Maxim Meyer-Horn

15 Mar 2022
Music

On Our Radar: STACE Is the New Protégé of Neo Soul

We love to discover artists who are on the verge of breaking through, giving them a platform to show their talent in our series ‘On Our Radar’. The next artist we’re introducing is the Brussels-based singer STACE, who recently released her debut EP ‘Green Onyx’ and instantly became a favorite among the Belgian neo-soul scene. We invited her to MAD Brussels for a photoshoot with Robin Joris Dullers and had a chat during a well-deserved after-shoot lunch where we delved into her life as an artist.

How would you introduce yourself to someone who is not familiar with you?

I would say that I’m an artist that likes music to express vulnerability. There’s an intimacy and closeness to the people listening. I like to envision my music as a little bubble you have in your life to flee, for example, from busy city noises.

What has inspired you to make that kind of music?

I was always surrounded by music. My dad is a musician and bass player, my mother sings, my brother is a singer and my sister used to sing, too. My parents actually met in a band, and we listened to music—especially Black music—a lot. Whether it was American or Caribbean Black music. That’s my background. I listened to a lot of different things when I grew up, like rock or electronic music.

So I would say I struggled at first to find my sound, and there’s no obvious intention behind it. It’s me experiencing music in the way I want to do it. I just tried, and this is what came up. Tomorrow, it can be totally different because my music comes from a real authentic place. It will always depend on my mood and what I’m listening to now.

Was it frightening to release Green Onyx, or were you at peace with what you made?

I feel way better now that it’s released and—not that I really care about what people think—it’s nice to see that some people get it. It was a long, doubtful process because I did everything by myself. Now, I’m eager to write new stuff and continue my next project. I just love it.

As this is the first chapter of your career, who has helped you through these first steps?

I think I’m going to sound super ungrateful, but the real thing is that outside of the music, other people have been involved like my manager and Five Oh, who are doing an amazing job. The help from outside happened after the process of creating because I had an idea for this project. I learned how to produce music and wanted to come the closest to what I had in mind. Of course, one of my best friends laid some bass lines and had some input.

With the project being out and having some response, are there things you’re going to do differently when you make music now?

I hope it’s not the same because I want to collaborate more with other artists. What’s great about releasing music is that people can listen to it, and I can have a conversation with other people about it. It gives opportunities to compare art and maybe mash up things we like from one other. We have so many amazing musicians and producers in Belgium, so I want to meet them and exchange ideas. For me, Green Onyx is a business card to show who I am and what I do.

Is there already someone who reached out to you who you’ve never expected to reach out to?

It happened. I had a discussion with Ashley Morgane the other day, and he was looking for singers to produce with. I was like: “Hello, I really like what you do! What’s up?” and I was brave enough to send him a DM. He responded, and we were talking for a bit, so let’s see what will happen. In general, I would say I’m very happy with the feedback. Every feedback is great feedback anyway. I consider myself to be a learner, so I’m always open to any kind of feedback.

You filmed your first music video for the track “Moon”. How would you describe the visual aspect of your project? Do you already envision the music when you write it?

I’m also a director, so I really like the visuals aspect, and I’m very happy to know great people in the cinema, audio, and visual stuff. I like softness. I like symbolism in pictures. I love to watch a lot of photographs and paintings because a visual can tell a story. It can say a million things and has the power to make you feel something. It kind of circles back to what I was saying earlier; it’s some bubble, something open. Sometimes, I already have an idea when I write music and know what I want the visual to be. Other times, I have to listen back to the music and remind myself what I envisioned for it.

You’re doing some live shows with the EP. Would you consider yourself a confident performer, or is the stage still an environment you need to get used to?

I’m super comfortable on stage, but also, I’m 27 years old, and I’ve played for crowds with two people in the past, performed for a crowd that doesn’t listen, and things like that. I’m used to that, and the stage still feels like home to me. I usually don’t feel stressed, but I hyperventilated before my release show. I don’t know why but I felt super stressed. Once I’m on stage, it’s fine. The minutes before are frightening, but a stage remains the perfect lab to try new music. There are some songs on the EP that I already performed a year ago, which helped me to improve the tracks. I’m also joined by two amazing musicians on stage, which gives such great energy.

What are your general plans for 2022?

I’m already working on a new project. I’m not sure yet if it’s going to be an album or an EP. I want it to focus on storytelling because I love projects with great concepts. I want to try a story from the first to the last song. In between that, I’ll be playing a few gigs and look forward to sharing my music on stage. We also have the music video coming out. Green Onyx was ready in August, and ever since then, it was already done. It’s out now, but in my mind, I was already onto the next thing. I wrote a lot of new songs, and I want to have a bigger scale.

Earrings by Boucle d'or. Necklace by Sophie Potié.

Follow STACE on Instagram and Spotify.

Photography by Robin Joris Dullers
Assisted by Wout Enis
Make-up by Diane Maccole
Styling by Blackmoon
Creative direction by Robin Joris Dullers
Text and production by Maxim Meyer-Horn

Special thanks to MAD Brussels and Five Oh.

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