Seeking Self-Discovery: The Rise Of Sophie Faith

Sophie Faith is a name that if you haven’t heard about already, you’re sure to hear about soon. Blending jazz, R&B, and soul, she has been making waves since her debut in 2017. Her soothing vocals and songwriting ability have earned many fans including Stormzy and Nile Rodgers.

Her last EP, ‘The Right Side Of Wrong’ explored openness and love, showcasing their talents to a wider audience. Sophie has experienced a lot of pain from an early age, with her music being her therapy and form of expression. Her new EP ‘Hold My Drink, Watch This’, marks a new chapter in the singer’s career.

Fresh off the back of some career highlights like performing at Glastonbury and a European tour, this project explores a different person. As referenced in the title, Faith has taken on sobriety in the last 9 months to improve her mental health. This has seen a move towards becoming her best self, with more set to come.

The music also explores this with the record looking at the journey of a relationship and growing as a person. The singles already have shown this including the recent collaboration with rising star Kwaku Asante, ‘Call You’. A rarity for Sophie, this track sees two rising stars showing their talents.

We sat down before the release of the new EP to discuss how sobriety has changed her and the music, working with Stormzy and supporting Nile Rodgers, and the importance of KOKO to the project and to herself.

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Having listened to your upcoming project ‘Hold My Drink, Watch This’, I heard somebody confident and self-assured and found what is right for them in life. Is this something you discovered during the process of the project?

This project has been a journey of self-discovery. Also, within finding the confidence, perhaps the self-assured aspect of it came later on. That is how the name came about, it didn’t start (as) ‘Hold My Drink, Watch This’, it was something that has evolved. It’s been a really nice way to sign off a transformative time.

You have this ability to blend a variety of genres like jazz, R&B, and soul, which allows you to cover topics in different ways. Was this the music your family listened to or part of your musical discovery?

I have quite an eclectic sound, because of the music I picked up. My grandparents listened to a lot of Motown and soul. I had different boyfriends who would introduce me to different hip-hop, that I loved the hooks on. When I enjoyed dance music I was living in Brighton. From all these different walks of life, I’ve collected different influences from each place.

(I was) heavily influenced by the likes of Lauryn Hill, Amy Winehouse, and people who aren’t afraid to mix up the sounds and sonics. I don’t want to be boxed in, I just want to express whatever comes out.

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How do you think jazz, R&B, and soul have evolved in the U.K. during your recording career and what do you see as the next stage to take these genres up a level in popularity?

In the last five years, there has been more of a focus on the U.K., and how concentrated it is with talent, be that R&B, soul, or jazz. You see people like Sinead Harnett (and) Sasha Keable, who reach a glass ceiling in the UK, but get more love abroad. In America, it is not a niche genre, it’s massive and they have a different love for soul music.

I feel like when I have been out in L.A., the reception of British people is great. They know that there is something in the water here. It’s sad, but unless you’re the 1% the U.K. wants to put out, people are going Stateside. Elmiene and my friend, Nia Smith are just on a U.S. tour, and it’s great to see the U.S. be so receptive to U.K. R’n’B and soul.

At the MOBOS and the BRITS, R&B is quite a confused genre in where they are placing people. Even if they put more focus on giving more platform in the U.K. for these genres, it will expand. But, right now, it is quite sad that you can only reach a certain level. You can’t really buy a house being an R&B singer in the U.K.

Last week, someone posted on an American TikTok playlist one of my songs from two years ago. I checked my Artists for Spotify, and it has gone up by 900% in plays. Those small things can help you elevate.

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Kwaku Asante was the only feature on the project and you both blended very well. What made him stand out as the person you needed for ‘Call You’?

I had heard a song of his called ‘Dust’ and I had it on repeat. So, I reached out, which I don’t think enough of us artists do when we respect someone we don’t know. 

I did it and he messaged back and said he enjoyed my song, ‘Heart Is On My Sleeve’, so I said let’s get in. He happened to have a session booked with Fred (Cox). We created (‘Call You’) the first time we met. I told him a story of something I was going through, and it came out quite organically. 

I wanted to put a feature on the project. I don’t tend to do features often, but he is one of the greatest UK Male vocalists. I also have some other vocals on the project: BAELY who is an amazing artist, K O J O From MRCY, and Nectar Woode who is on ‘Missing Me’. It’s been nice collaborating with friends.. and Kwaku was incredible to work with on ‘Call You’.

When listening to the project and looking at the cover art, there are a lot of references to the venue KOKO. What is so special about this place to you?

When it first opened again as a members club, I was gifted a membership. (It) was a place where I switched off from all the hecticness. Also, it is a massive venue that I wanted to play.

When I think of Camden, I think of KOKO and all the nights out there. I just love the essence of Camden.

One of my friends Becky Mann, who does illustrations, I was thinking of what we could do around giving a little easter egg for the next single, which is called ‘KOKO’. The front of the building is just beautiful and she came up with the idea. I was like, “Yeah, that is the one.”. 

The story evolves with me high off ‘Dopamine’ at the beginning and love drunk, and at the end being just tired and feeling empowered and strong. They are calling up and I’m just like, “No, no. It’s time to wrap this chapter up.”.

The title of the project is a reference to your recent sobriety. What were your reasons for doing this and how has this impacted you within yourself and your artistry?

To be frank, I was a hot mess. I was trying to juggle being an artist and having to be switched on morning, noon, and night. But, then feeling like after a show I could congratulate myself with a 2-day bender or an afterparty. I would go through these periods of working really hard and it started to affect my voice (and) my emotional stability. 

I had been drinking and partying since I was 14 years old, and it wasn’t fun anymore. So, I took myself off to Asia for a while, and read some good books. I came back and knew something had to change.

I’ve moved out of London which has been a great help. I have now done Ibiza, Glastonbury, and a lot of weddings where I have stayed sober, so I’m in the clear now.

It’s been a crazy year seeing how work is affected positively, and everything seems to be falling into place. The team is different; I have a new manager; my lawyer is great. Things are looking really positive now.

Before, you could hear in my music that it was based around a lot of struggle and pain, and it (was) like therapy to get through that. But now, I am looking forward to it being a happy album. (laughs)

It is such a massive part of our culture. I’m half-Irish as well, my mum was a massive p**shead as well. (I was) growing up working in pubs, bars, and living with boys. In a way, I miss the culture of being super silly, but it is not worth it. I want to put my head down and think about whether to be a mother or a wife.

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You’ve collaborated with and supported iconic musicians like Stormzy and Nile Rodgers. What is the biggest lesson you’ve learnt from these people?

I’ve written with Stormzy, and he is such a humble and genuine guy. He understands how powerful his platform is. 

Nile Rodgers was insane. His stage presence was phenomenal, and it was incredible to be on stage. I’ve listened to CHIC all my life; my family are big disco lovers. Odeal was crazy as well. I saw Sasha Keable last week and her realness and the way she has (the audience) like putty in her hand is admirable. 

 I used to live with Linden Jay, who is a big producer who has produced for Doja Cat. He taught me (that) you can riff or sing, but you don’t have to give one everything all the time. It’s been imperative to making music.

What inspired you to do ‘Sophie Faith and Friends’ and what has been the impact?

I loved having house parties and dinner parties. It started as I was managing pubs and bars, and I would have people round to have a jam. When I was living with Linden and the boys, we used to have crazy get-togethers. But, I moved out of there last year and I wanted to continue it. 

It garnered a bit of excitement, as musicians would see it online and want to attend. Soho House offered me a residency and I have been there a year now. I’ve also wanted to open it up to the public, not just members (of) 91 Living Room.

It’s been a great experience to showcase loads of artists that I rate. Some of them were backing vocalists, but, honestly, they’re some of the most talented people I know. 

When writing this new project, what was a lyric that took your attention?

On the single about to come out (‘KOKO’), I was like, “Most of the time I just want to be alone / Got to put my feet up sometimes / Leave them on read on recline.”. It’s so simple.

The grind ethic in London is so strong, everyone feels like they have to be busy, and their diary is full. Actually, there is real beauty in being able to switch off, ruminate about ideas or artwork, or go to the more creative side of your brain. That felt special to exhale that and reflect when I look back, and say, “Oh. Maybe I just need some time off.”. My brain is subconsciously calling for it if I sing about it.

That is why I made the choice to leave, and I live 45 minutes out now in a little cottage. I still get to come in for the chaos 1 or 2 days a week, so I don’t forget who I am. Life for me is calming down, eating good, (and) getting some early nights. 

Who are some artists you’re loving right now that people need to know about?

Pip Millett, Sinead Harnett, (and) Sasha Keable; they are flying the flag for U.K. R’n’B. But, there are some of the young guys that are really exciting. Humble the Great is sick. His new song ‘angie’ is amazing; that is with the same writer as ‘Dopamine’. Tia Gordon, I have been writing with. 

Nia Smith is amazing; she just did a remix with Popcaan (and) she did B.V.s for me. I found her a long time ago. I came across her when she was sixteen, after she came up to me at a show. I feel like Auntie Soph. I’m seeing them fly the nest.

It’s bubbling at the moment and exciting to see. 

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‘Hold My Drink, Watch This’ EP will be released on November 8th – pre-save it now.

Words: Tom Atkinson

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