Monét interview: ‘I feel like I have a different understanding of sound, light and colours and how to combine them’

Frontline’s Ira Alecia Gardner speaks to up and coming singer Monét about poetry, remaining independent and how synaesthesia impacts her creativity.

South London born and raised Monét has emerged with a sound poised between the realms of silky and raw. Growing up with the ‘solid foundation’ of Erykah Badu and Solange, her adoration for music is entrenched in being an avid listener, observer and creator.

Like many, Monét’s love for singing and performing at a young age was the first marker of what is now a career in music. ‘I’ve always enjoyed singing. I’ve always made really cheesy songs, from primary school. They’re very unserious, like talking about boys. What boy did I know at nine years old please?’.

However, it was her interest in poetry that set the tangible precedent for her songwriting skills, as she became more intentional and consistent with it towards the end of her school years. ‘I think starting poetry made me level up in my lyricism,’ she adds. ‘Kind of upgraded it’.

Combining the two in her recent work, Monét’s focus is now on developing a sound authentic to herself, investing her time and effort for the purpose of longevity. ‘I feel like I’m only just touching the surface of what I want to sound like,‘ she explains.

‘The people that I see that are progressing – their sound is solid. It’s very, very solid and it takes a long time to get there’. Although this revelation delayed the release of her forthcoming project, it led to 2021 being her most productive year. 

In November, after featuring in videos for artists including Jim Legxacy, Miles from Kinshasa and kadiata, Monét released her sultry single hunnitdegrees, produced by GYPTXVN and featuring OG Kemi. What started as a freestyle in a studio session with GYPTXVN, resulted in the melody and chorus, and having OG Kemi on the song was just as intuitive.

‘I made some songs with Kemi that haven’t been released yet, and I thought he would be the perfect person. I really love the way he flows, it’s just cold. Within five minutes he gave me two different verses… and I loved both of them but I went with the first one. Just because I love that Margiela bit, that bit is so cold.’ 

Both collaboration and releasing new music have been ‘nerve wracking’ for Monét, and at times the anxiety does return but the growth is welcomed. It’s clear the evolution in her music and approach is essentially a by-product of her growth in life.

Moving through the uncertainties of life was the central topic in her Off The Record EP, however, singles like No Words exude a confidence through both her lyricism and delivery. ‘That’s what I want for everyone as well. Sometimes you have to feel sweet, you know what I’m saying? Like your vibe and actually just feel yourself.’ 

The attention she continues to receive for Off The Record is bittersweet. Although appreciative of the love for the project, it is something she has moved on from in all aspects. ‘That was a part of me of course but… I can’t listen to it… musically, I just know I can do better.’

Through her ability to tap into emotions, whether through personal experience or observation, Monét’s mediums to explore her creativity are endless. Additionally, she has synaesthesia, a neurological trait which combines her senses and allows her to see colours as she hears music.

Her experiences with synaesthesia have always been natural, and its role has become more active as she creates. ‘Going forward I really want to use this to enhance my visuals,’ she claims. ‘I feel like I have a different understanding of sound, light and colours and how to combine them to convey a certain emotion. I think it also helps me with cover art, creative direction and all that visual stuff. I’m always going to add that colour that I see’. 

From stories of dodgy contracts to limited control, signing a record deal is often a point of contention for up and coming musicians, with some independent artists intending to stay firmly on a path of self sufficiency away from the world of major labels. Monét is open to finding a route that can secure financial stability, without sacrificing creative freedom.

‘I think it would be nice to have a publishing deal because I would still have a lot of control over what I want to do sonically with myself, but that is like definitely an end goal. The good thing with artists now is that we have a lot more knowledge on these things so not bare of these people can tek yuh fi eediat.’

Patience has guided her journey both personally and musically and staying grounded has been essential in a fast-paced world. ‘I’m very young when I deep it… I feel like I’m just getting started for real,’ she explains when asked about finding her sound. ‘I always felt like everything that I made I had to release it and then I would always wonder once I’ve released it why am I not happy with it? It’s made me realise, sometimes just wait‘.

The relationship between artists and audiences has become increasingly fickle, especially with social media being an integrated part of everyday life. However, it has provided highlights along Monét’s journey, allowing her to discover new artists like cityboymoe and build relationships that assist and go beyond the music.

‘As much as I have a love/hate relationship with social media, Instagram has put me on to so many amazing people musically… people that genuinely just want to work and not use you in some way. It’s been really nice’. 

Monét’s gratitude for lessons of the past and present is refreshing, alongside her confidence in the future. Describing her upcoming project as ‘warm’ with colours currently ranging from hot pink to mahogany red, her excitement for what’s to come in 2022 is palpable. ‘I feel like it’s going to be something different but it’s going to be me.’ 

Words: Ira Alecia Gardner