couple of records with her dad, Jesse Hackett – Metal Prayers and Teeth Agency – and there’s something extraordinary about her child voice. Something really other worldly and captivating. Check her out!

Finally, what does the rest of 2025 have in store for you?
The live manifestation of this record! As well as the further development and completion of the writing of my debut opera, Woman And Machine, commissioned by the Royal Opera House. I hope that will be debuting in 2027! 

Huge thanks to Eska for answering our questions!

The Ordinary Life Of A Magic Woman, the new album from Eska, is out today. Listen / buy here. Catch Eska live – details here.

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Introducing Interview: Brain Leak

Centered around the complex introspections of Manchester-based Tara-Gabriella Engelhardt (Adjustments, Julia Bardo), Brain Leak are a brand new project bringing together like-minded musicians from the scene, and already creating quite a stir. Enlisting the help of Giulia Bonometti (Working Men’s Club), Jess Branney (Peaness), Sidonie Hand-Halford (Orielles) and Ellie-Rose Elliot (Blanketman), Engelhardt transforms poignant contemplations on life into gloriously hazy indie anthems. Combining a glistening raw emotion with a fizzing gritty energy, debut single ‘Trying‘ is propelled by the delicate celestial power of Engelhardt’s vocals, offering a beautifully resonant reflection on attachment and the challenging emotional experiences that can accompany it. We’re super excited about this new project, and can’t wait to hear more from Engelhardt and co. this year!

To celebrate Brain Leak’s debut single release, we caught up with Tara about how Brain Leak came to be, her main inspirations and writing process, platforming marginalised artists, and more. Have a read below, and make sure you watch the gorgeous new video for the ‘Trying‘ below!

Hi Brain Leak, welcome to Get In Her Ears! How are you doing today?
Hello! I’m really good today, thanks. It’s a very bright and clear winter’s day in Manchester, which makes me happy. I hope you’re doing well!

You’re quite the supergroup with members from The Orielles, Peaness and Adjustments – so, are you able to tell us a little bit about how you all came together to form Brain Leak, and what inspired the new project?
Ahh thank you, that’s kind of you to call us that! I am very lucky that my best friends are also some of the best musicians I know. In January 2024 I showed Giulia one of my songs entitled ‘Hide’ and she loved it. Her excitement about the song and confidence in me was the catalyst that made me take my songwriting more seriously. I was already gigging and writing with Adjustments and had only been playing guitar for a mere year and a half by that point, so my solo stuff wasn’t massively on my radar as something to pursue. In the months that followed, I kept writing. I recorded ‘Trying’, which Giulia helped me to produce and, in the summer, I asked Sid, Jess and Giulia if they would want to play for me and they said yes! We had already recorded bits together for the other songs in the set, so their parts were already taking shape. With a good few rehearsals to learn and tighten the songs, before we knew it, we had our first gig supporting Floodlights at Deaf Institute in November. I then asked Ellie Elliott (Blanketman/Splint) if she would step in as dept drummer and she said yes, and has just nailed the gig we played in Hull. I’m very grateful for how seamless getting this talented group together has been. I’d say the main inspirations for this project came from my desire for connection and self-expression. I picked up the guitar in 2022, with a desperate need for an emotional outlet when I was going through some grief, primarily so that I could incessantly sing and play along to Roy Orbison. I found it incredibly cathartic (who wouldn’t? Roy really knew how to emote). I have always written poems and excerpts, and after becoming more comfortable with basic chords, I naturally began to synthesise my writing with melodies. There is something very powerful about the connection between melody and words, and I have found songwriting to be a radically therapeutic process. Music is so special because it helps you to connect with yourself as well as others. I really enjoy when people come up to me after a gig to talk about one of the songs. It starts a dialogue about things most people don’t generally feel comfortable talking about, even though so many of us have similar experiences. I like that Brain Leak can instigate these conversations.

You’re about to release your debut single ‘Trying’ – I love the way it combines a glistening raw emotion and fizzing gritty energy! What are the main influences behind the track?
Thank you so much! It really means a lot to me that you feel that from it. The song is influenced by the things I learned from intensively looking inward: the messy intertwining of my attachment to substances and my attachment to love; having realisations about my past behaviour and taking responsibility. When I wrote it in Feb 2024, I was six months into my recovery from addiction, in regular therapy and deep diving into YouTube videos about attachment styles, co-dependency and neurosis by a woman named Heidi Priebe (10/10, would recommend). I was connecting dots left, right and centre about where my dependencies originated from. It was overwhelming to be realising so much. It was as if I was being forced to experience all the emotions from my past that I thought I had successfully numbed out when I was still using substances. I was seeing clearly how I was responsible for my choices in life, and I was holding myself accountable. From all this combined, ‘Trying’ was born! 

And are there any specific musicians or artists who particularly inspire your writing?
When I actually write, I don’t have other artists or musicians in mind, I just write whatever comes out, if that makes sense. But in general, I have a few musicians in mind that inspire me a lot. Nilüfer Yanya is a big one. Her catchy, unpredictable melodies, emotional lyrics and incredibly tight instrumentals make her the whole package deal for me. My dream is to support her. I’ve found the songwriting and delivery of Jack Merett from Famous to be incredibly inspiring. I don’t understand how he’s managed to capture such raw feelings in recordings, it’s very special. I sincerely think he’s one of the most talented artists out there. I’m also inspired by the energy of Ought and Cherry Glazerr. Ought for their uplifting and cathartic vibes and Cherry Glazerr for the somehow both chilled and upbeat feeling she gives. I could go on.

How was the song writing process for you, was it quite a different experience from what you’ve been used to in other bands that you’ve been in? 
Yes, it was a very different writing experience. When I was Julia Bardo’s session drummer, I just came up with straightforward parts that would support the song. Then, with Adjustments, usually we are all jamming and when I’m feeling good about what I’m playing on drums, I’ll tune into the guitar sounds the boys are playing and experiment with melodies as we all play, based on whatever suits what they are playing. Then we’ll go over the jams, pick favourite parts, discuss a structure and build from there. This was totally different because every bit of the song from structure to tone is up to me, there’s no one to draw from or bounce off. It was also far more personal content that I was writing about. It was quite a weird process now that I’m reflecting on it! I came up with the bridge first, which doesn’t feel typical. It was after speaking at a Narcotics Anonymous meeting about how unstable I felt, I analogised my instability to the feeling of being on a constant seesaw. I felt compelled to start with that. I didn’t feel like it was a chorus or a verse, so I wrote the chorus and the verses around it. The whole song was also much slower. It was more of an emotional ballad. The more I played it, the more it naturally sped up, but I kept the bridge slow. Then with it recorded roughly, I thought a bit about the drums but mostly figured them out when I took it to be properly recorded with Lewis Johnson-Kellett, who gave some helpful direction. Jess came in and did some cool tremolo guitar bits, Giulia came up with a bass part and the song was finished! It was interesting to be doing it without a band and to be in the driver’s seat with so much creative control, especially as I am still very new to guitar. I’m just glad Manchester is full of amazing musicians who are happy to offer their expertise.

You grew up in Cardiff, but are now based in Manchester – how does the DIY music scene compare in each city? 
I haven’t actually lived in Cardiff since I was 16 so I don’t know much about the DIY music scene. But from what I gather, it’s got a lot going on, with the beloved Moon club and Clwb Ifor Bach still being at the core of things. I really love Manchester for its DIY nature. People here have put so much time and effort into events and spaces that bolster the community. So much of life revolves around music here, from band stuff to DJ nights and everything in between. I’ve been to a fair few DIY parties in the various mills with some amazing DJs. Partisan Collective has been instrumental in the DIY scene in Manchester, creating an exciting but also safe community. People will often have gigs in their practice spaces which has been fun over the years. The arts and music scenes overlap a lot, putting events on together, which is very wholesome. I practice at Islington Mill, which is such a creative hub and lots of collaborating across the arts go down. It’s a very energetic and authentic place to be, especially for music.

You’ve already been playing live with Brain Leak, with a sold-out show at YES in Manchester already under your belt, which is pretty impressive! How was that for you, and were you expecting such an amazing reaction so early on? 
Thank you!! It was quite a mad experience to see the room so full. We had friends we knew were coming so I expected people to be there, and I had played Hot Take with Adjustments the previous year and it was well promoted with a pretty good crowd but that was all I expected. I really felt the energy of the crowd that night, which made it a very fulfilling gig to play. After the show, a couple of people told me they had teared up at one of the songs and I ended up talking in depth with someone about addiction and love etc and that is something I didn’t expect. It was really cool, and I hope that kind of thing continues. Love it when people cry at my songs!! Just kidding.

And what can fans who’ve not yet seen you live expect at your gigs? 
I really like this question. Expect lots of passion and emotion. I tend to feel the songs quite deeply as I sing them and get a bit lost in them. The girls are very tight. With the incredible voices of Giulia and Jess on backing vocals and the trancey drums that both Sid and Ellie nail, I think the set is quite powerful. Expect a front row sonic experience of my diary. Even if you’re at the back.

Generally, when you’re out on tour, or playing shows, are there any particular essentials that you like to take with you to keep you going?
Yes! So: Vocalzones (a must. Jess has a cute tin she keeps them in), camcorder (for dressing room messing around), herbal teas (you never know if a venue will have them), my faux fur coat (I wear it for the first song to feel comfortable and ease into being up on stage), one litre water bottle, I have a worry stone that’s very soft I like to hold when I get nervous. I think that’s it! 

As we’re an organisation with a focus on supporting new and marginalised artists, I just wondered how you feel the industry is for them at the moment? And do you feel much has changed over the years in its treatment of female and queer artists?
I have definitely noticed more female and queer artists getting noticed in the last few years, which is definitely good. There are people such as yourself who give such a cool platform for these artists and that genuine encouragement and support also seems more prevalent today. A friend of ours has put on a day festival in Liverpool for a few years called “Bitch Fest”, which is focused on female artists and that’s really cool, so there are people looking out. I think with these things, there are always going to be people boosting marginalised groups up for the right reasons, there will be people putting them forward with ulterior motives and there will be organisations that turn away from the whole thing. It’s hard for me to comment more than that when I haven’t been in the industry for very long and have never dealt with anything corporate that a label comes with.

And are there any other exciting new artists or bands on the Manchester scene that you’d recommend we check out?
Yes! Modema, Lili Holland-Frick, Dove Ellis, Wyatt. I’m drawing a blank after that but I’m sure there are plenty more!

Is there anything else you’d like to add about upcoming plans or particular thoughts you’d like to mention?
I have plans to record one song at the end of Feb and another sometime before summer, but no release plans yet. We have also just been asked to support She Drew The Gun in February at Factory in Manchester, which is very exciting!

Huge thanks to Tara for answering our questions! Watch the beautiful new video for ‘Trying’ below:

Photo Credit: Alicia Fretter

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INTERVIEW: Jasmine.4.t

Having just released her exquisite debut album, You Are The Morning, Manchester-based trans artist jasmine.4.t not only featured as one of our own ‘Ones To Watch’ for 2025, but has been receiving tonnes of acclaim over the last few months from publications such as Pitchfork and The Line Of Best Fit, with her latest single ‘Guy Fawkes Tesco Dissociation’ being featured on BBC 6Music’s A List. With the album released via Phoebe Bridgers’ record label, Saddest Factory, it reflects on both the camaraderie and isolation that can be a part of transfeminine life with a stirring glistening emotion. A heartfelt ode to queer friendship, it sparkles with a truly captivating majesty throughout. Whilst it may still only be January, it’s already a definite contender for album of the year.

After catching Jasmine and her band’s stunningly moving performance at The Old Blue Last a couple of weeks back, we were able to have a chat with her about the album, her inspirations and the challenges facing trans artists in the industry, and society in general. Have a read, make sure you check out the album now, and also please consider donating to the Solidarity Fund she mentions at the end of the interview.

Hi Jasmine! Welcome to Get In Her Ears! How are you doing today?
Hi! Thank you! I am very sleepy after getting up at 3:45am to fly to the Netherlands for some shows, but super excited about all that’s going on with my album coming out and the reception it’s receiving. I’m currently on my way to Groningen with my bandmates Eden and Emily, and we are all buzzing.  

Are you able to tell us a bit about what initially inspired you to start creating music?
My uncle left me his guitar when he sadly died by suicide when I was in year two. My dad got me some chord books and I loved learning Jimi Hendrix as a kid. I heard Elliott Smith’s From A Basement On A Hill when I was a teenager, and I deep-dived into his catalogue – my dad borrowed all his CDs from the library and copied them for me. I did the same thing with Iron & Wine. I always wrote alongside learning other people’s songs, and I played in various grunge and punk bands.

I love the glistening energy and raw emotion of your songs, but who would you consider to be your main musical influences?
Elliott Smith and Iron & Wine as I’ve mentioned are big influences, but I think my main influence is Adrianne Lenker. I love her writing, her voice and, in particular, her guitar playing. I am listening to her Instrumentals album right now, it’s my favourite!

You’ve just released your debut album You Are The Morning, which is super exciting! The album reflects on feelings of queer belonging, love and connection, particularly within the trans community – are you able to tell us a bit more about the themes that run through it and the experiences that inspired it?
You Are The Morning is a message of queer hope and solidarity. The songs were written shortly after I came out to those around me, which didn’t go so well. My marriage ended, I tried to move back in with my parents, and when that failed I was homeless for a period. I left Bristol to stay with friends in Manchester where I found community. I fell in love with trans people and met my chosen family, who gave me the strength I needed to start my transition. You Are The Morning is about queer people’s capacity for solidarity but also for change, how we change ourselves and the world around us to bring a brighter future. 

The album’s being released on Phoebe Bridgers’ record label Saddest Factory Records, which is awesome! How did this come about, and what does it mean to you to have been able to work with someone like Bridgers?
I opened for Lucy Dacus in Bristol on her first Europe tour, and we got on really well. She invited me to be tour support for her second album (Historian) tour in Europe – around when my debut EP came out – and we became close and stayed in touch, sharing demos through lockdown. When I got the demos together for the record, I was considering self-releasing, but Joe Sherrin (MOULD/SLONK/Fenne Lily) suggested I submit them to Phoebe Bridgers for Saddest Factory consideration. I didn’t hear back immediately, so I asked Lucy to play the songs to Phoebe if the moment presented itself. I heard back a few months later from Lucy that she had played the songs to Phoebe in the car, and Phoebe was on the phone to her manager discussing signing me! I couldn’t believe it. I opened for boygenius when they came to the UK, and the next day I signed with Saddest Factory. All three members of the band – Lucy, Phoebe and Julien – produced the record. It was a dream come true for me, I’m such a huge fan of theirs, as a band and as solo artists. I feel so lucky. 

And, to record the album, you travelled over to the US to record at the legendary Sound City Studios! How was this experience for you?
Yeah, it was unreal! We had such a good time. I made this band of entirely trans women in Manchester and the label flew me and two of my bandmates – Eden O’Brien and Phoenix Rousiamanis – out to LA. We recorded over two very intensive weeks in that iconic studio. It was such a healing experience, it felt like the hope I wrote into the album the year before was not in vain, because this was on its way. 

I was lucky enough to catch you and your wonderful band live last week at The Old Blue Last – such a beautifully immersive and moving set, thank you. How do you generally prepare for live shows, and what do you enjoy most about them?
Thank you! It was such a nice crowd and my first time playing at that venue. I had such a good time. Travelling as a band of trans women can be stressful at best and dangerous at worst – so before shows we try to relax and hang out together to get in the mindset to perform. The girls are all unbelievably funny, and we don’t take it too seriously. But we know, should anything happen, we have each others backs. Usually, my chosen daughter Yulia Trot comes on the road with us, and her main job is to keep us all safe. Horrifyingly, she has been wrongly imprisoned for her alleged part in dismantling an Israeli weapons factory, on remand until her trial in a year. It is scary going into this year of intense touring without her, but me and the girls are a family and we take care of each other. Hanging with the girls is definitely the best part of playing live. 

Has there been a particular gig you’ve played over the years that stands out as a highlight?
I think my favourite ever show was when we played in the basement of a community favourite pub in Manchester, The Peer Hat. It was for a night that me and some friends organised for the Just Do The Thing transfem meet-up. It was so awesome to play a night of all transfem artists for a majority transfem audience in a packed sweaty basement. 

And, when you’re out on tour, or playing shows, are there any particular essentials that you like to take with you to keep you going?
I always wear my bracelets from my long-distance partners to remind me of their love and support. I always wear at least one Adrianne Lenker hoodie (I’m wearing two right now). I usually take some time before shows to relax and listen to some Adrianne Lenker also.

As we’re an organisation with a focus on supporting new and marginalised artists, I just wondered how you feel the industry is for them at the moment? And do you feel much has changed over the years in its treatment of female and queer artists?
It’s a pretty shit time to be a trans woman in this country. It’s very unsafe; we are constant targets of violence and harassment, besides the common experiences of homelessness and mental health issues caused by continued interaction with systemic transphobia. We have seen the rise of TERFism, a transphobic brand of fascism perpetuated by figures – including JK Rowling – which has led to a huge backslide in trans access to healthcare. This has been compounded by scare tactics in papers – including The Guardian – when reporting about trans healthcare. Recently, Wes Streeting banned the use of life-saving puberty blockers for trans children, when suicide rates for this demographic are extremely high and rising, while our community mourns the highest recorded rate of violent deaths of trans people. This is the backdrop against which we are trying to make our way as artists. I have been lucky enough to have an incredible manager, Jen Long, who has helped keep me safe and I’m surrounded by people I trust. I have a mostly female and largely queer team. But this industry is very male-dominated at all levels, and from my experience pre-signing, trying to navigate it alone, we trans women encounter friction at every turn. Compounded by the everyday shit that trans women have to deal with, it’s no wonder we are so underrepresented in this industry and in society at large. This has intersections with disability rights and racial injustice – those of us who do break through are almost always white and abled. I am disabled (by society’s failure to meet my ME and POTS related needs), though I pass as abled and I think without Phoebe’s seal of approval and without my white and abled-passing privilege, I would still be struggling to get shows. I think a lot of these issues go beyond the struggle for trans women’s equality in the music industry, but it is just societal ills at work and it affects all of us. I think things are definitely improving at a grassroots level, and I definitely feel cared for by the venues I play, but there’s only so much that small venues, indie labels and promoters can do.

And are there any other new artists that you’d recommend we check out at the moment?
My favourite band from Manchester is Ether Mech. They’re fronted by my friend Vivian, a trans woman I look up to and one of the first people I met when I moved to Manchester. I also love Mould, their new stuff is incredible and they’re so good live. I really enjoyed The Pill and Fuzz Lightyear’s sets at the Old Blue Last show also!

Is there anything else you’d like to add about upcoming plans or particular thoughts you’d like to mention?
I’m really looking forward to touring this year but I am feeling worried about doing it without my daughter Yulia. If anyone is able to, please donate to her Solidarity Fund to help us support her in prison, visit her, and help her get back on her feet when she is out. You can donate here.

Huge thanks to Jasmine for answering our questions, and please do consider donating to help Yulia.


You Are The Morning, the debut album from Jasmine.4.t is out now via Saddest Factory Records. Listen / buy now.

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INTERVIEW: Aisha Badru

Having released her debut album back in 2018, Nigerian-American artist Aisha Badru has since been reflecting on themes of love, loss and personal growth in her sparkling alt-folk offerings with a distinctive effervescent grace. Now, with the release of her brand new album, The Sun Still Rises, her hope is to combine these personal reflections with more of a collective awareness. To reach people through her beautifully stirring creations; to soothe emotions and offer a cathartic accompaniment to her listeners’ self-care routine.

Following the release of her exquisite new album, we caught up with Aisha to discuss the release, the inspirations behind it, and her own personal practice of self-care and wellness. Have a read, and make sure you have a listen to The Sun Still Rises now!

Hi Aisha! Welcome to Get In Her Ears! How are you doing today?
I’m doing well, thank you! I recently made a big move from Florida to Massachusetts. While I loved my time in Florida, I’m excited to experience the seasons again. I’m originally from New York, so it feels like a return to my roots in some ways.

Are you able to tell us a bit about what initially inspired you to start creating music?
In the early stages of my career, heartbreak was my main motivator for creating music. Writing became a way for me to cope and prove to myself that I was worthy. At 25, I found myself at a pivotal crossroads in my life. On the one hand, I was pursuing a relationship with someone who was emotionally unavailable, and on the other, my music was starting to gain traction. I realised I had to choose between the two, and ultimately, I walked away from the relationship to focus on my music. That relationship was really hard for me to let go of because it symbolised letting go of my old self who had low self-esteem. With that said, the unfolding of my music career has always been a spiritual journey for me — a way to discover my worth, while also reminding my listeners of theirs.

I love the lilting energy and sparkling emotion of your songs, but who would you consider to be your main musical influences?
It’s always a bit tricky for me to pin-point specific influences because I’ve listened to such a wide range of music over the years. But I’d say my earlier work was heavily influenced by folk and acoustic music, especially for how they convey emotion and tell stories in such a raw and intimate way. More recently, I’ve been increasingly inspired by artists and groups that use their music to explore themes of collective healing, resilience, and community. For example, I admire the work of the vocal collective Beautiful Chorus, who create music that fosters peace and connection, and Rising Appalachia, whose songs tell powerful stories of resilience and social consciousness. Ultimately, I’m inspired by music that speaks to the heart and encourages emotional growth as well as planetary healing.

You’ve just released your second album The Sun Still Rises, which is super exciting! I’ve been told that you’d like your music to be “soothing and medicinal” – are you able to tell us a bit more about this and any themes running throughout the album?
With my music, my intention is to offer both consolation and encouragement, especially during times of self-doubt or emotional struggle. Throughout the album, I’ve focused on themes of hope and renewal. It’s about finding peace amidst the chaos and remembering that, even in our darkest moments, there’s always a path forward.

And how would you say the process of recording the album has differed from your previous releases? 
The process of recording The Sun Still Rises was different in that I was much more focused on creating an album with a clear intention around mental health. While my previous releases were also purposeful, this album felt more deliberate in terms of the themes I wanted to explore.  

The theme of wellness and self-care seems to be very important to you. What are the key ways you practise this in your own day-to-day life?
I practice wellness in my day-to-day life by being mindful of how what I consume affects my wellbeing – whether it’s food, social media, music, news, etc. I make adjustments as needed to ensure I’m absorbing things that nurture me and promote a sense of inner peace, clarity, and empowerment. Another essential practice is limiting my time on my phone, which has been really grounding and helps me be more present.

And how would you say this feeds into your songwriting?
My songs are deeply influenced by how I practice self-care in my own life. I strive to create music that uplifts, drawing on the messages and lessons that have guided me along my journey. By prioritising my own wellbeing, I’m able to channel that positive energy and wisdom into my music.

It seems like you’re very busy at the moment – with being a songwriter and a mother of twins -, but are you planning on touring the album at any point soon?
While I’m not planning a traditional tour, I do want to focus on more intimate, curated performances that align with the themes of wellness and connection. This past summer, I had the opportunity to perform at the wellness festival Mycelium, and it was such a meaningful experience. It reinforced my desire to create spaces where music and mindfulness intersect.

And when you’re out on tour, or playing shows, are there any particular essentials that you like to have with you to keep you going?
Water! So many times I forget to hydrate sufficiently, especially when I’m tired and rather reach for coffee.  

As we’re an organisation with a focus on supporting new and marginalised artists, I just wondered how you feel the industry is for them at the moment? And do you feel much has changed over the years in its treatment of female and queer artists?
I don’t think the overall mainstream industry has changed much, but marginalised artists are gaining more power by moving away from established systems and finding new ways to connect directly with their communities. For example, social media and independent platforms give artists the ability to build their following and engage with fans without relying on traditional gatekeepers. From my perspective, this decentralisation is important, as it allows greater autonomy and economic freedom.

And are there any other new artists that you’d recommend we check out at the moment? 
She’s not necessarily a new artist, as she’s already accomplished a lot in her career, but I highly recommend checking out Alysha Brilla. Her message of empowerment and healing really resonates with me. She has a unique sound that spans multiple genres and is always pushing boundaries with her art.

Huge thanks to Aisha Badru for speaking to us!


The Sun Still Rises, the new album from Aisha Badru, is out now via Nettwerk. Download / buy here.

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