Silk on the surface, shrapnel underneath — that’s EMEREE’s pen. Her latest single Locked Up is designer poison with a satin bow: seductive vocals stacked over a beat that feels equal parts slow-burn and sucker punch.
Tongue-in-cheek, unapologetic, and just shy of villainous, the track toys with power, desire, and destruction — and EMEREE is more than happy to play the part.
We sat down with her to talk ovulation-fueled lyrics, Regina George energy, and why R&B’s new wave might just need to make room for a dominatrix in disguise.
I will never not be a producer on my tracks. I also always write so inwardly and I don’t think anything will ever change the song CREATION process for me.
Locked Up sounds like it could wreck lives. Were you channeling a villain, a vixen, or just pure chaos you?
Hahahaa this is such a funny thing to answer. I always just write in whatever authentic way comes out of me that day. Apparently, I was feeling really powerful and ready to destroy men’s lives (I was probably ovulating). In the writing day there were a few times where Finbar said, “There’s probably a nicer way to say that” and I just said, “yeah, but that’s okay” and went on with what I had anyway haha. It’s very tongue-in-cheek and silly though and not at ALL serious. It’s fun to cosplay as some kind of ‘all powerful dominatrix’ when actually I’m very shy and pretty introverted. I think it’s very sexy and fun to play into.
Let’s talk toxicity—was it liberating to lean into that Regina George energy in the studio, or did you surprise yourself with how savage the lyrics got?
It was 100% that beat that got me into the master-manipulator energy. It’s SUCH a sexy beat and even in the bare bones we got it on day one it was just so clear where the track was going.
There’s a wink behind the vocal stacks in Locked Up. How intentional was the contrast between silky delivery and chaotic intent?
I don’t think I focus too much on trying to analyse my process. I obviously wanted to be sung in a very seductive and sultry way – just as a master manipulator would. My vocal production process and stacking choices are so ingrained into me that it’s really hard to describe what I actually do and why I make the decisions. I do it all by ear, I don’t overthink the theory and I put in what the song needs.
You said this wasn’t based on real life—but c’mon, no real-life fkboys were harmed in the making of this track? Be honest.
HAHAHAHAHA! Love this. Okay I’m sure there’s some hurt feelings out there but also, that’s the beauty of dating and being vulnerable. It goes both ways. I wish I could be this confrontational in my real life it would probably help me get burned less hahaha. Any man that is butt hurt by this one probably had it coming xx
This isn’t just R&B—it’s designer poison with a satin bow. Was there ever a version of Locked Up that felt too safe before you pushed it over the edge?
Oh wow this is such a compliment! I love that. Genuinely, no. This session was the first time meeting Finbar and pretty early into when I start co-writing for my own project, I have usually only been a co-writer on other artists’ projects. I was a bit hesitant to be quite so brutal in my lyrics with a person who didn’t know me at all but Finbar is awesome and I felt super comfy in the room. We also really bounced around doing all aspects of the song – I’d start parts of production and Finbar would throw melodies around, and then we’d switch up and it didn’t feel uncomfortable or like I was stepping on anyone’s toes. Sometimes that can be a hard line to toe if you have a specific sound you like to go for as well.
From Cleo Sol’s soul to Ariana’s sparkle to Pink Pantheress’ glitch—your palette is femme, rich, and razor-sharp. Are you here to take your seat in R&B’s new wave, or flip the whole table?
There’s too many incredible people in this genre to be flipping tables without crediting those that are due, but I like to think that I’ve worked hard as a producer and engineer in a way that has allowed me to develop a unique and distinct sound. I never want to sound ‘exactly’ like anyone else and I want to remain authentic to my own sound and production style.
You’ve got Splice, NME, and CAA behind you now. How do you keep your pen sharp and your production personal while everything around you gets bigger and glossier?
Music is literally how I function. I know that’s lame to say but it’s how I figure out my view of the world and process everything. I love that I can either collaborate with amazing people or create everything myself in my own studio, and at the end of the day it will all sound cohesive. I will never not be a producer on my tracks. I also always write so inwardly and I don’t think anything will ever change the song CREATION process for me. The shows might get louder and the team might get bigger, but at the end of the day and it’s still me in my own little space getting out whatever I need to that day.
You co-produced this with Finbar Stuart—what did he bring to the track that made it sparkle (or bite) harder?
Like most of my co-production sessions, we did an initial day of work as a writing session, and then I took it away and produced it up to what it is now myself. I like to do vocal production especially in my own space and shape the work I’ve done with a collaborator to fit in with my other stuff. I’m still of course always wanting to keep the core of what they brought to the track to make it special. The beat and pocket of the track is what MAKES Locked Up so good and that’s absolutely thanks to Finbar. I am also often one to write overly complex parts when the best thing for the song is to keep it simple. The prechorus was definitely Finbar’s idea and I think to have that space from such a wordy hook and verse is crucial and really pulls it all together.
You’ve worked with serious legends lately—Ian Barter, Eg White, Nile Rodgers. But let’s be real: who’s someone you’d never work with, no matter the clout?
Anyone who is discriminative or has values that I don’t think are fair. The audio side of this industry particularly is inSANELY male dominated with only around 3% of producers being female. I have been in SO many rooms where I am talked over, or people still don’t recognise that I know how to do my job – no matter how many big credits I have or years of experience. I didn’t start producing to ‘prove’ that I can do it because I’m a woman, I just found a skill I was passionate in and loved and worked hard at it.
For some reason, I’m met with different attitudes to a lot of other people doing the exact same thing that I am. I also don’t like to be in rooms where I’m nervous to write something that is my truth – I’m a queer woman and sometimes I still get nervous to write about that if I’m in sessions with new people. It still happens, but I’m getting better at removing myself from those situations. I’m not a confrontational person, but I know how hard it is to cut through and be taken seriously in my role and I won’t work with people who judge someone’s ability based on where they’re from or the circumstances they were born into. If you’re kind and good at what you do, I want to work with you. It’s really not that difficult.
You’re obviously not here to play it safe. What’s next after Locked Up —more sonic seduction, or are you about to throw a left hook no one’s ready for?
I definitely won’t be playing it safe that’s for sure. I have SO much music in the pipeline and I’m itching to get it out so believe me – I won’t be stopping anytime soon.
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