INTRODUCING:SUNKISSED CHILD
Blending Soul, Jazz, Hip-Hop, and Middle Eastern influences, Yamina’s debut EP Yasmina, Like the Flower is a raw, heartfelt journey into identity, emotion, and growth. Backed by the UK’s underground scene and support from Youth Music, she opens up like never before—reclaiming her name, her sound, and her story. We caught up with her to dive into the music, the meaning, and what’s next.
INTERVIEW BY: KOfi Owusu
Your EP is titled “Yasmina, Like the Flower.” What inspired that name, and what does it signify to you personally?
I vividly remember at the start of my career, when it was time for me to choose my stage name, I was categorically refusing to use my real name, Yasmina. I always thought it was pretty, but maybe too complicated, or not memorable enough etc… That’s why I initially chose Sunkissed Child, which I really adore. But I think the title of this EP was a way for me to reclaim that name in a way? I really wanted to introduce my listeners not only to who Sunkissed Child is, but even more deeply, who Yasmina is. The title sets the tone for so many aspects of the project. I really love the last track of the EP, which has the same title, Yasmina Like the Flower. I feel like it really thoroughly explains my point of view of being a foreigner living in a country that’s not yours, especially being a french speaking Middle Eastern Woman. But in a more general sense, this EP is a true introduction to who Yasmina is beyond Sunkissed Child. I get really raw and personal in most if not all the tracks, it was really an opportunity for me to be real and speak on things and emotions that were sitting with me for a while.
How does that title set the tone for the themes explored throughout the EP?
The title sets the tone for so many aspects of the project. I really love the last track of the EP, which has the same title, Yasmina Like the Flower. I feel like it really thoroughly explains my point of view of being a foreigner living in a country that’s not yours, especially being a french speaking Middle Eastern Woman. But in a more general sense, this EP is a true introduction to who Yasmina is beyond Sunkissed Child. I get really raw and personal in most if not all the tracks, it was really an opportunity for me to be real and speak on things and emotions that were sitting with me for a while.
There is duality in your work—sunshine versus sadness, innocence versus introspection. How do you navigate those contrasts in your songwriting?
It can sometimes be difficult to accept the fact that there are certain stages in life when you can’t get anything out that is sunshine-y, or positive I guess. Especially when my stage name is Sunkissed Child, I’ve sometimes felt pressure to be overly literal to the name if you get me? But instead, I’ve decided to do the total opposite in my songwriting process, and to embrace this duality that kind of makes my character. I’ve always been that person, as cliché as it sounds, that was all “smile on the outside, but crying on the inside”, and I feel like this project really reflects that type of personality. I’m sure a lot of people could relate to feeling this way.
Was there a moment in the creative process where that duality became especially apparent?
Writing ‘Can’t Fight the Feeling’ was an especially interesting one though, because I feel like it encapsulates this dichotomy so strongly. It supposedly sounds like such a feel-good track, but in reality I was in quite a dark time in my life when I wrote it. But I really love that it became this anthem of like, ‘it’s okay not to be okay sometimes, embrace it’
Were there any songs on the EP that were especially difficult to write or record emotionally?
The song that was I guess the most difficult to write emotionally, was “Sorry for Me”. When I write, I kind of have this thing where if I don’t finish a full track in one sitting, I will really struggle to be able to get back into the feelings I felt when I first wrote it, if that makes sense? Especially for “Sorry for Me”, I really knew how strongly I felt when I first wrote the track, but I couldn’t exactly pinpoint that feeling when it was time for me to write the verse, which became really frustrating actually. The sort of storyline and feelings brought up in this track are so intricate, I found it quite difficult to find the right ways to say what I really wanted to say. My friends really came in handy on that one. I had a bunch of conversations with my musicians about what they thought the track meant, and they were able to make my message and writing a thousand times clearer.
You blend genres like Soul, Hip-Hop, Alternative-R&B, and Jazz. How do you approach genre fusion without losing a cohesive sound?
Hmm, really good question actually! To be completely honest, I never go into a writing session thinking I am going to blend this certain genre with another, it all sort of happens naturally I guess? I’ve always been super inspired by what I listen to, and I really let that + my emotions guide me to write. It’s difficult in this day and age to want to blend a bunch of stuff together, because the industry really forces you at times to put yourself in a box, and to stick to one single genre.. I think that’s boring! It’s exactly how you phrased it, as long as the music feels somehow cohesive to my artistry, I’ll take it! But then again, as the artist, we are able to sort of create the rules and the narrative of that cohesion, so we can definitely mould it to our liking.
Is there a particular genre you feel most at home in—or is hybridity your comfort zone?
I’ve been writing a bunch of new music lately. Because I’ve been listening to a bunch of Hip Hop for the better part of a year, the new music is kind of leaning towards that at the moment. But I am also going through a time of change, where I’ve started listening to a lot more indie, acoustic music, which I think will definitely influence the next stage of my writing.
You mentioned it took a while to incorporate your Middle Eastern roots into your music. What finally made you feel ready to embrace that part of your identity musically?
It really took me a while to really understand the ways in which I wanted to include my Middle Eastern roots in my music. I never wanted it to feel pushed or inauthentic, and really tried to take my time to find a balance that works for me and that didn’t feel performative. I always grew up on western music, so to try to include Middle Eastern soundscapes, or to write in any language other than in english felt so challenging for me! I’ve been lucky enough to be surrounded by such incredible SWANA artists and musicians in London that have really inspired me to look inside and find how my multicultural identity should be represented in my music. It took a lot of education, a lot of research, and a lot of conversations to get to the point where I am today with it. But it’s not until I stopped really constraining myself and forcing myself into it that it happened. Because I guess I had a story to tell surrounding it.
How do your Lebanese roots manifest in the EP musically & lyrically.
My Lebanese roots I guess manifest in some tracks more than others, I’d say track 1, 5 and 6 more specifically. I really loved using my friends and family’s voice messages in the prelude, or sounds of the sea as well in the background, as I felt like it was such a great introduction of the book that was about to be opened. Musically, Middle Eastern soundscapes really come through on the last track, all thanks to my friend and co-writer Hyo, who really helped me bring that forward sonically. It was also a lot of fun to have more freedom writing in different languages, either changing in verses, or even changing in one same line. This is actually how I speak everyday, mixing a bunch of stuff together, so it felt super natural for me to do the same in this project. I hope there will be more of that in the future!
"Yasmina, Like the Flower" was two years in the making. How did your vision for the project evolve over that time?
Honestly, the project began so ambiguously and kind of unclearly. I had a collection of tracks that I had started writing that felt like they made sense together, and wanted to unite them in some way into a project. It’s funny, a lot of artists often go into making an EP or LP with the intention of every song fitting into this one sort of idea. I don’t work like that at all, and I’m not sure I ever could? I really enjoy just letting my heart do the talking without much thinking at first. And do that for a while. Taking a step back after a process like that is so thrilling, because you can listen back and truly start understanding and making sense of how certain tracks are connected to each other, or are a bridge into the other, without necessarily having intentionally done so. The more time was passing, the more structure started taking shape with this project, the more I really started to understand what it was that I was trying to say. We passed through a lot of titles, a lot of identity crises, a lot of struggles sonically, to make sure that the end product felt like something that could stand on its own, without any explanation.
You’ve spoken about this project being deeply personal, touching on mental health and identity. How did it feel to be that vulnerable in your music?
To be honest, I wouldn’t want it any other way. Anyone who knows me really knows how much of an emotional person I am, and songwriting has always been my way of externalising these emotions. I feel like if my music wasn’t authentic in that way, I just don’t think it would be any good. It feels super freeing to be able to get to a stage in your artistry where you can write about pretty much anything, and try to make it sound good and sensical to the listener. I think a really big goal for this EP was to hopefully have people relate to the story, and see themselves in some words. Emotions are so universal- so many of us go through stuff and feel alone in it while in reality, so many people around the world are feeling the same too.
Was there anything you had to let go of creatively to arrive at the final version?
I don’t think there was much I had to let go of creatively to arrive where we did. I guess that’s why it took two years. My team and I really wanted to make sure it all felt as authentic and real as possible, without putting too many restrictions on ourselves
You’re stepping into the UK scene with such confidence. How has the UK underground jazz and soul scene shaped you as an artist?
The UK underground jazz and soul scene has shaped me as an artist in every single way. I arrived in the UK when I was 18 with barely any musical education and very little knowledge of the landscape overall. At the Leeds Conservatoire, I met such incredible musicians in the Jazz department that truly opened my eyes on different genres of music. I remember being so incredibly inspired by local bands like TC and The Groove Family or Project Hilts-it was almost overwhelming! My sound since then has gone through so many eras, and I feel like I am consistently still learning, whenever I go to a show or a jam or listen to a new release. The UK underground scene has something so special and unique about it, and I feel so incredibly lucky to be able to see it unfold more and more.
Are there any specific moments or collaborations in that scene that you feel defined your growth?
Thinking back, I think it was definitely the band Project Hilts that really pushed for the sound that I aimed to achieve. Sadly, they are no longer, but I remember how amazed I was by their shows. They were such a big jazz band, mixing so many influences to create something that was so emotional and kind of grandiose in a way. I will always remember their gig at The Sunday Joint with DJ Lubi back in Leeds. I highly suggest checking their music out.
This EP was partially funded by Youth Music. How did that support impact the final outcome of the project?
Without Youth Music’s support, this project would definitely just not be here. It’s incredible how helpful this funding has been in achieving my vision for this project, and I feel so grateful for the opportunity to have been supported by them. They helped me basically fund most of the recording process for the project, from recording to master. It was so nice to feel some sense of freedom in that way, and to really prioritise quality over anything else. I was lucky enough to work with such incredible producers and musicians, and it felt so good to be able to appropriately remunerate them and their work. That is a goal I always try to achieve, as difficult as it can get as an independent artist.
What advice would you give to other emerging artists looking to access similar opportunities?
The best advice I would give to emerging artists looking to access similar opportunities is do not give up! I had applied to so many funding opportunities before this one, and none of them were ever successful before Youth Music. This period of time really bummed me out, because I was getting really confused as to what I was doing wrong. But the process did its thing, it always does- so trust it.
The project has been described as cinematic. Can you speak to the visual or narrative inspirations behind the EP’s sequencing and production?
It’s interesting because the sort of visual narrative aspect of being an artist is always something I’ve kind of struggled with a bit. But I really wanted to make it a priority for this project, as I really believe visuals help make a story or a message clearer. I was lucky enough to get help from a bunch of people. More specifically my music video director, Not Alex Rossi and his team. Honestly working with this bunch has been absolutely incredible, they really helped me create a world around the music in a way I had never done before, and I am so grateful for them in every way! I also got to shout out my photographers Misha Warren and 2krem who helped me bring my vision to life even more. Collaborating with different creatives was definitely a highlight of working on this EP. People around us are so talented, so unique in their thinking, and trying to do it all yourself when you could be inspired by others would have been such a shame.
If this EP were a film, what kind of story would it tell?
If this EP were a film, it would tell the story of a highly emotional woman from the Middle East moving to a western country when she was young and experiencing all that it means to become an adult, all the while understanding her identity and what it means to her more. It’s such a universal story, I would actually love to see it brought to life in film!
Your storytelling really shines through in the EP. Do you consider yourself a storyteller first, or a musician first?
I love this question! I would definitely say a storyteller first and foremost. I began writing when I was only 12, I knew maybe about 4 chords on the guitar, but felt such a need to get stuff out. I would write and write and write and write until I couldn’t write anymore. Songwriting has always felt like catharsis to me, it’s like it genuinely feels like something is coming down from the sky when I’m writing music, as silly as it may sound. Being a musician can also mean being a story teller though. I have really enjoyed taking more time to explore my compositional side and tell stories through chords, through drums, and through instrumentation. I love it just as much.
You’ve received support from platforms like BBC Radio 6 and CLASH Magazine. How has that industry recognition impacted your career or confidence?
As much as I try not to put too much value on these achievements, I feel really grateful to have been noticed by these entities, and to have my music be recognised in a way or another. As an independent emerging artist, it can be difficult to keep going sometimes without these small successes that feel somehow validating to all the work you put in. It can genuinely be as small as receiving a message on Instagram of someone telling you they really love one of your tracks. The feeling of seeing others really enjoy your work and wanting to support it in any way, big or small, is so incredible. It keeps me going in some ways I guess.
From selling out shows to playing international festivals, you’ve already made a strong mark live. How does performing these vulnerable tracks on stage compare to recording them in the studio?
There’s such a huge difference between performing a song live and recording it in the studio. I am lucky enough to have a band of such incredible musicians that not only make my music come to life in an insane way, but also create a safe space for me to sing these vulnerable songs on stage next to them. If I were by myself, I think it’d be a lot more difficult for sure. To be real, I still really enjoy being vulnerable on stage. That’s what it’s all about really. When I do a show, I kind of become something else, and I let myself go on autopilot. The ways in which I am able to connect with my audience in that way, both being vulnerable to each other, is a feeling I truly never want to lose.
Has any audience response surprised or moved you during live shows?
The best thing that can possibly happen at a live show is when the audience sings the words to my songs with me. I always get so amazed when it happens. Words and writing mean so much to me, so to have people I don’t know memorise them and sing along to them feels so incredible.
A couple of weeks ago I received a message from an old uni friend that really warmed my heart. Her name is Monica. When we were at the conservatoire, I was always in awe of her work and her songwriting- I looked up to her a lot! So to see this message of love and support from her felt so incredible, really made my day.
From selling out shows to playing international festivals, you’ve already made a strong mark live. How does performing these vulnerable tracks on stage compare to recording them in the studio?
There’s such a huge difference between performing a song live and recording it in the studio. I am lucky enough to have a band of such incredible musicians that not only make my music come to life in an insane way, but also create a safe space for me to sing these vulnerable songs on stage next to them. If I were by myself, I think it’d be a lot more difficult for sure. To be real, I still really enjoy being vulnerable on stage. That’s what it’s all about really. When I do a show, I kind of become something else, and I let myself go on autopilot. The ways in which I am able to connect with my audience in that way, both being vulnerable to each other, is a feeling I truly never want to lose.
The best thing that can possibly happen at a live show is when the audience sings the words to my songs with me. I always get so amazed when it happens. Words and writing mean so much to me, so to have people I don’t know memorise them and sing along to them feels so incredible.