Music
Interview
Ego Ella May: “I vocally produce and engineer all my vocals”
The South London singer-songwriter talks about the versatility of live renditions, her MOBO nominations, and the importance of community care
“This song feels like when you wake up, suddenly realise it’s not a work day and that you can stay cosy in bed for longer” says a comment on Ego Ella May‘s ‘Don’t Take My Lover Away’ music video. The latest in the soulful singer-songwriter’s string of singles leading up to her upcoming album, Good Intentions, the YouTube comment aptly captures the warmth that permeates throughout Ego Ella May’s music. It’s sweet but not saccharine, vulnerable but still comfortable, relatable yet still uniquely her. You can always trust the music to be honest.
An honesty that is always rewarded, Ego Ella May is now nominated for Best Jazz Act at this year’s MOBO awards, having previously won in the same category in 2020. The nomination precedes her album release – Good Intentions drops on 20 March 2026 – and is a confusing but welcome surprise for the artist, which she conveys during our interview. “I was really surprised to get the nomination because I thought, “well, the album’s not even out yet. What is this?” But I’m really excited about it.” I’d argue that the MOBO nomination is a vote of confidence from her peers in the industry and devoted community of fans. They trust that Ego’s artistry will continue to be authentically soulful.
“My intention [for this project] is to make music that I’m proud of,” explains the South London musician at an intimate preview of her upcoming album. It’s a project that balances every influence we speak about in our interview – elements of “70s and 80s Afrobeat”, of the “singer-songwriter aspects” of folk music, of pioneers like Stevie Wonder, of unexpected sources of inspiration like Detroit techno. Ego Ella May leads with her heart, both in the studio and on stage.
Ahead of her UK tour dates lined up in Manchester, Bristol and London, we caught up with Ego Ella May to discuss Good Intentions, her musical influences, what “jazz” means to her, and African parents’ love for Phil Collins.
You’ve released four singles so far, ahead of your album, Good Intentions. How are you feeling about the upcoming project?
I’m feeling really excited. It’s been a long time coming. I’m just happy that I can see the finish line finally. And with the the four singles [‘Don’t Take My Lover Away’, ‘What You Waiting For’, ‘What We Do’, and ‘We’re Not Free’], the reception has been really nice. So I’m excited for people to hear it in full.
I want to talk about your single, ‘We’re Not Free’. Why did you feel like this was the right time to have this message in your music?
I just think it’s necessary. You only have to just look around [you] and it’s just chaos, isn’t it? ‘We’re Not Free’ is a song about collective care, caring for your neighbour, and not always just thinking about yourself. And I feel like that is a message that we could all use, myself included.
Is that message something that fans can expect on your upcoming album, Good Intentions?
Well, the album has a range of different topics. I think that’s what I’ve tried to portray with all the singles that we’ve had so far. There are a lot of different things that I’m talking about on this album – it’s not just one topic. So no, fans can expect a range of things.
The way that you stack harmonies feels very choral, communal, and enveloping. How does your voice – as an instrument – play a role in conveying what you want to talk about?
Well, I play around a lot with my vocals. I vocally produce and engineer all my vocals, and I think it gives me room to improvise, to play, to get things wrong, to do all my bum notes in peace in my home studio. It’s just a way that I’ve been able to push myself vocally and grow that side of me. I love stacking harmonies. I love listening, and using my ears to try and work out which notes work. It’s the geeky side of me, and it’s really fun to do. Sometimes it’s not [fun], like when you can’t quite get it right and you’re thinking, “what is that harmony? I can’t quite get it!” That’s really frustrating, and it can take me hours to figure it out. But once you get it, it’s really fun.
You’ve nominated for a MOBO award for Best Jazz Act, which you’ve previously won in 2020. How are you feeling about it?
I feel good. I was really surprised to get the nomination because I thought, “well, the album’s not even out yet. What is this?” But I’m really excited about it. And I’m actually going for the first time. I didn’t go in 2020, obviously, because there wasn’t actually an award ceremony. So I’m excited to go to an award show for the first time, get dressed up, be with my team, and just celebrate.
Would you describe your genre as jazz? There are so many different elements in your music such as neo soul and R&B – so how would you describe your music?
I think when people speak about jazz, especially in London, essentially what they mean is “kind of alternative”. It’s a whole bunch of different genres blended into one. That’s how I’m taking it, because for a lot of the people in that [category], it’s not exactly Jazz Jazz. It’s more like, “oh, this is kind of outside of the box. So we’re going to put it in that jazz category.” It actually just means it’s forward-thinking and out of the box, which I take as a compliment.
So would you describe yourself as forward-thinking and out of the box?
I would say so. I have a lot of different influences, though, it’s not strictly jazz. I come from a jazz background, but I listen to different kinds of music, and I think all of that influences my sound. I don’t necessarily call it anything. I mean, when people ask me to describe it, I’m like, “it’s like jazzy… soul… alternative…” I just don’t even really know. I always ask, “what do you think?” because it’s quite interesting to hear how someone else describes my music. Everyone always says different things, which I think is quite interesting.
Your music has drawn comparisons to Erykah Badu and anaiis, and you’ve mentioned that you listen to a lot of different music. Who do you draw inspiration from?
I listened to a lot of Stevie Wonder when I was growing up – he was my ultimate. I also listened to a lot of 70s and 80s Afrobeat; jazz music, of course; gospel; R&B; pop and classical. My dad was really into Phil Collins. I loved Phil Collins growing up, and then as a teen, I was really into folk and the singer-songwriter aspect of it. I listened to Joni Mitchell, and Neil Young. I really tried to find a lot of music, and I’m a really big fan of music, first and foremost. I listen to a whole range of things and and that influences what I make, of course. But I wouldn’t say I’m just a jazz girl, because I’m definitely not.
All African parents really love Phil Collins.
And Celine Dion!
What do you want fans to take away from your live performances?
I really want them to have a nice time watching me have a nice time [on stage]. And I also want them to hear the songs come to life with a full band. I think it’s a whole different way to experience music in its live element – I just can’t describe it. Hearing live music is an indescribable feeling. I guess I want people to feel that indescribable feeling that I feel when I go and watch live music.
Does the live version differ a lot from the studio version?
It depends on the setup. There are some times where I don’t have a full band, and then, of course, it’s going to have to vary. But I like when [the setup] is switched up a little bit. You’re in this room and you’re hearing the music, but that’s the only time you’re going to hear it played that way. It’s not recorded, we’re just doing a different, exclusive version of it. It just shows how free you can be with your music, and how cool it is to be able to switch things up. It’s like a little challenge that I like to set sometimes.
What venues do you hope to play one day?
I would love to play the Royal Albert Hall one day.
I’m manifesting that for you.
Thank you!
Is there anyone that you’d really love to work with in the future?
I really love to work with Solange. But I would even be happy just doing backing vocals on her song – it doesn’t even have to be a full duet.
You heard it here first, Solange!
Yeah, just let me do your backing vocals. That’s all I want.
Ego Ella May is nominated for Best Jazz Act at this year’s MOBO Awards – find tickets here
Get tickets to Ego Ella May’s UK tour dates here
