This is Jann
Hello Jann, congrats on your latest world tour, great show in the UK at the iconic O2 Shepherd's Bush Empire! The crowd was energetic and everyone truly enjoyed the performance!
Arachnophobia" has a captivating and atmospheric sound. What was the inspiration behind this single, and what message do you hope listeners take away from it?
J: I wrote the first part of “Arachnophobia” in about 15 minutes and I think it shows haha. But I liked how in their simplicity and naivety, the lyrics showed the state I was in at the moment. I was stuck and burned out. I realised that I don't really know what I'm doing and I'm focusing my energy on the wrong thing. And to get out of that I had to reevaluate most of who I was. I'm still in that process. Sound-wise I knew I wanted it to be simple, repetitive and growing in layers. I wanted it to reflect that feeling of being stuck and desperately trying to get out. I always want people to feel what I want to convey even if they don't understand the lyrics. Music carries so much emotion by itself already.
2. You've had an impressive journey, from performing at the National Opera in Warsaw to creating modern pop music. How has your classical background influenced your current sound?
J: It affected how I approach writing music and definitely affected my vocal technique. I'm working very hard now to relearn how to use my voice. There's so much that classical technique gave me, but It became a default not an option. Whenever I want to do something new with my voice, my body just shortcuts to what it already knows. Working on changing it takes a lot of effort, help and patience but It’s also very gratifying and fascinating. In terms of writing music, I often use techniques that I’ve learned at school. Sometimes deliberately, sometimes totally subconsciously. When I'm stuck in the process, I reach into my toolset and try different things, see if they work.
As a writer and producer, you’re involved in every aspect of your music. Can you tell us about your creative process? How do you approach songwriting and production?
J: It still varies, but I definitely navigate through my process with more confidence now. I usually start with music. Whether it’s a piano, guitar, synth or a vocal, I draw a sketch of what is in my head. After that, the composition and production often intertwine. I look for sounds, textures, rhythms and before I go into the studio with a producer, I already have a very strong foundation. Other times I go into the studio with something super simple and need to bounce ideas off Jerry. He’s the first producer I've ever worked with and the first to recognise me as a producer. As someone who knows what they want but often lack the engineering skill to execute it, it's very validating. He understands me so well but also encourages me to take the lead. Offers a lot of help and creative input but doesn't push his own ideas. We respect each other and there's no ego in the process. I know that relationships like that are rare and I cherish it a lot. Writing has always been a part of creating with which I felt the most uncertain and lost. When writing ‘I store my fear and my pain in the nape of my neck’ I approached it with curiosity. Instead of controlling the process, I tried to research, act and observe. I’ve learned a lot but also found so much joy in it. It used to scare me to sit in front of a blank page and now it doesn't. As much.
You've toured with major artists such as Madison Beer, and sold out shows across Europe. What have been some of the most memorable moments or lessons you've learned from performing live?
J: One of the most memorable moments is from my recent tour. After the show in Milan people started singing ‘Sei Bellissima’. I was caught off guard, The club was filled and they were singing so loud. It was super sweet and moving. When it comes to lessons there are countless. I always do a recap of what was good and what could've been done better, but I would definitely say that you can never be too careful when it comes to health and you can never have too much sleep.
Your fans have been able to enjoy your album 'I store my fear and my pain in the nape of my neck' for around a month now. How does it feel to have this body of work out in the world? Are there any particular themes or sounds you've explored within it?
J: love this project so much. The process of creating it was so nerve-wracking, but looking back on it I see how valuable it was. I put a lot of fear and pain in it and feel so much lighter now. It was therapeutic. When releasing it, I had no expectations, I didn't care too much if people are going to like it. I was so excited to put it out and move onto the next thing. And I mean it in a good way! This album is some of the best music I’ve done so far, but making it was very transformative. It unlocked such a creative hunger in me that I just want to see what else I can do. My entire approach towards myself and my art has completely changed.
Your rise has been rapid, and you’ve gained a significant following both at home and internationally. What do you think connects people to your music, and what do you hope to achieve as your career continues to grow?
J: It is such a privilege to play shows nowadays and I feel so grateful that my music is able to reach and gather in one room people who care about it so we can experience it together. I treat my music as therapy and a means to communicating my opinions and beliefs. It might be the authenticity that attracts people, it might be my views they relate to. Or it might just be the sound. Everybody's looking for something else. I just hope I can share my art with as many people and for as long as possible. I want to grow as an artist, develop my skills and be more honest and open in my art.
And finally, what do you think SID stands for?
J: Strong Inner Desires?