Unravelling the copper coil with Wafia (Interview)

Sniffers: How did you get started in music?

Wafia:

I’d always been singing since I was really young and then I don’t know. Somewhere along the way I sort of kept singing at school and then at university I studied pre-med but I was still really invested in writing songs so I picked up the guitar to procrastinate from my assignments and things like that. I fell into it then and I rediscovered songwriting and kept doing that for a little while. Yeah, I didn’t really … I guess I had been working on it behind the scenes for quite some time but it wasn’t until last year that I released my first proper, proper body of work. But yeah, I mean I never thought out to be a musician at the start. I didn’t think it was a viable career option.

I think every day it shocks my parents. They’re like, “Is this the same child that wanted to go do medicine? Did something happen?” hahaha

Who do you look up to and aspire to as an artist?

Wafia:

I think everyone looks up to Beyonce and Rihanna. I definitely look up to them. I also really look up to Caribou. I love the way he disguises pop music. Like, he writes pop songs but they’re just not fronted by a female and they’re just like… The production is a little left of centre. I think what he does is brilliant and I love his lyrics. His song Back Home is one of my favourite songs ever. I wish I could write with him one day. Who else? I mean, yeah I really like MIA as well. I love her cultural importance I guess as well I like the way she brings in her culture in the music and makes it really accessible. That is what I’m trying to do to some degree. So yeah.

What’s the difference between what you create and the music that you listen to?

Wafia:

When I was first starting out a lot. When I was first starting out I was writing just acoustic music because that’s all I could really get my hands on. A guitar was all I played. But i was listening to pop music and it was really hard to bridge that gap and it wasn’t until in the past 2 years that what I listen to and what I create is very aligned in that I listen to R&B, pop, and hip-hop sort of things and now I can incorporate that into my music. I mean the only thing that really differs is my point of view. Stylistically in terms of production and all that stuff, I tend to go a little more middle eastern with things or I have been in the last little while. I think that’s probably the point of difference from what I listen to and what I create.

You released your Demo EP in 2012, how has your music evolved from then to now?

Wafia:

I’ve just become more confident. I was never happy with that demo EP. What I’ve put out is the first body of work I’ve ever really been proud to put my name to. I feel like I was only really born as an artist with the release of XXIX or 29. I feel like now I know what I want and where I sort of stand as an artist.

So much thought went into the naming of your EP 29 and you’ve spoken about it a lot with the wrapped in copper vibe and elemental side of things. What were you channeling with that XXIX? What was the message you were trying to convey?

Wafia:

I think the message I was trying to convey was … I’m not really sure how to put this but I think I finally became at peace with myself. I think that showed through my music. I finally became at peace with the things I’ve dealt with and my upbringing and all of those things. I guess that’s what that first EP was. The whole idea of the XXIX EP was transition and change. I guess that’s what I was just trying to put across with … These are all the things that have changed me and this is why they’re okay now. Even though … You know when you go through something you’re like, “This is the worst possible thing in the world.” Then in hindsight, you’re like, “This made me better.” Or, “I learned this and I learned that.” I think that EP is a combination of those things and the circumstances in my life that have allowed me to be okay.

How important is ‘change’ when it comes to your creativity?

Wafia:

Incredible. I think as an artist if you want longevity, which I think most artists are wanting … Who doesn’t want to do this forever?  I feel like we have to adapt. It’s one thing to remain the same, and that’s great, you’re reliable. You know? People can count on you to always put out the same album. You look at other artists, the one’s that have managed to stay. The ones that have managed to look at what’s new and what’s current and approach young up and coming artists and be like, “Hey, jump on board my project.” You know? Like the Beyonce’s and all that. And the Madonnas. They’ve done well by going to what’s new and what’s fresh and enlisting the help of those people. I think that’s where change can be really important is … Yeah, and the longevity of it all and wanting to stay current.

A lot of artists try to mystify their writing process or cloud the meaning with their lyrics. How important is relatability when it comes to your music?

Wafia:

Incredibly. I’m not here to try and make out like I’m some mythical animal that writes in the woods and you will make sense of what I am creating. That’s not what I’m about. For me, accessibility is key because that’s what I … In the music that I listen to, when I can access it and it makes sense to me, then it’s great. I’m not trying to make a social experiment out of my music. You know? I love the accessibility and the human connection to much to act like I’m all mysterious and stuff. That’s why I remember the week that I released my EP I went on to rap genius and just put in all my thoughts. I think there are so many typos in there because I literally was just like consciously streaming thought, just typing in there every song … How it felt when I was writing it. Production things and I just like that. I prefer being really honest with my audience and being like, “This is what this song’s about.” Or explaining things to a point where then they can slot themselves into it. I feel like eventually you can explain things the way you want but people are going to put themselves in it and make meaning of it themselves.

http://genius.com/Wafia-xxix-ep-tracklist-cover-art-lyrics

Leave it all up there for interpretation.

Wafia:

Yeah, everything is up to that. That being said, I can also provide my interpretation of songs. You know?

Exactly. What does your songwriting process look like? From inspirational thought through to finished product?

Wafia:

I think it varies every single time. I can’t imagine being stuck with one method. I definitely … I could hear a piano thing and it’ll inspire me to write a song and maybe that piano thing will never end of making it to the final song. Other times, it’s me coming up with a concept and going to my two main co-writers and being like, “Hey, this is an idea and I really feel like we can create something better of this” and working with them. Sometimes it’s me working on some production to begin with and then writing stuff to it depending on the mood. I mean, everything is very case by case.

You spent time at Gotye’s creative sanctuary for your latest EP, how did that come about?

Wafia:

We were connected by a mutual friend a very long time ago. Like before “Somebody that I used to Know” came out. Then I was meant to go down to Melbourne and meet up with him and his partner a few times and it just didn’t work out. And then “Somebody that I used to Know” came out and I didn’t want to be that person that’s like, “Oh my god, but make time for me now.” So I just like stopped really responding to messages and all that stuff because I didn’t want to be annoying.

Then I had a track with Japanese Wallpaper that came out and the day that it was released Gotye shared it. I was like, “Oh cool, he’s still keeping tabs on me. You should probably email him and say thank you.” So I emailed his partner and I was just like, “Please give my love.” All that stuff. And then, you know, they came back saying, “We’d love to meet up. Please let us know when you’re in Melbourne.” Then I did and we ended up co-writing and it was really great. It was just like it happened very organically. It’s not like managers put us in touch, it was just really nice and that’s such a beautiful place to work out of. I really hope I get to do it again, soon.

It’s safe to say that Pharrell is a massive fan. He’s even requested to be sent more music from you. How does it feel to hear that? Are you inclined to humour him with some sounds?

Wafia:

I think we sent him and his co-host the EP before it was released so that was really cool. That’s definitely a ‘pinch me’ moment. I think about things a lot, and I’m like, “He’s human. We’re all human.” It’s really cool that he likes it but also in the scheme of things what is it? You know? What differs him liking my music than someone on Twitter with 20 followers. You know? What is the difference? It’s just that maybe his name is said a bit more in certain circles.

Exactly. Maybe he’s a little more cautious with what he shares because of his title in the scene also.

Wafia:

This is very true. I’m definitely thankful for moments like those when people who do have that platform choose to share my music because, like you said, they can choose not to. They heard something enough in it to be like, “Hey, I think my audience might like this or take something away from it.” It definitely doesn’t discredit it at all. It’s very humbling.

Exactly. Your track with Thomston, “Window Seat”, is as romantic as it gets. This one thing to blossom naturally. Any talk to join forces again?

Wafia:

Yeah, he’s definitely become someone … We wrote that on the very first day that we met. After that, we were like, “We have to keep working together.” And so we have. I’ve gone to New Zealand to write with him and he’s come up a couple of times and we definitely have a lot more in the works together for my album and EP and stuff.

You’ve been touring a lot with Reggie AKA Taku of recent. What’s that like and how does it feel to be part of the Future Classic fam?

Wafia:

It’s really nice. I think Reggie and I’s relationship also came together very organically. Like, again, it’s not like anyone set us up and was like, “You guys work together.” And that’s how it feels like when I work with him. What it’s like touring with him as well. It just feels like, cliche as this may sound, as a family. Everybody is looking out for each other. He’s just a very kind and generous collaborator. You want to give him your best all the time. I mean it’s the perfect environment. We sort of complete each other in the way that we work. The things that I might be bad at, he’s very good at. And vice versa. So we feed off each other a lot.

Do you feel that’s something you’re moving into the future with, that sort of romantic soundscape?

Wafia:

Yeah, definitely. There’s not much I can say about that right now but definitely.

What was the last song you heard that moved you emotionally?

Wafia:

There was a song called “Open Arms” by RKCB and this kid called Demo Tapes and it’s just like been on repeat for about a month and a bit. It’s just a beautiful and simple song.  But it’s just like I wish I wrote it. It’s just got the most beautiful melody. It sounds so open and refreshing. It doesn’t really sound like anything that I’ve really heard before but the production makes it really accessible. It has a little bit of a Jai Paul vibe. The lyrics are just gorgeous. Beautifully simple but simple in a way like, “Damn, why didn’t I come up with this.” But you know that you’d never be able to.

They’re usually the best ones. Lastly, What’s next for Wafia?

Wafia:

I’m doing quite a bit. I’m touring overseas this year and then I’m putting out an EP or 2 in the same year as well. I’m doing like Splendour in the Grass as well and then hopefully doing some more shows around that in Australia. It will be a busy year, but I’m really excited about it and they’re all good things. Busy is the best way to be.

Any collaborations on your EP to come that you can share or any secret leaks?

Wafia:

All I can say is that I’ve been in the studio with Taku a lot. We’ll see in about a month what will come from that. We’re doing a show together at the Sydney Opera House also for Vivid Live if that’s any hint.