Music – Numéro Berlin

IN CONVERSATION WITH LITTLE SIMZ

Anna Klusmeier — Fri, 13 Jun 2025 15:02:00 +0000

Few artists in contemporary music manage to blend introspection, lyrical mastery, and genre-defying sound as seamlessly as Little Simz. Hailing from North London, the rapper, actress, and storyteller has carved out a space entirely her own, earning critical acclaim and a loyal global following. With a voice that’s both fierce and vulnerable, and a catalogue that pushes boundaries with each release, Little Simz is not just shaping the future of UK hip-hop—she’s redefining it.

Numéro Berlin spoke with Little Simz about her freshly released sixth album Lotus, her personal growth and creative struggles.

As a person, but also as an artist: At which point in your life do you see yourself right now?

I’m just a person who is having a human experience and doing my best to live a happy, abundant life. Even when things get hard, I’m still trying my best to just keep going.

Do you see yourself as separate from your art, or do you think it’s impossible to separate the person from the artist?

It’s all encompassing me, but I can definitely tell the two apart. There are certain parts of my artistic personality that I don’t really show in my everyday life. I’m quite introverted, but I’m different on stage. Two things can absolutely be true at the same time.

Let’s dive into your music. Could you share a few moments from your new album that you’re especially proud of because they show how far you’ve come as an artist?

As an artist, working on a project is never a straight path – especially in the middle, when you start to question everything: Is this any good? Should I even be doing this? There’s a lot of self-doubt. So honestly, I’m most proud of simply seeing it through and finishing it. There are so many times you start something and never complete it because you get in your own way.

My favorite song from the album is Lotus, the title track with Michael Kumanuka and Yusef Dayes. It just feels like the album is such a journey and then it gets to this really climatic place. It’s just a really beautiful song. There’s so many nice moments within it, it just stands out – musically, lyrically, where it travels to. I’m really proud of it.

Is creating also a fight with yourself? Or is it more an act of pleasure and joy? Or both? How do you look at that?

I’m really just trying to be a kid and create – it feels like play. And sometimes, it’s therapeutic, especially when I have things I need to get off my chest. There’s so much I want to say, and making music is a way for me to process my emotions. I often find it hard to open up to people, but it’s much easier for me to write things down and record them. So, it’s a bit of both – depending on how I’m feeling.

How important is it for an artist to keep their inner child alive?

It always has to be there, even when the it’s about heavy or more grown-up stuff. In many ways, it does the real work. It reminds you why you do what you do, why you started in the first place.

How much hardship are you willing to endure when something truly matters to you? Would you say having the patience to let something unfold over time is a distinctive part of who you are?

I think so. I definitely took the long and difficult road, but along the way, I’ve learned a lot about myself, and I’ve met so many amazing, interesting people. It’s truly been a journey, and I’m deeply grateful for it. You must really love what you do – because you don’t go through all of that without a reason.

How do you handle success and fame today, and how do they shape your art?

No one knows how long anyone will stay relevant because everything moves so fast. Of course, if you’re established and have built your place brick by brick, you can feel confident in that. But I also believe there’s value in making the path easier for the next generation. Not everyone who comes into music has to struggle the way I did. If there’s a quicker way, that’s amazing. I don’t think struggle is always necessary.

It’s strange how being famous almost feels like a career in itself. It’s not always about being recognized for your music or earning respect through your craft; sometimes, you’re just famous for the sake of being famous. Honestly, I don’t think many people truly understand what fame really means. With fame, you can’t go anywhere without being stared at. If people really knew what that was like, I’m not sure they’d want it. Not all attention is good attention.

Lotus is also deeply about renewal. How many times have you reinvented yourself throughout your life, and in what ways?

Every day, I reinvent myself—sometimes as simply as putting on a new outfit. Each album brings its own set of challenges, and I try to approach them differently because I want different results. If you keep doing things the same way, you get the same outcomes. So, I make an effort to keep myself excited throughout the process, to challenge myself, to explore new themes – and sometimes revisit old ones. Reinvention is essential. As an artist, you have to find new ways, not just for others, but for yourself.

I get bored easily, which is probably why my albums have such different vibes. I have so many directions I want to explore – maybe it’s my ADHD pushing me to try different things. It keeps my music fresh and exciting. There’s electronic sounds, Afrobeat rhythms – it all comes together to create a real journey where I can tap into different sides of myself.

Do you think it’s important to master each genre before being able to mix them all together?

I don’t have to master it, as long as I don’t fuck it up. I didn’t grow up living in Brazil, so If I make a bossa nova song, there may be elements I’m missing. But I have listened to enough music from that genre. And also, it’s more just a feeling. I trust my ear, and I trust my taste, but I also just try to put my spin on it.

For all of that, you must know yourself really well. What does authenticity mean to you?

I believe it all comes down to trusting yourself. Sometimes, it’s not about knowing exactly what you can do – it’s about having the courage to try. Especially now, when people in the music industry tend to avoid risks. I get it – it’s scary to face criticism and judgment. Taking risks and being brave feels harder than ever. But I try not to let that hold me back.

Could you share your perspective on the current climate in music? I get the sense that the pressure is coming from multiple sides. The ongoing discussions around vocal culture in recent years seem to have had an impact on creativity, making it feel somewhat constrained. How do you see this?

It’s tough for artists these days because there’s this constant expectation that you always have to know exactly what to say. The more pressure you feel, the more limited you become creatively. What excites me most about art is when I don’t fully understand it. I don’t have to like every piece in an exhibition – I can stand there, unsure if it’s for me, but appreciate that it’s challenging me.

Maybe some of that freedom is getting lost nowadays. The world just doesn’t feel like a safe space anymore. It’s harder to be vulnerable when you don’t feel safe, and that definitely affects an artist’s mindset. You hesitate to share your true feelings because you know they’ll be scrutinized. I get that too. So yes, it’s a difficult balance. I just try to create what feels authentic to me.

Great art, as you said, comes from vulnerability and pushing boundaries. I’m curious – what does it feel like to create something truly authentic and recognize it in the moment? Like when you have a piece of music and you just know it’s something really special.

Music is such an invisible art form – you can’t see it, yet when I create a piece and can almost feel it, it’s like it takes on the color red or some vivid sensation. That sense of bringing something intangible into existence makes me feel truly creative. Music isn’t just a feeling; it’s a vibration, and I believe there’s a reason it moves us emotionally.

When we made the song Blue with Sampha, he was just freely creating, and I found myself crying because what he was expressing touched me deeply – on a level even he might not have been fully aware of. It’s moments like that that remind me how music connects us. It’s not just about me; collaborators bring so much to the process, shaping what the music ultimately becomes.

“The whole process was a crazy, crazy, crazy experience, crazy.”

Your name actually means “brave woman,” doesn’t it? I’m curious—what does bravery mean to you personally? Have you ever thought about what truly defines a brave woman in your eyes?

It’s someone who really owns their truth and isn’t afraid to speak up for themselves. I haven’t always done that. I’ve had moments where I look back and think, Why didn’t I say no? Why didn’t I stand up for myself? But with time and growth, I’ve really stepped into my name, if that makes sense. I’ve grown into that person – into what being brave really means to me.

FKA TWIGS AT TELEKOM ELECTRONIC BEATS’ 25-YEAR ANNIVERSARY

Anna Klusmeier — Fri, 06 Jun 2025 16:47:55 +0000

On May 28th, Telekom Electronic Beats celebrated 25 years of cultural influence with a spectacular event at Berlin’s iconic CANK venue. The space in Neukölln transformed into a pulsating hub of community, sound, and movement, marking the anniversary with performances from FKA twigs and Boys Noize in front of an international crowd.

FKA twigs made her German debut of Eusexua Rave alongside DJ Dr. Rubinstein. The performance was brief but intense: A fusion of electronic music, live vocals, and intimate moments that dissolved the distance between artist and audience.

The night unfolded with diverse sonic landscapes: Boys Noize delivered a powerful, electrifying set, Fuffifufzich impressed with raw, dynamic live energy and Wolfram mixed Italo, disco, and electro with refined elegance. The evening’s rich program was rounded out by sets from collectives E.P.I.Q. and Layers (bae2bae), making for a varied and sophisticated musical journey.

The entire night was visually documented by Cobrasnake (Mark Hunter), capturing every contrast from sweat-drenched bodies to hypnotic strobe lights.

More than a celebration of Telekom Electronic Beats’ 25-year legacy, the event was a vivid glimpse into the future of music and pop culture, a testament to the lasting power of community and connection on the dancefloor.

WEEKEND MUSIC PT. 54 : YEULE releases ‘Evangelic Girl Is a Gun’

Anna Klusmeier — Fri, 30 May 2025 09:43:48 +0000

The record marks a shift for Yeule, pushing beyond the more straightforward pop structures of their early work into a space where hyperpop’s intensity meets a kind of careful intimacy. Across the album, sugary and gothic melodies and skittering beats give way to something more complex: tracks that bounce with elastic synths and processed vocals, yet reveal undercurrents of melancholy and reflection.

There’s a contrast at the core of Evangelic Girl Is a Gun: joyful surfaces crack open to expose darker, more intimate themes, turning personal stories into electronic anthems that feel as vulnerable as they are sharp-edged.

Yeule’s glitchy pop sensibility – marked by sudden shifts, pitch-shifted harmonies, and digital textures – keeps the record in constant motion. Her music feels weightless and precise at once, driven by a sense of play but never losing their emotional center. It’s a style that owes as much to internet-era pop experimentation as it does to classic songwriting, drawing you in with hooks only to reveal something far more complicated beneath.

Evangelic Girl Is a Gun will be released on May 30, with a European tour starting July 1 in Manchester, UK.

IN CONVERSATION WITH SHUBOSTAR

Anna Klusmeier — Tue, 01 Apr 2025 21:03:44 +0000

“I love digging through record stores. There’s an element of surprise and randomness that makes it special. It’s not just about playing music; it’s about experiencing the history of music.”

Korean born Berlin based DJ and producer Shubostar is a rising star in the electronic music scene. She combines her tech background in gaming with spirituality and interests in art, design, fashion and society in a broad sense. Shubostar celebrates her Korean heritage with the recently released track ‘Generation X’ that just came out on a newly formed Lisbon based record label – FOLDER, founded by Parallelle and Mahfoud.

Shubostar, you are a DJ and a producer with a background in gaming. Did you start to DJ or produce first? How did the knowledge of gaming and technology influence your creative process?

I started producing music in high school, but it was more for computer games rather than electronic music. Later, I began playing music, and after a few years, I started producing electronic music. Back in high school, I wasn’t sure if I could make music. But since I didn’t enjoy programming, I experimented with MIDI music instead, as I was in a band and played several instruments. At the time, I was fascinated by the sound of 8-bit music, like chiptunes, which apparently influenced my melancholic, raw sound today. I used Cakewalk 4.0 back then, which had only a few basic sounds — one piano, one guitar, one drum kit. The simplicity of that limited work environment pushed me to be more creative, and that approach still influences me today.

Music production is based on a lot of collaborative flow as well. Your new track ‘Generation X’ is coming out on a new label – FOLDER. How did this collaboration come together?

‘Generation X’ marked the beginning of a new style for me, and I surprised myself when I finished it — it sounded more modern than my previous tracks. I had always been aware of the duo Parallelle, and finally, this collaboration opportunity came. When Parallelle asked me for some demos, I sent them a few, not expecting them to choose this one. I wasn’t 100% sure about the track at first, but after mastering it, I premiered it at EDC Mexico, and the response was impeccable. The more I played it, the more I connected with it and grew to love it.

FOLDER is focused on analogue music sensation, appreciation of the archives and ‘digging to find the right vinyls’. You, on the other hand, started out in digital sound production. Could you elaborate on your way into the vinyl culture?

I just got my first analogue synthesizer, the SH-101. Before that, I always used digital sounds because I was kind of a nomad – I never stayed in one place for long, so owning gear felt too luxurious. But now that I’ve settled in Berlin and finally have my own home, the first thing I wanted to do was build my own studio. So yes, I really appreciate analogue sound, but I also recognize that it comes with a price. You need a stable place, and it requires an investment. But once I experienced it, I saw the beauty in it. I love the warmth and character of analogue sound — it feels alive! When it comes to vinyl, I love digging through record stores. It’s a completely different experience from searching for music online. There’s an element of surprise and randomness that makes it special. It’s not just about playing music; it’s about experiencing the history of music.

Could you share what you refer to as ‘Generation X’?

The voices you hear in the track come from an old Korean news interview about Generation X fashion. It went viral because of the sentence at the end of the breakdown: ‘이렇게 입으면 기분이 좋거든요’ — which means, ‘I feel good if I wear like this.’ Generation X was an important concept for us — it marked a break from traditional gendered clothing and was all about the freedom to express yourself through fashion. But in the end, it wasn’t just about clothing; it was a cultural shift. As I discovered my new style, I realized ‘Generation X’ was the perfect title & concept for it.

Recently you have performed in Venice, an ultimately artistic place. How do you experience the interlink between club culture and other industries? Is it something that you foster yourself?

Venice is beyond the next level of beauty — extremely gorgeous, or maybe it’s just the essence of beauty itself! I visited 10 years ago, and after the pandemic, the color of the water has changed, making it even more stunning. Arriving at the venue and hotel by water taxi — how romantic is that? Playing for Perplex in a historical building like Arsenale with the crowd dressed in classic costumes and wearing original Venetian masks was an outstanding experience. It felt like stepping into another world where history and art collided. This wasn’t my first time working with Perplex: they also brought me to perform in an old church in London, which was equally captivating. The fusion of different industries — music, art, fashion, architecture, and history — creates a unique environment that transcends the typical club setting. I believe this kind of blending is powerful. Whether it’s the costumes, the venue, or the art direction, these elements elevate the experience and show how club culture can extend beyond the music to influence other industries and create something much more immersive. In a way, it is an inevitable future. You can watch this development nearly everywhere…

You mentioned having settled in Berlin and built your own Studio. So will there be a chance to hear you perform your new track in Berlin soon?

In fact, I will be hosting my first own “Klubnacht” at the Panorama Bar in Berghain on April 13. Come and join the cosmic journey!

WEEKEND MUSIC PT. 51: BANKS Unveils ‘Meddle in the Mold’ on COLORS

Anna Klusmeier — Fri, 07 Mar 2025 09:39:09 +0000

Stepping into a sepia-lit dreamscape, BANKS casts a spell with her latest single, Meddle in the Mold, in a mesmerizing COLORS performance. The track, lifted from her forthcoming album Off With Her Head (set to drop on February 28), is a hypnotic fusion of eerie production, pulsating beats, and her signature emotional intensity.

Draped in moody lighting, the California-born artist delivers a performance that feels both intimate and electrifying. Her voice, oscillating between breathy vulnerability and razor-sharp defiance, transforms the minimalist stage into a world of its own. Every lyric lands like a whispered warning, pulling listeners into a haunting, rhythmic trance.

A Berlin-based music platform, COLORSxSTUDIOS showcases innovative and boundary-pushing artistry, making it the perfect stage for BANKS’ evocative storytelling. Known for its minimalist aesthetic and immersive performances, COLORS provides a space where exceptional talent shines through raw, unfiltered expression. The platform has become a global tastemaker, spotlighting unique voices across YouTube, Instagram, TikTok, and streaming platforms while curating IRL experiences through their live programming TONES, connecting audiences from the U.S. to France, Mexico, the U.K., Brazil, and South Africa.

With Meddle in the Mold, BANKS signals a daring new chapter: darker, bolder, and unapologetically chaotic. The song’s raw energy and spellbinding allure reinforce her reputation for pushing artistic boundaries while remaining unmistakably herself. Since her breakthrough with Goddess (2014), she has continued to evolve, crafting moody soundscapes that blend alternative pop with contemporary R&B. Her COLORS performance is yet another testament to her magnetic artistry—one that captivates, challenges, and lingers long after the final note.

IN CONVERSATION WITH FATIMA NJAI & JEROME SYDENHAM

Anna Klusmeier — Tue, 21 Jan 2025 12:52:35 +0000

DJ and producer Jerome Sydenham is one of the most compelling figures in the world of electronic music. With a career spanning house, techno, and everything in between, Sydenham has not only shaped club culture worldwide but has also made history – most notably through the founding of his label, Ibadan Records, which has continuously pushed boundaries.
Last summer, Jerome honored us by performing at the opening party of Antje Peters´ Arbeitsräume at Schlachter151. Now, we had the privilege of speaking with him again to learn more about his musical journey and artistic background. Also, Berlin-based Producer, Songwriter, and Artist Fatima Njai, who worked together with Jerome Sydenham, shares her thoughts.

Vivien Schleich: What are you currently working on and what is particularly important to you in life at the moment?

Fatima (F): I am working on a Fatima Njai album. This picture entails music production, songwriting, and art, to be specific (with great collaborations). In addition, cultural event production falls into my creative repertoire and I work on several cultural projects that are related to art, fashion, and music.

Jerome Sydenham (JS): I am always working on music. The flavors range from afro vibes to the complete house spectrum and deep techno. I am also very focused on my afromatic art, fashion, and music project that will be based in Berlin, Paris, and Tokyo. These projects are my current priority at the moment and I will use Berlin as my base of operations.

What key moments have shaped your life and your music?

F: Many moments in life shaped me. One key moment is my friend Julie Snoek, who motivated me at 18 to pursue singing and organized a spot as a singer for me in a cover band. That set the milestone to enter my personal and professional journey into the music business. Later, at 24, my friend Phillip Majer introduced me to electronic music production. I went on to complete my studies in Fine Arts at Christina Kubisch with a diploma in Sound Art and Mixed Media. Collaborative works and my love for street music gave me invaluable lessons in my personal and spiritual evolution. All of this led to a major key moment (where things became full circle) when I started to work with Jerome Sydenham. He became my biggest teacher and mentor in music production, business, and art. Keeping it real, the story continues.

JS: My early childhood in Nigeria was critical in my development regarding appreciation of music. My professional background at East West Records and Atlantic Records in New York City gave birth to my DJ and production career which led to the formation of Ibadan Records and other imprints. The journey continues…

Which artists or genres originally inspired you to make music? Have these influences changed over time?

F: I am a lover of all genres. I love music.

JS: Primarily Fela Kuti and the Akpala music scene. I was blessed to be involved with the foundation years of house and techno music, also naturally hip hop and reggae Music. I do believe that I have a good understanding of most genres of music.

You’ve been in the music scene for quite a long time. What has changed in particular during this time?

F: The cultural impact and identity of music. The consumption of music. Music was better when artists did not have to obey any imagery and were reflective of the issues of the world.

JS: Music always evolves. I guess the improvement of the home studio is the most significant difference and of course the use of AI in music production.

How do you feel about the current popularity of techno and house? And how do you see the future of these genres?

F: The future is bright as always. I see more real instruments coming back, songs and innovative sounds. I love the fact how accessible all music became to people. I am wondering about the future of streaming and if it actually has value in the long run. I see a lot of classics come back, a lot of new fusions of old and new. I believe the only way to keep music sustainable is to carry all the greatness of music from the past into the future and share it with the world until it is forgotten.

JS: As I said before, there is always movement in these genres and there is a lot more of it. I think you really have to dig to find the good stuff. Same thing applies to DJing. I find there are less dynamic DJs existing in the market. This always changes so I remain optimistic.

Who has been your favorite people to work with in your career and why?

F: Jerome Sydenham from all people, 100%, because he is the most talented, genius producer in my opinion. He is also a great teacher, mentor, and at the same time, he is extremely creative in several fields of arts and production of music. I call him a “Walking Library”. Also, he has a great understanding of the ideas I have and always gives more fruit for thought or the one idea that will take the music to the next level. His hunger for music is just infectious. He is the producer who put sense into my ideas and helped me to shape it into real music. His openness to music of all kinds and almost childlike approach to combine sounds and new ideas is in itself always inspiring to me. Without Jerome Sydenham, the world would not hear and know about Fatima Njai, as he is the one who flipped the script in my career and is the biggest Fatima Njai supporter.

JS: Merlin Bobb and Sylvia Rhone on a corporate level, Fatima Njai, Joe Clausell, Kerri Chandler, Dennis Ferrer, and Ron Trent on a production level, to name a few. Robert Owens, Carl Craig, The Martinez Brothers, Seth Troxler, Function…and I could go on and on and on. So many great people.

When you look back on your career: are there any decisions you would make differently today?

F: No. The music always shows me the way.

JS: Nope, not really, except maybe for better lawyers and accountants.