Lundahl&Seitl Cassie Yukawa The Memory of W T Stead Commissioned by NOMAD and Montblanc with support from Steinway & Sons. Photography / Christer Lundahl.
Lundahl&Seitl Cassie Yukawa The Memory of W T Stead Commissioned by NOMAD and Montblanc with support from Steinway & Sons. Photography / Christer Lundahl.
Credits
Within the ancestral surroundings of Steinway & Sons’ piano showroom, workshop and studios an atmospheric and wholly unfamiliar experience lay in wait for a lucky half-a-dozen at a time.
In a darkened room, a pair of hands are illuminated as they rest over a piano keyboard, ready to fill the space with the sounds of Ligeti’s Étude, ‘Pour Irina’. Six grand pianos surround this individual, each with their own artiste ready to embark on an intimate psycho-acoustic journey as unseen hands guide their own.
Created by artists Christer Lundahl, Martina Seitl and experimental pianist Cassie Yukawa, in conjunction with Montblanc Cultural Foundation, NOMAD and the Arts Council, this curious work immerses the viewer in a synaesthetic story, exploring memory, perception and timelessness.
Bringing together the works of Bach and Ligeti who lived nearly three-hundred years apart, this installation for iconic piano-makers Steinway & Sons turns the viewer into the protagonist – much like the journalist W.T. Stead, who foretold his own death on the Titanic. Writing as a young man, British-born Stead detailed his dramatic demise on a transatlantic liner which shipwrecked without enough lifeboats; twenty-seven years later his story came true as he boarded the ‘unsinkable’ ship.
Perusing the structure of sound, feeling, movement and space, Lundahl&Seitl and Cassie Yukawa’s ‘The Memory of W.T. Stead’ expands on their 2009 collaboration ‘Symphony of a Missing Room’ which placed visitors on a bizarre museum tour, guiding them through the history of art and both imaginary and actual architecture in the museum. Renowned for transforming their viewers into the content of their installations, Lundahl&Seitl’s alliance with Yukawa who has explored visual art, fashion, yoga, science and choreography through her projects once again push the boundaries of perception, which of course NOMAD was happy to support.
Lundahl&Seitl Cassie Yukawa The Memory of W T Stead Commissioned by NOMAD and Montblanc with support from Steinway & Sons.
Lundahl&Seitl Cassie Yukawa The Memory of W T Stead Commissioned by NOMAD and Montblanc with support from Steinway & Sons.
Credits
‘The Memory of W.T. Stead’ runs from 25th March – 6th April 2013 at Steinway Hall, 44 Marylebone Lane. For more information visit www.nomad.org.uk
Words / Roxanne Golding Follow her on Twitter @RoxanneGolding
The wait is over — the second season of The Night Agent has officially dropped on Netflix, and if Season 1 had you glued to the screen, prepare for another high-stakes ride. Based on Matthew Quirk’s gripping novel, the action-thriller follows Peter Sutherland as he steps into his new role as a Night Agent, navigating a world where trust is scarce and danger lurks around every corner. Alongside him is Luciane Buchanan as Rose, a young tech CEO turned fugitive who, after barely surviving the events of Season 1, is trying to rebuild her life. But when unanswered questions and an unsettling silence from Peter lead her back into the fray, Rose once again finds herself caught in a deadly game—this time, with even more at stake.
Schön! sat down with Luciane Buchanan to talk about stepping back into Rose’s shoes, the challenges of filming an action-packed thriller, and what fans can expect from this explosive new season.
full look. Paco Rabanne
opposite
jacket. Retrofete
dress. Contessa Mills
shoes. Yves Saint Laurent
earrings. Vintage
full look. Paco Rabanne
opposite
jacket. Retrofete
dress. Contessa Mills
shoes. Yves Saint Laurent
earrings. Vintage
Credits
Luciane, I’m so excited to chat with you about your role as Rose in The Night Agent.
I’m ready, let’s do it!
Why don’t we start talking about your character? How did you prepare for your role as Rose?
I didn’t even get the full script — just two scenes for the audition. But I saw in the audition brief that it was based on a book. We started shooting in 2022, and I got the audition at the end of 2021. I didn’t have time to go to a bookstore to get the book, and I only had about three days before the audition. I thought, There’s no way I can read that fast. So, I got creative and found the audiobook online. I just listened to it for seven hours straight — or however long it was — which helped me understand the story.
When you don’t have a full script, you’re left wondering, How do I play this? Who is this person? Where does the story go? The audiobook gave me the upper hand. My co-star, Gabriel, actually chose not to read it. He said, I don’t want to know because the show is so different from the book — I don’t want to get confused. As for preparation, I had to focus a lot on the dialect because I’m from New Zealand, but I play an American in the show. The funny thing is, during my audition, they asked, Can we hear that scene in your natural accent? And I was like, I don’t think it’s going to work — it’ll sound way too casual, maybe even comedic. But I did it anyway, and it was hilarious. The scene had me talking about things like 7/11, an American peanut butter brand, and Cheetos. In my accent, it just sounded so off. They ended up saying, Yeah, let’s stick with the American accent. And I was like, “Told you!” [laughs]
That was probably the biggest part of my preparation. As for Rose’s tech expertise, I didn’t have to become an expert myself. But I had a week between jobs before jumping into The Night Agent, so I watched videos about women in the tech industry — especially how they navigate such a male-dominated space. That gave me some insight into her world. Beyond that, Rose isn’t a trained agent or government operative. So when she’s running away from bad guys? That was just me. [laughs]
Listening to an audiobook counts as reading! I do that sometimes when I don’t have time to sit down and read. So that totally counts. And it’s very impressive that you did it in seven hours. [laughs]
Literally! I thought, “This is kind of cool — I like this story.”
For sure! And with audiobooks, you can multitask, which is always nice. It’s like listening to a podcast. By the way, I love your accent! Was it difficult to switch to a different accent during filming?
I always say — why don’t actors go on talk shows and talk about how hard it is? They just say thank you and move on. But there’s so much going on while you’re delivering lines — hitting marks, getting the timing right — it requires a lot of focus. I got really attached to my dialect coaches. At some point, they’d be like, It’s my weekend — it’s my day off! And I’d be like, Just one more hour, please!
By the end of it, they became really good friends because we spent so much time together. When you’re exhausted after a long shoot and you have a huge monologue to get through, it’s tough. One thing I learned is that when I eat and talk at the same time, I go straight back to my New Zealand accent. I was like, “Wait, how do I eat and still sound American?” [laughs] That said, I think this is something a lot of actors from outside the U.S. deal with. So many British, Australian, and Kiwi actors work on American projects. We all grew up watching Friends and sitcoms, so the accent is familiar — it’s not too difficult to tap into.
What initially drew you to your character? Why did you want to play Rose?
When I first wanted to be an actress, I was drawn to dramas — family dramas, emotional stories. I never pictured myself in an action thriller — that wasn’t at the top of my list. I mean, it’s super cool, but I just never thought about it. So when I got the audition brief, I was like, Okay, I’ll give this a shot. Never in a million years did I think I’d book it! What really intrigued me was the challenge. I thought, Could I be in an action-conspiracy thriller? Maybe I could. But it’s such a different skill set. This kind of show is so fast-paced, and the acting style is different — it’s not always naturalistic. They’re constantly saying, Faster! And I’m like, Okay, am I Eminem now? Because I feel like I’m rapping. [laughs] It’s definitely a different kind of acting, but that’s what made it exciting.
Would you say that there are any similarities between you and your character?
I’m quite a happy-go-lucky, silly kind of person. I don’t think I tried to inject that in a lot of scenes, and they were just like; Wrong show, like, that’s not her at all. She’s, I mean, what happens to her in season one is quite traumatic, so there’s no room for that. But oh gosh, are we similar? I guess I could. She’s quite bossy. Also, she has authority issues. For sure, she has a hard time taking direction or advice from people. She has a lot of trust issues, and I can be like that sometimes, I think, but I do it more respectfully. Like, okay, there’s an easier way of doing this, but I’ll do what you said. So maybe you have a comment, but she’s what I do. Like about playing her, which maybe is quite different to me, is that she kind of trusts her instincts, and specifically in season two, I think it’s crazy that she went looking for Peter. I was like, if I got that call, I’d be like “stranger danger,” but that she kind of risks it all for love.
I think that’s really admirable. It’s such an action-heavy show. What would you say was the most challenging scene to shoot? Were there any moments where you thought, Wow, okay, this is intense? And compared to Season 1, would you say there were more challenges in Season 1 or Season 2?
Oh, that’s tough because things can be challenging in so many different ways. There was one scene where I was completely alone, communicating with Peter through an earpiece — but he wasn’t actually there. I had two laptop screens in front of me, but no one to play off of. That was probably one of the hardest things I’ve ever had to do because I had to pretend I was watching surveillance footage — except the screens were blank. I had to look at specific spots and react as if I was seeing things happen in real time. It got to the point where I had a stress headache because acting is so much easier when you have another person there to feed off of.
Our writer, bless his heart, was reading Peter’s lines off-camera, but in the most monotone voice. [laughs] I had to fully rely on my imagination to create the tension and urgency. That was really tough. Also — running in heels. Who knew?! Oh my gosh. Initially, they told me, We’re putting you in little boots because you’re quite short, and we need to make you look taller. By the end of filming, I wanted to burn those boots. Running in them for 12-hour shoot days was brutal.
I can imagine! I’m also pretty short, and I can barely walk in heels — let alone run in them. I love ankle boots, but running? That’s another story. I totally get the struggle of trying to seem taller. That actually reminds me of something — I’m sure you’ve been to London, right? And taken the tube?
Yes!
It’s always so busy during rush hour, and I was talking to someone about this — when you’re short, no one cares! You just get squeezed between people, and you can’t reach anything. And someone once told me, just wear heels. I was like, What?! How does that even make sense?! [laughs]
That’s so funny! I actually have a quick story about the tube. One time, I stood on the platform for 45 minutes during rush hour because, in New Zealand, we’re very polite. I kept going, “Oh, you go first! No, after you!” And after 45 minutes, I was like, Wait, I actually need to push my way through, or I’ll never get on this train. [laughs]
Oh my gosh, yes! You have to use elbow grease and just shove your way in. Londoners don’t care! [laughs] I’ve been living there for seven years now, and you just have to adapt. Speaking of adapting — what would you say you’ve learned between Season 1 and Season 2? About yourself, or maybe about your character? How do the two seasons feel different?
I still feel like a baby, like I’m constantly learning and taking everything in. But in Season 1, I was completely out of my depth. It was my first U.S. production, and I was just trying to figure out how things worked. In Season 2, I felt much more prepared. Plus, in between, I shot an entirely different show, so I went through a lot personally and professionally. Every new project changes you as an actor.
One of the biggest differences is my confidence. I wouldn’t say I’m demanding, but I definitely speak my mind more. In Season 1, I was just trying to please everyone in charge because I didn’t feel as secure in my creative voice. In New Zealand, I felt confident and creatively free, but in this huge U.S. production, I was treading lightly. Now, after more experience, I trust my instincts. I’m willing to fight for my creative choices. And as a woman, that’s especially important. A lot of these projects have mostly male directors, and their understanding of how a female character would react in certain scenes isn’t always accurate. So I’ve become a big advocate for making sure those details are right. I try to flag things early in the script stage, rather than waiting until we’re about to shoot because by then, there’s no time to change anything. That’s been the biggest shift from Season 1 to Season 2 — owning my creative voice and standing by my choices.
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full look. Paco Rabanne
full look. Michael Kors
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full look. Paco Rabanne
Credits
As you said, being a woman in this industry can be even more challenging, especially in the action genre. What would you say you learned from your co-workers while shooting? They’re all so talented — I can imagine it was an amazing experience. Maybe three lessons you took away from them?
One of the biggest lessons, especially working in New York, was realizing how many actors have a theatre background — which I don’t! I’m one of those annoying screen actors with no stage experience. [laughs] The thought of performing in front of a live audience every night terrifies me. But maybe one day! A lot of my co-stars started in theatre, though. Amanda Warren, who plays Catherine in the show, went to Yale and NYU—so theatre is in her bones. And you can see it in the way she approaches a character, her physicality, her preparation. I was like, Oh, I’m going to use that in the future.
I also love watching how different actors learn their lines. I don’t have one specific method — I’m always experimenting. I’ll see someone writing out their lines by hand and think, Maybe I should try that. It’s little things like that — picking up different techniques and figuring out what works for me. And beyond the craft, I just love working with people from different backgrounds, hearing their stories, and learning how they got to this point. Getting to know them as people — not just as their characters — really helps with the chemistry on screen, too.
That’s such a great answer! And is there a piece of advice someone gave you—maybe from a co-star or mentor—that really stuck with you? Something you live by, either professionally or personally?
Yes! There’s an actress from Season 1, Eve Harlow, who played the assassin trying to kill me the entire time. [laughs] She’s been working in Hollywood much longer than I have, and she became such a great sounding board for me. I think people assume that women in this industry are super competitive, but honestly, my experience has been so supportive. Eve was one of those people who really looked out for me. When The Night Agent blew up, and I started feeling overwhelmed — like, Whoa, that’s a lot of people watching our show — she gave me the best advice. She said, Just remember who you are right now. This version of you — the person you are today — that’s what makes you special. Don’t lose that. Because as you gain more experience, and more people have opinions about you, it’s easy to lose little pieces of yourself. She reminded me to hold onto me. And that really stuck with me.
That’s so important. I can only imagine how difficult it must be to stay grounded when so many people have opinions about you. But you seem really down to earth! How would you say this project differs from other projects you’ve done so far?
Well, first of all, at the time, The Night Agent was the biggest thing I had ever worked on. When I found out what the budget was, I was like, “Wait, this is NOT a New Zealand budget.” [laughs] It was insane. For a lot of actors coming from overseas, breaking into the U.S. industry usually starts with guest roles. But for my first big U.S. project to be a lead role? It was a whirlwind. I kept thinking, Are they sure? Do they know what they’re doing? [laughs] Later, I found out that some high-profile actresses had gone out for the role, and I was like, Who paid who to get me in there?! It still blows my mind. The scale of it was just so different. Back home in New Zealand, I had done a lot of guest roles, and I had played a lead once before — but never on this level. So stepping into that kind of responsibility, carrying a show like this, was a huge shift for me. But I’m so grateful for the opportunity.
Talking about shooting locations, what was your favourite place to film and why?
Oh, I have a crazy story about this! My character isn’t actually part of the Thailand storyline, but one day I got a call, and they were like, “So, there’s this one scene that’s supposed to be in California, but we can’t find a location in New York that looks like California. Can we fly you out to Thailand and pretend it’s California?” And I was like, “Thailand for five minutes? Sure!” I had never been before, but it was always on my list — I’d wanted to do a proper Thailand trip, learn Muay Thai, and do all the classic touristy things. So suddenly, I’m in Bangkok, staying in this beautiful hotel, going out for dinner, and riding in tuk-tuks. I actually convinced everyone to take a tuk-tuk back one night because I was like, “We have to experience this!”
We were also the first actors to shoot a scene for the show — Amanda Warren, who plays Catherine, and I. That was really special. But, oh my gosh, Amanda was so sick that day. She had food poisoning, but she just powered through. I don’t even know how — she was literally throwing up between takes, then coming back and delivering her lines like nothing happened. I was like, “We can cut! You don’t have to do this!” But she just kept going. And you’d never be able to tell when you watch the scene. It was intense — 36-degree heat, crazy humidity, Amanda in a full black suit, me in cashmere. The moment they called cut, we were both dying. But even in that chaos, I had this moment of, Wow, I get to travel the world and do this for a job.
And then, on my way back to New York, I had a layover in Dubai. Someone asked me, “How has your life changed?” and I was like, “Oh, not much, no one really recognizes me.” And then, right after, a flight attendant came up and was like, “I love the show!” It was one of those surreal moments where I was like, “Oh, this is cool.”
Speaking of those moments, has a fan ever shared something with you that really stayed with you and motivated you?
Oh, absolutely. When I was at university, I actually thought about falling back on my psychology degree and working in social work. But I quickly realized I’m way too much of an empath — I’d take everything home with me and just feel powerless. What I love about working in entertainment is that you can still make an impact but in a different way. You can give people an escape, and bring them joy, even if just for a little while. And I never really thought about that side of it until I started getting messages from fans saying, “I was going through this really tough time, and your show helped me get through it.” That’s when it hit me — oh, this does mean something. It makes all those freezing night shoots worth it. When you’re exhausted and just want to go home, you remember, People love this. It matters. That keeps me going.
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dress. Leset
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jacket. Retrofete
dress. Contessa Mills
shoes. Yves Saint Laurent
earrings. Vintage
jacket. Rue Sophie
dress. Leset
opposite
jacket. Retrofete
dress. Contessa Mills
shoes. Yves Saint Laurent
earrings. Vintage
Credits
And what do you hope fans take away from your character’s story?
Ooh, no one’s ever asked me that! Let me think… I love that Rose is someone who puts herself out there completely for the people she cares about. She’s not afraid to go to extreme lengths — even across the country — to protect someone she loves. She risks her life without knowing if she’ll get anything in return. And I think that’s admirable. She’s fierce and loyal, and I love that about her. I hope people see that and connect with it. I’ve read some fan reactions where they’re like, “What happened to her?!” [laughs] But yeah, at her core, she’s someone who fights for the people she loves, and I think that’s a great quality.
How do you think you’ve grown as an actress since you first started?
Oh man — not vertically! [laughs] But personally? So much. When I started, I was super naive — just wide-eyed and open to learning. And I still am, but now I’m much more confident in my instincts. I’ve found my groove, and I trust myself more. I also love collaborating. I’m always asking questions — “How do I hold this gun? Does this line make sense?” I’m in constant conversations with the writers and directors. I used to worry about making everyone happy, but now I’ve learned that it’s a collaboration and my input matters.
Who are three people you’d love to work with?
Oh, off the top of my head—Alfonso Cuarón! I love his movies, and his new show Disclaimer was incredible. Then there’s Cristin Milioti. She’s in The Penguin, and I recently watched it and had to rewind some of her scenes because she was so good. She’s just a phenomenal actress, and I’d love to work with her. And Luca Guadagnino. I love everything he does — his style, his taste. He’d definitely be on my list.
How do you stay grounded and take care of your mental health?
Oh, I’m figuring that out daily! [laughs] But when I’m not working, I try to have a routine. Recently, I’ve gotten into the gym. I’m still new to it, and my co-star Rob Heaps teases me because I’ll come to set like, “Guys, I just did this thing called a hip thrust, it’s so hard!” And he’s like, “Yeah…everyone knows what that is.” [laughs] Also — FaceTime. I live for FaceTime. My best friends and I are all in different countries, but we have each other’s Find My iPhone and will randomly be like, “Why are you there? Whose house is that?” [laughs] They keep me sane. We always say that this is the greatest love story of our lives. My family also keeps me grounded — mostly by roasting me. They’ll watch my projects and be like, “Why do you run like that?” And I’m like, “Okay, and this is why I don’t have a big head.” [laughs] But honestly, the biggest thing is making time to live life. Actors can get so consumed by work — it becomes our identity. But I think it’s important to step away, experience things, and just be. It makes you a better actor in the long run.
Lastly, what do you hope to leave behind, both as a person and as an actress?
As an actress, I just want to know that I gave everything I had. I never want to walk away from a project thinking, “I could’ve done more.” I watch a lot of sports documentaries, and I’m always inspired by that athlete mentality of pushing yourself fully. That’s what I want to do. As a person? I love making people laugh. The best part of this industry is the people I get to work with, and I just want to be someone who makes their day a little better. And, of course, I hope people enjoy the projects I’ve been a part of. That’s really all you can ask for.
dress. Contessa Milla
earrings. Vintage
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full look. Gabriela Hearst
dress. Contessa Milla
earrings. Vintage
opposite
full look. Gabriela Hearst
pullover. Ottolinger
skirt + shoes. Ann Demeulemeester
pullover. Ottolinger
skirt + shoes. Ann Demeulemeester
Credits
Oklou is living an intense moment of change. There’s a euphoric energy around all the new steps. When we speak to the Paris-dwelling artist Oklou – the moniker of Marylou Mayniel – on set with Schön! in the Parisian suburbs, she’s in full prep mode, on the cusp of the release of her first full length album, choke enough. She is beaming; brings with her tranquillity and presence. With her ethereal, electronic sound, Oklou conquered hearts and delved deep into a new world of hyperpop lovers with her mixtape Galore in 2020. Now, she’s exploring her unique blend of polyphonic, electronic pop, in wide open soundscapes influenced by vaporwave and ambiance sounds. While her debut was rooted in an era of tumblr and digital soundscapes, with choke enough, she pushes the boundaries of her sound to craft a very personal approach to emotions – deeply real, deeply linked to the chaos of life throwing lots of different experiences at you. She’s expecting her first child, and is also releasing a body of work into the world, a second birth, as she states herself.
Deeply anchored in her sound-making process, Oklou speaks expansively about her work, her research, her loops – she enthuses about introducing new sonic expanses and new instruments – from trumpets, acoustic guitar to new vocal processes, which she speaks of as yet another instrument. Working with a close-knit musical family composed by the likes of Casey MQ, A.G. Cook, Bladee and Nate Campany, Oklou channels sound explorations and distortions into an extremely personal tunnel of pop experimentation. choke enough is a connection and an irl space, where you have to let yourself go into abandonment. The album floats and flitters through experiences and emotions, and being guided through it taps into that euphoric energy of being alive. Oklou sits down – IRL – to talk to Schön! through the process of the album, the changes and the next steps.
How are you?
I’m doing crazy well. I’m really great. It’s a really great moment for me. What with the pregnancy and my projects – there are two births, so to speak, in 2025 [laughs].
You’ve just released choke enough – how would you describe the process behind the album?
The last mixtape came out over 4 years ago now. I started work on choke enough two and a half years ago. I lived Galore to the full until we finished the tour dates. And there was COVID in the midst of it all.
I really had to turn the page on Galore, and its whole campaign (talking purely in wonderful marketing terminology) to be able to start a new chapter. It took me two years before I finished the music. It was a big challenge for me. I would have liked to flout my previous experiences, but it’s not possible – to ignore everything that came before. It’s a bit like when you enter into a new relationship, with someone for example. The past is still there.
I had expectations in terms of what I wanted to talk about. With Galore it was very clear – there was a specific experience in front of me – well, behind me, as it happens – but there was something easy, accessible for me. By 2022, I was in a different place, I was in a transition phase in my life, I had lots of emotions that I hadn’t explored, hadn’t matured yet.
It was a big period of change, socially, in my way of thinking, also in my personal relationships. Also in my life choices, in my paths, in the way in which I lived my life. I wanted to ask myself – ‘ok, what really suits me?’ Psychologically, it was complicated for the album because I needed to feel that I could draw on imagination from something anchored in my everyday life, and given that my life was a bit scattered, it was difficult to put my finger on something, a central theme, on anything really.
And I didn’t think I had found it – for a long time. Eventually, I got to the point where I realised that the album is a bit like a messy room. And I’m at peace with that image now. I find it very dense. And that’s because it deals with so many things. And it’s the reality of what my life has been for the past two years. It was my life.
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jumper + hat. Sunnei
trousers. 8on8
shoes. Miista
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top. JENNY HYTÖNEN
trousers. SSHEENA
gloves. YENESAI
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jumper + hat. Sunnei
trousers. 8on8
shoes. Miista
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top. JENNY HYTÖNEN
trousers. SSHEENA
gloves. YENESAI
Credits
It feel like there’s a definite emotional journey through the album. As if you’re constantly working on yourself.
It’s true that I also needed to get away from certain sounds that were in Galore – not necessarily with the idea of improving, but with the idea of exploring other sound processes, so that I don’t settle too much into my comfort zone. Also, so that I remain stimulated by my sound research, which is something I really enjoy.
You have a background in classical music…
Yes, yes. But not exclusively. I spent many years at the Conservatoire, putting in many hours and investing a lot of time in an environment of classical music. But that’s not all, there was a lot going on before I was 10. As a child I had the chance to learn music with teachers who opened up my sensibility, and my technique, to learning to sing while playing the piano, for example. It was a much more popular approach, in fact, than what I went onto learn at the Conservatoire.
When I was a teenager, I developed my own personal tastes by listening to the radio and watching concerts and festivals. I’ve never been fully classical. But I think that’s fine.
jacket. Ottolinger
top. YENESAI
trousers. SSHEENA
boots. Ann Demeulemeester
jacket. Ottolinger
top. YENESAI
trousers. SSHEENA
boots. Ann Demeulemeester
Credits
How would you describe the work on sound for choke enough?
The big difference for me was the piano, the instrumentals I wrote and composed. On Galore, it was me who played the keyboards a lot on the instrumentals, so it was very much a process of switching hats. Galore was very written – orchestral, almost. With choke enough, that’s not at all the case. I did a lot of research on chords. I used my hands, my playing hands on the keyboard a lot. My main sonic axis, I would say, or to rephrase – the genesis of each track – were the loops that were on my computer, that I fell in love with. Most of them I created myself, but I’ve also been inspired by other people’s loops, with people I work with.
You worked on the album with Casey MQ…
I continued working with Casey MQ, yes, but also with Cecile Believe, who’s great, and another guy from LA called Nate Campany, who was a big fan of what we were doing with Casey. And then for the whole production side I worked with A.G. Cook again. We did studio sessions in Paris, LA then sessions in London.
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jumper + hat. Sunnei
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jacket. Ottolinger
top. YENESAI
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jumper + hat. Sunnei
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top. YENESAI
A recurring question about your work is your use of English, as a French artist. What do you find in the English language that you don’t find in French?
There are several reasons [for writing in English]. It’s a choice of comfort, in many ways. There’s a comfort in working in a language that I don’t understand 100% in all its aspects, because it allows me to write lyrics. I don’t really feel like a lyricist or a poet with words. Writing in French is an exercise that can’t be taken for granted. I’ve tried it a few times, though – it sucks [laughs]. It’s horribly awful. It’s really hard.
At first, I turned to English because it was easy, it was very much an imitation of what I listened to. I listened to a lot of English music, basically. It was a musicality of language that I was used to. It was mimicry, clearly. That doesn’t mean I don’t pay attention to lyrics, on the contrary. I never work on lyrics alone. I have a different relationship to the use of the two languages.
There’s always, I feel, an accuracy when you speak of emotions in your work. Is this exploration important for you in choke enough?
It’s a recurring theme, in relation to this period of scattered moments that I’m going through, which is going off in so many directions. As a stigmata of what I’ve been through before, which was so raw, so “EURGH!” – there was this questioning around intensity, which is required to talk about emotions.
top. YENESAI
skirt. JENNY HYTÖNEN
trousers. Miista
shoes. EMPTY BEHAVIOR
hat. VESPA
scarf. Ann Demeulemeester
top. YENESAI
skirt. JENNY HYTÖNEN
trousers. Miista
shoes. EMPTY BEHAVIOR
hat. VESPA
scarf. Ann Demeulemeester
Credits
Do you go on the hunt for this emotional intensity, as a person?
Yes, I think I do. I think so.
What’s your star sign?
It’s Taurus. What does that say about me? [laughs] I’m looking for emotions in my life, for sure, and I’m in a very intense moment, especially because I’m starting to shift away from myself. It’s something I talk about a lot on the album. It’s a shift in my brain. I spent my teens and twenties being very inward-looking, very egocentric. Not in a problematic way, I’ve always been attentive to friends, to the people around me. I was very present. I now notice that there’s something about growing up, there’s an interest in others that’s almost stronger now. It’s very new, that’s what’s been happening over the last few years. I hope this is a step forward.
Another year, another round up of the most exciting artists on our radar for 2025. Now in its third year, Schön!’s rising stars like Raye, Tyla and Doechii have graced the Grammy’s and topped the charts, so take this list as some inspiration for your next playlist or to keep tabs on the voices shaping pop culture. In 2025, the industry is led by the voices of bold women who are unapologetically themselves. There may be artists you’re already familiar with or ones you’ll come to know. Curated by music editor Shama Nasinde, here are some of 2025’s ones to watch.
Addison Rae
Certified it-girl Addison Rae has earned her spot as as one to watch since her pivot from one of TikTok’s biggest influencers to rising pop star. She’s clearly an avid student of the genre and has already collaborated with the likes of Arca and Charli XCX. She is the full package with visuals, style and a strong set of musical references. Releases like Diet Pepsi and Aquamarine are a promising introduction into the world of Addison Rae.
Schön! have long been fans of R&B singer Sasha Keable. The South London Colombiana is a powerhouse vocalist with lyrics that dive deep into love, lust and heartbreak. She is a British gem with one of the strongest voices in R&B right now. Don’t just take our word for it, Beyoncé herself named Keable as one of her favourite artists in 2024. One listen to her discography and it’s clear why. She has fiery passion and piercing delivery with the technical ability to match. Keable’s magic is uncontainable and it’s only a matter of time before the charts catch up to her undeniable talent.
For fans of: Jazmine Sullivan, Lauryn Hill, Coco Jones
SAILORR
Floridian R&B singer Sailorr is gaining momentum for all the right reasons. She entered our radar with her performance of viral song POOKIE’S REQUIEM. Its sarcastic lyrics paired with her melodic vocals made her an instant favourite. She has a true modern R&B sound and carries a strong sense of identity in her artistry, represented in her style as much as her sound.
The latest up and comer in the wave of women dominating rap is Lexa Gates. You’ll almost always catch the New York artist wearing her signature razor sharp eyeliner, rapping unapologetically candid lyrics with some bass-y no nonsense vocals. Gates is steadily growing her fanbase though social media with her awkward yet rhythmic dance moves. To promote her latest LP Elite Vessel, Gates sat in a glass box perched in a park in New York for 10 hours. Curious passersby could enjoy her album with her through headphones. There’s no one that sounds quite like Gates and that’s why we love her.
For fans of: Doja Cat, Earl Sweatshirt, Kali Uchis
Zeyne
Middle Eastern artists are gaining global influence outside of the Levant and the latest name on our radar is Palestinian-Jordanian singer Zeyne. Her vocals are haunting and palpable and her focus on strong visuals makes her an artist we’ll be keeping eyes on. She’s already caught the attention of Bottega Veneta where she gave a stunning performance of her song Asli Ana at their immersive ‘Waves’ event in Dubai. Zeyne is proudly making a way for Arab women in the mainstream music while proudly waving the flag for her culture.
There is so much variety to choose from when it comes to rap, and Samara Cyn has no issues standing out with her versatile vocals and laid back style. Cyn experiments with ease, incorporating hip hop, soul and even gospel into her songs. To be so distinct so early on in her career is a sure sign of the greatness to come. She’ll tour this Spring if you’re looking to catch her before she blows up.
For fans of: Doechii, Smino, Lil Simz
Absolutely
British singer Abby Keen, known as Absolutely, is a new pop girl to look out for. She comes from a musical family, with Schön!’s 2023 rising star Raye as her sister, and has built a successful resume for herself as a songwriter. Absolutely has worked on music for Schön! favourites like Anitta, Normani and she featured on Tinashe’s album 333. Prepare for Absolutely to take the stage as a solo artist with a refreshingly experimental take on pure pop. She’s not afraid to give us an unexpected hook or key change and her visuals prove that she is a star in the making.The British pop legacy can only continue to thrive with the likes of Absolutely bringing their curated eye to the genre.
It doesn’t take much for internet darling Ceechynaa to catch your attention. Her viral hits like Peggy and Last Laugh have spurred controversy, think pieces and a brewing fan base. Her humorous lyricism is tongue in cheek and her candid delivery (always on a Drill beat) turns heads. Beyond her main character persona, she has all the makings of a star. Ceechynaa very much harkens back to the bravado that made the female rappers of the 90s so beloved. One of her shining traits is her unpredictability and we love that she maintains her Essex accent when she raps which makes her voice so recognisable. A collab with Pop favourite Ellie Goulding is rumoured after she posted a TikTok miming to Ceechynaa’s music, and she’s already won the hearts of some of fashion’s biggest publications. The rapper is an artist made for the spotlight and 2025 is sure to reveal more of what she has to offer.