FEATURE:
Spotlight
Jessy Blakemore
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I will start out with…
an interview from the BBC from June last year. They spoke with Jessy Blakemore about her music and why she is an artist to look out for. A wonderful talent who wants her music to convey the vulnerability she felt recording out of her bedroom in Reading, there is an intimacy and sense of emotional trust in the music. What I mean is that she opens up her heart and trusts the listener to let her in to their life. To take the music fully into their hearts. I think that Blakemore is an artist with a long career ahead of her. Last year, she released her debut E.P., if you need me, I’m a few missed calls away. It is a great title (though the cover is not as inventive as it could be given that title) that beckons you in to an album with no filler. A wonderful E.P. that everyone should heart:
“Her debut single burna is the first sign that she has captured the realness she was aiming for, something "super stripped-back, super honest, and super raw".
The up and coming alt-pop artist is signed to record label Black Butter Records, who helped bring artists like Rudimental, Gorgon City, and J Hus to public awareness.
Blakemore first drew attention to her own talent via TikTok and Instagram clips of her typically stripped-down performances - her Kendrick Lamar and Shiloh Dynasty covers have so far been viewed more than a million times each.
She recently took her own songs to a larger stage, such as supporting SZA at BST Hyde Park, external, and appearing at The Great Escape and Cross The Tracks festivals.
Surreal experiences have stacked up as the momentum has ramped up - after one gig actor and musician Idris Elba said her performance was like "watching magic", and her face has appeared on digital billboards in London.
"I could not believe it - like wow, what a compliment, it was insane," Blakemore says of Elba's declaration, while the billboard was "so bizarre" but made her feel "super proud".
She adds: "I'm trying to turn my nerves into excitement... it's a super scary thing.
"I've never released music before. I'm just trying to roll with it, take it all in my stride."
Blakemore counts Frank Ocean, Amy Winehouse, and Bon Iver among her influences.
She loves Lauryn Hill too, particularly her 2001 MTV Unplugged performance, external, divisive upon release but largely since re-appraised as intimately capturing an artist baring her soul.
"I've honestly watched and listened to that Unplugged so many times," Blakemore says.
"I just think it's really nice to invite people into your world, into your space, into your mind."
How does she find that process herself?
"It's something I've had to learn to do, especially with performing.
"It's very easy to be vulnerable in your own space, when you write a song in your own room, but taking it to a stage and performing it is so different."
Blakemore's single burna explores infidelity from a male perspective, a songwriting decision she says "opened up this whole new world", but she constantly draws inspiration from those around her.
"I love whenever I'm on the train or on the bus. I'm always so nosey, listening to other people, because people sometimes say the most poetic and profound things in their daily lives," she explains”.
There are a few more interviews that I want to get to. In terms of videos of Jessy Blakemore’s music, we have live versions. Her album E.P. tracks are on YouTube, though I could not find any official music videos. I hope that some do appear soon. Blakemore has been tipped for success by a few sites. CLASH included her as one of the twenty-six artists they tipped for success this year: “Jessy Blakemore’s music feels like a secret we all have but don’t want to share. One of the UK’s most exciting young acts, Blakemore saw a steady rise in 2025, first garnering attention for her raw storytelling and sonic poems on social media. Since then, she’s released several singles and an album, leading with soft production scapes and vocals to die for. Her smooth melodies and stripped back rhythmics feel innately intuitive and intimate, telling stories of love, loss, and becoming. Orbiting between the sonic homes of R&B and pop, Blakemore inhabits the spaces in between seamlessly”.
New Wave Mag spoke with Jessy Blakemore last year. This is an artist who is authentically raw and open. Someone you feel would be happy to make music in her bedroom and release that to the world. Maybe that is why live videos are up rather than single videos. It shows the purity and bones of the song, rather than distract us with visuals and big sets/scenes. I do feel like Blakemore will put out music decades from now:
“Of British and Zimbabwean heritage, Jessy speaks candidly about belonging and the evolution of it. She said “Culturally, I’m very British. I don’t have the biggest cultural connection to Zimbabwe, which I’m sad about,” yet she sees this as an ongoing process of growth. “It’s kind of like discovering for the first time… that part of the journey feeds into the creativity", she added.
That feeling of expanding self-identity and embracing different aspects is something she carries with quiet confidence and openness. “You always feel like there’s this feeling of being out of place, maybe,” she reflects, “there’s things about British culture that I don’t agree with, and there’s stuff that doesn’t really agree with me.”
This honest exploration will only take Jessy to further heights, sonically and personally. Firmly based in Reading, the town she proudly claims and where she has lived her "whole life”, Jessy has so far resisted the pressure to relocate and values the significance of diverse voices in the industry.
“London isn’t the centre of the world,” she affirms, “I’m proud of where I come from.” One day, she hopes to flip the narrative, with her own studio set-up and building networks both in and outside the capital, “I want to be like, ‘Yes, you can travel to me.’”
Jessy’s musical references span generations and genres. Growing up, her dad played blues and jazz, while her childhood soundtrack included early-2000s indie and alternative pop. “I loved Arctic Monkeys and The Kooks so much,” she says, smiling. But one influence remains central: “Lauryn Hill’s MTV Unplugged is a massive reference for me… just how emotional and raw it is. That’s always something I want to capture.”
With that inspiration, Jessy’s music is intentionally stripped back; “It’s super guitar-heavy, super vocal-heavy, no drums.” When someone once described her sound as “hood folk,” it kind of stuck. “The folk part is the guitar,” she explains, “and what I’m singing about is kind of standard R&B stuff. So maybe that’s the hood.”
Her current playlist includes Svn4vr, Sade and Mk.gee, reflecting her love for timeless and emotionally rich genre-bending sounds. Evoking chromesthesia, Jessy’s songs exist across the senses; “Especially this project (if you need me, i'm a few miss calls away), the songs feel kind of dark blue or purple to me,” she says, “moody, sad girl stuff. Alternative R&B that’s indie-leaning.”
Jessy’s songwriting often begins with listening to the world around her. “I’m so nosy,” she laughs, “I travel into London a lot, so I’m on public transport all the time, just listening to people talk.” These moments stick. “Sometimes people say really profound stuff in everyday conversation, and I’m like, ‘Oh my God, that’s a lyric.’” She pulls inspiration from many forms: “I love reading. If you’re going to be a writer, you have to read.”
She has a love for drawing and painting, even if time has made those practices harder: “It’s something I really want to get back into.” When it comes to writing, Jessy admits some subjects come easier than others, “It’s always easier to write songs about love and heartbreak, it’s more immediate.” But lately, she’s been pushing herself further, with some songs taking longer to surface.
“For my next project, I’ve been writing more about identity, what it’s like to be a woman, a woman of colour in the UK, and police brutality,” she says, “but they’re harder to write. They’re harder to get out than a love song.” Deeper levels of vulnerability come naturally when she’s alone; “I write basically on my own in my room 99% of the time. Showing demos or being on stage, that’s the harder part.” Still, she believes sincerity creates connection, “If you’re really honest, people lean into that. They give back.”
Staying authentic hasn’t always been a straightforward journey, admitting, “That’s something I’ve really struggled with this past year.” After working in multiple sessions with different producers, something didn’t feel right.
Jessy reflects, “I wasn’t present. I wasn’t writing anything that felt authentic,” so she paused, “I had to ask myself, ‘What do I actually want? What do I want to represent?’” Now, her process is more inward-facing.
“If it feels wrong in your gut, it’s probably not right.” She’s learned to value collaboration rooted in respect. “It’s always great when people credit you properly,” she says, “I’ve had people take my stuff without asking and put it out, it’s really rubbish.” What matters most is alignment and mutual understanding; “People who really love the music and care about it, that’s everything.”
Recently supporting Naomi Sharon on her Autumn/Winter The Only Love We Know 2025 tour marked a shift in how Jessy views herself as a performer. “It was honestly life-changing, but getting the budget together really felt impossible.” But once on the road, something clicked, “I just felt so confident… I felt like I had nothing to lose.” Overcoming pangs of performance anxiety, the experience changed Jessy’s relationship with the stage, “I’ve always hated performing,” she openly admits, “but that tour made me think, ‘Oh… this is kind of fun.’”
Treasuring the experience, Jessy continued, smile beaming, “Just being around women who were all just really good at what they do- so inspiring. And learning to stay positive.” Moments of connection with her audience and listeners continue to inspire, drive and ground her. One message, in particular, stayed with her, “Someone messaged me after the Paris show,” she recalls, “they’d just found out their partner had been unfaithful. They were listening to my song in that moment.” It was a sobering realisation, “I was like, ‘Wow, this is actually real and connecting for people.’”
Looking ahead, Jessy’s goals are rooted in longevity, not hype, sharing, “I want people to be listening to my songs in like 50 years and be like, ‘That’s beautifully written.’” She dreams of leaving a quiet but meaningful mark, “To have a stamp in time on British music, that would be really cool”.
FADER spent time with Jessy Blakemore in November. She shared exclusive photos from her tour and discussed the best song to play live and her best show of 2025. If this is a singer whose voice is meant to be famous, I hope that she does not get too famous, as it puts a lot of pressure on an artist and can be damaging. However, given the quality of her music, there is no way Blakemore will be able to remain completely under the radar:
“Describe the first show you ever went to.
The first show I ever went to was a Leona Lewis concert when I was in year 5. I was obsessed with her while she was on the X Factor and watched every weekend with my mum and sister.
I got picked up early from my school in Reading to travel into London with my school friend. I'd never been to a concert in a big arena like the O2 before so everything was big and new and extremely loud. We were up in the nosebleeds and I couldn’t even see her but I couldn’t stop screaming lol. "Bleeding Love" had to be my most played song of all time between the ages of 6-10.
What’s a motto that you think everyone should live by?
Be kind and always try to be a better person !!!
What’s the best advice you’ve ever received?
What you bury, grows.
What’s your favorite song to play live right now and why?
My fave released song to play live is "shiloh type beat" just because lots of people know the words. It kind of gives me a breather whilst on stage and is nice to share a more lucid moment with the crowd and let them lead the direction of the song.
I’ve been trying out some unreleased songs that’ll be on my next EP, there’s one called "Altitude" that I played with my band at my headline show. It’s a kind of moody Sade/Mk.gee-type track, I really can’t wait for it to be recorded.
Describe the best show you’ve played this year so far.
Best show so far this year had to be my first-ever headline show. Was the first time I’d played with a full band and they were amazing, it brought my acoustic songs to life in a new way. The tickets also sold out in under a week which I did not expect! I wasn’t super happy with my vocal performance, but learnt soooo much about managing nerves and what to expect from more important shows.
What was the last creative idea you had that made you ask, "Can we do that?"
Not directly creative, but trying to get on the road to support Naomi Sharon on her EU tour. Finding the support to get on the road requires creative solutions and crazy budgeting skills (more than I imagined). Shout out my team for making it all possible”.
Playing Dot to Dot Festival 2026 later in the year, I do hope that there are more dates. Jessy Blakemore’s debut E.P., if you need me , I’m a few missed call away, is incredible. Even if her voice is the central focus and perhaps her strongest asset, I feel her songwriting and lyrics are as important and memorable. The rest of this year is going to be memorable for sure, though Blakemore’s best days lay ahead. She is here for longevity and not to be famous or a viral artist. Given the incredible standard of her music, she is going to be releasing brilliance…
FOR decades more.
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