A precious Mettle. A sonic alchemist. A fusing of genres. Isabelle Mettle is one and all of these notions, a producer, songwriter, and remarkable vocalist emerging from UD’s Incubator programme and Flames Collective into an expansive summer of hotly anticipated live performances. We sat down with Isabelle to hear more about her stint in Liverpool, a brief but fruitful interaction with Snarky Puppy, and where she finds herself now at the helm of a burgeoning musical career…

As I browse through Isabelle’s numerous upcoming shows and appearances across the city and far beyond this summer, I’m struck by a framing quote on the poster of her headline show that was held at the New Cross Inn this July. The phrase ends with a conclusive assertion: “this is the future of soul”. It’s an exciting idea, a new era of a legacy genre that soundtracks much of our contemporary living, and one that Isabelle is valiantly pioneering, with her recent summery single (and accompanying music video) Good in Me receiving coverage and plays across BBC Introducing, Clash Magazine and Viper Magazine amongst others, anticipating a delectable-sounding upcoming project titled CMD, out September 24th. Goodness me, we’re in for a treat.

Having been recently signed with Sunday Best for her next EP, CMD, Isabelle speaks to how the title is a reference to the “command” keyboard shortcut, as well as a nod to the project being an entirely self-produced EP. “I’m commanding back my space in a wildly male-dominated scene”, she says, a theme that continues with her new single, Read the Room, released on July 30th.

“It’s an early-2000s-and-nineties-inspired track championing women in the tech side of the music industry,” shares Isabelle. “It’s direct, and about being overlooked and undermined as a woman in the music industry who doesn’t just sing.” “It was inspired by some interactions where people are quick to assume that there’s essentially a man behind the music. Obviously there are many hands in the pot, but when it comes to production, my involvement is so important for the whole project”. This is clearly apparent throughout our conversation – Isabelle Mettle is an invaluable talent with remarkable command. Soon come CMD.

For someone who doesn’t know your music, how would you describe your sound?

I would call it neo-soul, but not in the way that people describe neo-soul. I’ve been calling it new-wave soul instead, like the second generation of neo-soul, with inflections of R&B, funk, jazz… but then there’s always a little bit of electronic synth, and I love the 80s and I love dance music, so there’s also those elements to it, which is partially why I wouldn’t call it neo-soul.

You often talk about bridging spiritual depth with digital innovation – how do you bring those elements together in your songwriting and production?

I grew up listening to loads of different genres, my dad’s super into all forms of Black music, but my mum was listening to folk, and used to sing quite a lot when she was younger. It was a lot of classical music, stuff that I wouldn’t necessarily put on, but the songwriting is incredible. I think that’s when I say the spiritual depth being more about my spirit as an artist. The digital innovation stuff… I am a producer, but I wanted to be an artist as well, so it always felt like there was a strong sense of this folk rooting in the songwriting and then these crazy synths and loads of different genres that use tech, so I guess that would be where those cross over a little bit.

Do you have any core musical influences or artists who inspire you, either from your early life in North London or now?

I remember being obsessed with The Pussycat Dolls (laughs), so I’d say that kind of pop R&B, that was the first thing. I was writing a lot of songs and I was singing a lot of folk music, and I ended up listening to Erykah Badu, because my dad was like, “you need to check her out, I think you’d really like her”. I love the way she writes and the way she chooses her melodies, and what she was talking about really resonated. When I discovered her, that completely changed everything in my brain. I could honestly start an Erykah Badu fan page (laughs).

You’ve already had attention from Spotify playlists, BBC Radio 1 and Camp Bestival this summer – what’s been the standout moment in your journey so far?

Last year I was put on RNB UK, the Spotify playlist, which was insane. I’ve only been on their Fresh Finds playlist before, so that felt kind of crazy. Some other platforms have put me on their editorial playlists as well. But other than that, I’d honestly say that the performance Flames did with RAYE at Royal Albert Hall was one of those moments. That was a very eye-opening moment for me, where I was like “oh my gosh”, look at what can happen if you really work on it. That was definitely another moment, and of course, Camp Bestival!

You’ve also collaborated with artists like Snarky Puppy – what’s the biggest thing you’ve learnt from stepping into other people’s creative worlds?

I was selected for a workshop with them at uni for one of my songs, Drama (Have a Think About It), which was insane. It’s just crazy to have people that you’ve looked up to also know your name and play the song with you and give you advice. That was another moment where I was like, “oh man, I’ve got to keep doing this stuff”. It was such a cool experience, and I’m really lucky that I had lecturers that were supportive of what kind of music I was doing, because especially in Liverpool, there’s a mix of genres, but it’s typically indie-leaning, so it was pretty cool that they were like, okay, we’ll go for you, even though I wasn’t doing what is expected.

So from Liverpool, how did you get involved with UD?

So my friend had been in Flames Collective for years and years, and he’s also from London and was studying in the year above me, so we just became friends, so that’s kind of how I got involved with that. It was a lot of back and forth between London and Liverpool, which was worth it, but it was my final year of uni. So I was like, how am I going to do this?! I’m not turning anything down! I did okay in the end so that’s all that matters (laughs), and I learnt a lot.

How have you found UD? Have you enjoyed it? How has it been for you?

It’s honestly been such a great experience. I remember the first Flames rehearsal I had, and I’ve been in choirs before, but it was more chamber choirs and sight-singing music, and people didn’t really want to be singers, they just liked to sing. So that first rehearsal with Flames was crazy, hearing the harmonies and stuff. I remember being like, I just have to be here more, and ever since that I’ve just had a lot of support and love from Pam and Andy and Kadi over there. I hope they feel the love from me as well (laughs). I’m very grateful.

How do you feel that working with Flames and UD in that way has influenced your own musical performances, or your own connection to your music?

When I was studying music in school, it all felt so out of reach. Growing up, I didn’t have loads and loads of music around me, and I didn’t have all those connections. When I studied music at A Level, it was just me and one other person. It’s interesting to see how many people were super into music, and younger people that have been nurtured, not even academically, but generally in the music industry. They know that things are possible, so the connections I’ve made through UD have been invaluable. There are so many people that work with UD who have taught me so much. Like Andy (Gilbert), who runs the choir, has been so supportive and given me good feedback on things, especially during the Incubator programme. He’s been so helpful. 

From a school where music felt out of reach, to a community that’s shown her exactly what’s possible — that’s the difference UD makes.

Isabelle Mettle will be performing 28th August: at Camper Calling Festival, Ragley Hall, Warwickshire. Follow her journey on Instagram HERE.

Words: Elsa Monteith