Artist Interview: emzae
emzae’s music stands out for its unique blend of synth pop, electronica, indie, and alternative, reflecting her eclectic tastes and a deeply personal approach to sound. With a growing following and an unwavering commitment to authenticity, emzae has carved out a distinctive space for herself in the music world. We caught up with her to discuss her journey, the creative process behind her music, and what’s next for this multi-faceted artist.
Tori: You’ve carved out a distinctive space between synth pop, electronica, indie, and alternative — how did your sound evolve into such a genre-blending mix?
emzae: Thank you! I think it’s down to the variety of music I consumed and enjoyed growing up, and also the fact that I’m not always purely influenced by music but also by visual settings, feelings, emotions, and color schemes. I don’t really sit down and rigidly say, "I’m going to write a song in the vein of so-and-so." A lot of the time, when people point out artists or bands they think I sound like, I’ve never listened to them. I’m kind of embarrassingly millennial in the sense that some of the biggest bands and artists of all time, I might have only heard one or two songs from them. There are a handful of artists I’m obsessed with, and I try to keep up with new album releases. I also semi-regularly go through entire discographies of artists or bands I fancy learning about, but there’s a lot I’ve never listened to. I’m not an encyclopedia in the way some people are, but I know a fair amount about the things I like.
I use a lot of synths because I can play them better than guitar, which I’ve got quite a limited grasp of. I use electronic drum samples because it’s easier than using a full drum kit. I’ve also never heard anyone mix a female vocal to be heard above a full drum kit in a live setting, which is really sad. My lyrics are really important to me, and I want people to hear them clearly.
I also think pop is one of the most diverse genres of music, and I enjoy stretching it into lots of different directions.
Tori: Your live performances are a one-woman production. What drew you to such a self-contained, DIY setup?
emzae: Perhaps in another life, I would have formed a band in my teenage years and spent lots of time collaborating and experimenting in studios, but that just wasn’t an option for me growing up. I didn’t have the money for that, or the friends. I also grew up with chronic illness, and I was simply terrified of entering that kind of environment. When I started out, I also knew precisely no one who was a musician. I was just posting on SoundCloud from my bedroom to strangers. It was only when I gained the confidence to actually engage in my local scene that I began to meet people. I’m creating a backing band behind the scenes right now for bigger gigs! I think there’s a lot of freedom and empowerment in performing a one-woman show. I enjoy various aspects of it — it shows clearly that I write, record, produce, and mix my own music. It displays the artist I am, and there is no confusion. I also made the music on my own, so it’s an authentic depiction of that. Rehearsing is simple because I just do it at home on my own time schedule. And perhaps most importantly, it’s much more cost-effective. I think that’s the number one reason you see a lot of solo performers. But there are also downsides — it gets lonely, and there is equipment to carry.
Tori: Can you walk us through what a typical Emzae live show looks like, from the first button press to the last note?
emzae: Haha, I can try. I perform with an MPC Live Sampler, a Novation MiniNova synth, and my electric guitar, which makes an appearance on two tracks. I start most of my songs by looping various samples live, and then I play a combination of backing tracks programmed into the sampler, with some live samples and synth parts, while obviously singing live. It took a long time to strike the right combination of performance elements for the audience, with on-stage comfort, in terms of being able to concentrate on singing properly and feeling relaxed in the environment without having to think about all of the different things I would shortly have to do and press and play. I hope I’ve reached a good place with that.
Tori: You use an MPC Live, synth, and guitar on stage — how do you decide what tools or sounds to incorporate into a track?
emzae: It took years for me to figure this out, and honestly, it might have been one of the hardest things I’ve had to do in my music career so far. Because literally everyone has a different performance setup, there is very little advice on how to set things up and the logistics of transferring songs from your computer to a live setting. It’s something you have to figure out on your own through trial and error, and it can be so hard to know where to start. Especially when you’ve got a limited budget! You have to think of so many things. For example, a lot of people use a laptop on stage, but I never wanted to because I know I would be so scared of it falling off my stand or getting stolen. So then, what do you use? What can you use without a laptop? How do you structure your set? Which parts do you play live? What can you play live? What do the audience expect of you? There’s a huge amount to think about. I bought and had to send back a couple of pieces of kit, which I soon realized weren’t going to be appropriate for my use case. I think my main considerations when I program a new track into my live setup now are: which things will I realistically be able to do without over-egging the pudding and making life difficult for myself? How do I keep this song interesting for the audience, who want to see me doing something as well as singing when I am on my own? And also, of course, what is going to be fun for me?
Tori: Your lyrics have been praised for their storytelling. Do you usually write words or music first, or does it all happen simultaneously?
emzae: Thank you, I appreciate that, as lyrics are really important to me. It’s a mixture, really. It can change over time, but just recently, I tend to write both of them slightly separately. I will sit at my piano or guitar and improvise for several minutes, often coming up with some lyrical strands and melodies within that. I’ll also write a lot of what you might loosely term as poetry in notepads and in my phone’s notes app, which I revisit when I need some lyrics to fill in the gaps. I love to write.
Tori: You've had some incredible reviews — do you pay attention to what critics say, or do you prefer to stay in your own creative bubble?
emzae: Thank you, that’s very kind. Obviously, it’s lovely to have kind words written about you, but I try the best I can to strike a balance between being grateful and not taking it too much to heart, because if you do that with the positive reviews, then you’ll be equally as affected by the inevitable negative ones. I try my best to be happy that I’ve done the best work I can do on this day in history, and any praise or criticism that comes of it is the business of the person who gives it. However, that’s easier said than done sometimes!
Tori: How has your background as a multi-instrumentalist shaped the way you produce music?
emzae: I would call myself a jack of all trades and master of none in terms of my multi-instrumentalism, as I can get by on a few things, but singing is my ultimate instrument. Apart from getting flute lessons as a child, I have taught myself everything else via the school of YouTube or books. Having a basic understanding of music and being able to pick up a few different things definitely helps a huge amount in terms of adding elements to my productions, but it is also possible to do a lot without having any knowledge of that kind of thing these days.
Tori: What challenges — or freedoms — come with being your own producer and performer?
emzae: The freedoms are wonderful — you get to create whatever you like on your own timescale, experiment, make total crap if you feel like it. I love being my own producer. I understand my own mind and my own vision, and I don’t need to explain it to anyone, so nothing gets lost in translation. Performing is similar — no need to arrange anything with anyone else, just show up to your own rehearsal at your own place in your worst clothes. The challenges are time management, having to do everything yourself and not being able to delegate anything to get it off your plate, and loneliness.
Tori: You’ve been gigging since 2018 — what are some standout memories from your time on the road or on stage?
emzae: Supporting Altered Images at the Rescue Rooms in Nottingham is one of my favourite gigs to date, and I have an incredible picture of me taking a selfie with the audience that I love looking at. I can’t believe I did it! I remember thinking I had to get a memento as it may never happen again. Quite early on, I also played the Christmas Lights Switch-on in my home city of Derby, which was still probably the biggest stage I’ve played on, so that was a great experience (although it was freezing ). I loved playing Meadowlands festival in Nottingham for BBC Introducing, too. That was so much fun. My Manchester tour date last year was also special. There have been so many moments I’ve been blessed to have.
Tori: You've played everything from intimate venues to large festival stages — how does the size of the crowd impact your performance?
emzae: I try my best to bring the same level of passion, no matter the venue. I always want to make people feel something. I do sometimes get a bit nervous that, on bigger stages, I might have to do some audience participation—which doesn’t come naturally to me. I tend to get swept away into my own little world up there, and I feel like I have to disconnect from that to ask everyone to clap or shout things out! But I’ve had equally great gigs at festivals and in tiny venues that were more geared toward acoustic artists.
Tori: Your tracks feel polished and immersive, yet still intimate. How do you strike that balance in your production?
emzae: I think because I still write and record in my bedroom, the environment naturally brings an intimate element to the music. But I find the label of "bedroom artist" to be a bit outdated—it’s absolutely possible to create huge-sounding productions in untreated spaces with budget equipment. I always want my music to connect with the listener. I try to draw people into a sonic world, often incorporating ambient recordings and outdoor samples, for example. Maybe that contributes to the intimate atmosphere you’re picking up on.
Tori: How important is technology to your creative process — and do you ever intentionally limit yourself to spark ideas?
emzae: I don’t really rely on technology to generate ideas. Most of my ideas come from sitting at my piano or guitar—or even from walking down the street and something just popping into my head. I’ve been incredibly lucky in that I’ve never really struggled with creative block. My mind is always active—maybe too active—which can be a challenge in other parts of life!
Tori: What themes or emotions do you find yourself returning to again and again in your songwriting?
emzae: I often think about societal dynamics, cultural history, and how technological advances are affecting us. We’re living through such fascinating times. I also like to share my perspective as a neurodivergent woman living with a chronic illness. Music has always been a way for me to process things and make sense of the world. I think it’s important for people like me to share our stories and emotions, so they sit alongside the more ‘conventional’ ones. Representation, however small, helps you feel less alone. You think, “Maybe I’ll be okay.” That’s really powerful. I try not to lay it on too thick, but instead to make subtle references and be honest and raw when I feel ready. I also enjoy playing with unconventional themes and subtle humour now and then. Lately, I find myself writing a lot about alienation.
Tori: Do you approach live performance differently than studio production — or are they two sides of the same coin for you?
emzae: That’s still something I’m figuring out. I think it’s cool to give the audience a slightly different experience live than they’d get from the recording, but I also don’t want the two to feel like completely different things. Ideally, they have subtle differences that add something extra. Live performance feels like a chance for me to theatrically expand on the music—if that makes sense?
Tori: What can we expect next from Emzae — new music, new directions, or something totally unexpected?
emzae: I’m working on a collaboration with my friends Paytron Saint, a Derby-based band. We had a jam session a few months ago, and from that I pulled together a song, which I took back to their studio. They’re now working on it from their end, and I’m really excited to see it through and hopefully release it before the end of 2025. I’m also deep into writing my second album—it’s been in progress for a couple of years. I’ve got 42 songs to work with, and I just officially started recording yesterday (at the time of answering this interview) ! I’m really excited about that. On top of that, I’m getting ready to launch a new venture called Zirconia Audio, which is a mixing and production service for other artists alongside my own work. I’ve been working toward becoming a mixing engineer and producer for others for over a decade, so I’m proud to finally be at this point. Basically, there’s a lot going on behind the scenes!
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