Originating from Stoke Newington, London, Mychelle is a distinctive voice that resonates across the airwaves. She made her mark within the busking community, dedicating years of effort before being recognized and signed. Since her debut, Mychelle has steadily cultivated a loyal following with her folk-inspired RnB tunes.
Mychelle first gained our attention with “Forbidden Fruit,” a collaboration with FAMM labelmate ENNY in 2022, which highlighted her ability to reach impressive high notes over a finger-snapping rhythm. After a series of EPs that contributed to her artistic growth, Mychelle released her inaugural album, “Good Day,” earlier this year. The album takes listeners on an emotional journey, culminating in a cathartic resolution. Throughout this conceptually rich album, Mychelle presents herself as vulnerable and genuine, reflecting the deeply personal themes explored.
CLASH engaged with Mychelle via Zoom on a drizzly Wednesday afternoon. Cheerful and charming, she shared her thoughts on the possible decline of busking as an art form, the insights gained from her labelmates, fostering community through giving back, and the authentic storytelling found in her debut album.
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Your debut album “Good Day” is quite an emotional journey. Has creating this record and receiving a positive response been a form of catharsis for you?
I have an upbeat personality, so it’s been rewarding to reveal my more vulnerable side. It’s nice when close friends remark, “I didn’t know you went through that.” They end up interviewing me in a way (laughs).
In your early days, you busked. Do you think it’s becoming an art form that’s fading? What effects might this have on new artists trying to emerge?
I think it was already beginning to fade with the rise of social media. I started busking around 11 years ago when platforms like TikTok didn’t exist, and Instagram felt completely different.
While I didn't busk solely for money, the lack of cash flow now has altered things somewhat. Nonetheless, I still cherish it as a way to practice and perform. Seeing DJ AG thrive gives me hope; while it hasn’t revived busking entirely, it fosters a lovely community where people can discover artists. It’s like a performance, but without the anticipation of an audience.
With my most recent album, I wasn’t familiar with playing the songs on guitar since it was my first project collaborating with various producers in the studio. In contrast, with my earlier works, I would write songs on guitar and busk before stepping into the studio, which made me feel more prepared when performing. That’s why busking remains crucial for me.
Traveling plays a significant role in your writing process. What inspires your music during your travels?
Cycling limits my ability to text, which creates a sense of freedom that allows ideas to flow. I can also sing to myself more without the self-consciousness I’d experience on public transport. Listening to music while in transit is my preferred way to enjoy it, which might explain why I gravitate towards writing in that setting. There’s a thrill in cycling while immersing myself in my saved music, almost like living in a movie!
When I listened to your album, it felt perfect for live performances. How do you think performing it live will enhance the record?
I don't yet have plans to perform with a full band, although I would love to. I crafted the album with that goal in mind. I’ve supported artists like Michael Kiwanuka, who has an incredible band, and that’s what I aspire to achieve on stage—not just performing songs, but creating a complete musical experience. I’ve done it solo with just my guitar, adding elements not present in the album.
Your label, FAMM, includes artists like Jorja Smith and Maverick Sabre. Have they offered you mentorship? What are the key lessons you’ve learned from them?
I often consult Maverick Sabre, who consistently provides sound advice and affirms my feelings. It’s reassuring to know that even after years in the industry, he still shares similar thoughts. I supported him about three years ago, and that experience motivated me, as I observed the seamless flow of his shows and their overall design.
I recently joined Jorja Smith on tour. Although I don’t interact with her frequently, we shared some lovely moments on the tour. The entire live show atmosphere felt nurturing, filled with camaraderie. I made sure to watch all her performances in various settings—some nights I’d be at the sound desk, others I’d be on the side or elevated. Even with the same songs, each show felt unique, and I took notes constantly.
Listening to “Time Only Time,” I felt a Beyoncé influence in your vocal delivery. Do you draw inspiration from other artists for specific tracks?
I’d say it happens somewhat subconsciously. I listen to Beyoncé and feel certain emotions from her work, but it isn’t
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Originating from Stoke Newington, London, Mychelle possesses a voice that resonates strongly. She earned recognition in the busking scene, where she worked diligently for years before