Singapore-born electronic music producer and vocalist Sophie Joe blends classical training, jazz vocals and modern electronic production into a distinctive sound. Her latest single “Rainbow Around The Sun”, released on Headfire International, draws inspiration from a solar halo she witnessed in Mexico and reflects themes of spirituality, meditation and sonic exploration. We spoke with Sophie Joe about her creative process, studying at Berklee College of Music, collaborating with Courtesy, and how she builds hypnotic electronic music.
HMWL: Hello Sophie! “Rainbow Around The Sun” is inspired by witnessing a solar halo in Mexico. Can you describe that moment, and how it translated into sound for you?
Sophie Joe: I wrote it during a season of profound transition. While staying in the Mexican highlands for the 2024 holidays with my partner and his family, I spent my mornings carving out space in the quiet hours before sunrise, working on new sounds while the house was silent. One afternoon, I looked up and saw a solar halo, a sudden, natural silence that felt completely suspended in time. The trip was rounded off with a Temazcal ceremony with some friends, and it was only upon returning to a new home in France that ‘Rainbow Around The Sun’ truly took shape. I wanted to translate that specific state of trance and gratitude I had carried back with me.
HMWL: You’re both the producer and vocalist on this track. What is your creative approach balancing production which is normally time consuming and trial and error with creative vocal expression?
Sophie Joe: I approach production with the mindset of a lifelong student. Having studied music theory since a young age, I love the “problem-solving” aspect of shaping frequencies and using the DAW as a canvas to shift moods. While spoken languages never came naturally to me in school, I eventually realized that Music was my true native language. It is where I find my ‘Ikigai’ – a sense of purpose that drives me every day.
I’ve always been disciplined about my routine, but I don’t see producing as something “time consuming” because I trust the state of flow. Perhaps it is the “Kiasu” drive I bring with me as a Singaporean; my father always taught me to be practical: work smart, not hard. This efficiency allows me to turn life experiences into structured sound without losing the initial spark. This efficiency allows me to build the architecture of a track quickly, which keeps the process fresh so I can stay intuitive and fluid with the vocals.
HMWL: Your background as a classically trained pianist and jazz vocalist is quite unique in electronic music. How does that foundation still shape your creative decisions today?
Sophie Joe: In Singapore, it is common to be immersed in classical training from a young age, and I am so grateful for that discipline. I often pushed myself to learn pieces far beyond my grade, like teaching myself Debussy’s Clair de lune out of my own initiative. Those years flowed into jazz and soul, where I spent years performing in everything from intimate bars to hotel lobbies. I found my real growth at jam sessions, which taught me the art of listening and real-time arranging. Today, these influences merge: my classical background provides the technical “bones,” while my years of vocal performance allow me to treat my voice as a live, improvisational instrument.
HMWL: Having studied at Berklee College of Music and University of the Arts London, what were the most valuable lessons you took into your current workflow?
Sophie Joe: My education was a journey through different musical philosophies, beginning with my early exposure to minimalism and influential composers like Philip Glass and John Cage. They taught me that sound is a medium in itself, and that even a moment of silence is worth recording as art. This gave me a conceptual lens through which to view sonic fields and interactive media long before I touched a synthesizer.
Attending Berklee in Boston felt like entering a musical jungle where I was surrounded by incredible talent every day. While my major exposed me to high-end tools like modular synthesis, the most valuable thing I took away was the discipline. Intensive ear training and mandatory conducting lessons were instrumental in mastering an internal, unwavering sense of timing. My time at University of the Arts London, helped me merge those technical skills with a more experimental approach to sound arts. It taught me to focus on the core intention and the emotional impact of a sound rather than the complexity of the setup.
HMWL: The track features experimental vocal processing around the “Ometeotl” chant. What drew you to this spiritual element?
Sophie Joe: I experienced the “Ometeotl” chant during a Temazcal ceremony in the Mexican highlands. The word represents a sense of duality and cosmic balance, which resonated with me as I was navigating my own life transitions. I have always been a curious soul, and from a young age, I found myself exploring dfferent philosophies and spiritual spaces on my own initiative. This independent search for meaning led me to my first yoga class at 14 years old, and it has been a constant in my life ever since.
Bridging spiritual energy with the modern electronic world felt very natural because of that lifelong personal journey. In the track, the driving bass remains a constant, acting as the anchor for the entire production. I used experimental processing to weave the chant into the texture around that bass, making it feel like the vocal was emerging from the landscape itself to capture a meditative, mantra-like pulse.
HMWL: You’ve collaborated with artists like Courtesy for the CHANEL Haute Couture show. Tell us more about the project?
Sophie Joe: The collaboration with Courtesy was incredibly organic. During the pandemic, I bought a pair of Technics, a few secondhand vinyls of Moby and Laurent Garnier, and fell deep into the rabbit hole of mixing. I felt a deep urge to connect with the Berlin scene and came across Courtesy on HÖR Berlin and Boiler Room sets. I was instantly drawn to her selection and that specific trance energy. I sent her a DM asking if she was looking for an intern, but she was more interested in hearing my vocals.
That initial connection led to our collaboration on Night Journeys II. Working with her has been such a rewarding experience; she eventually flew me to Berlin several times to work together in the studio. I truly loved her approach to collaboration because she allows the artists she works with to be fully expressive of themselves. One of the most surreal moments was when she shared that our work had been synced for the CHANEL Haute Couture show. Knowing my voice was providing the sonic atmosphere for such an iconic fashion house was a powerful realization of how far a genuine musical connection can travel.
HMWL: Your music often feels both hypnotic and grounded. How do you consciously build that “calm intensity” into your productions?
Sophie Joe: To be honest, I do not think there is a master plan; it is just part of my DNA. Because meditation and movement have been such a constant in my life for over a decade now, finding stillness within a rhythm is intuitive. It naturally bleeds into the music without me having to overthink it. I follow a “less is more” approach, relying on my disciplined internal clock and trusting my ears to tell me when a sound feels right. It is about letting the technical side of production meet that raw, spiritual energy in a way that feels completely organic and human.
HMWL: This release comes via Headfire International, founded by Sven Tasnadi. What made this label feel like the right home for this record?
Sophie Joe: The connection with Headfire International was very direct and precise. After Sven Tasnadi heard the track on LabelRadar, our communication was clear from the start. I have always believed that when the musical vision is aligned, you do not need a thousand words to explain it. I deeply respected the polished quality of the label’s releases, and Sven recognized the specific vision and the story I was trying to share with this record. It was a seamless transition that allowed us to focus entirely on the emotional resonance of the track.
HMWL: You’ve also appeared as a vocalist on Stefan Rose’s track featured in DJ Mag Brasil. How does working together with a different producer compares to both producing and singing on your own tracks?
Sophie Joe: The collaboration with Stefan was incredibly spontaneous. We met at a bar in Shoreditch while he was DJing, and it led to an incredibly efficient three-hour studio session where I laid down vocals for three different tracks. Working with another producer requires balancing different creative perspectives to find an agreeable direction. Interestingly, it is quite similar when I work alone; I am constantly in an inner dialogue with myself to decide which way the music will go. Whether I am a featured artist in DJ Mag Brasil or the lead producer on my own release, it is always about that technical math meeting an emotional connection.
HMWL: Looking ahead, how do you see your sound evolving—are there new territories, collaborations, or techniques you’re excited to explore next?
Sophie Joe: I am currently collaborating with William from STATE, which has been a great creative energy to tap into. My main focus now is evolving into the live performance space. I have been developing a live set that integrates my production and vocals, which I road-tested last year with a fantastic response. I have the tools to master my own live recordings, so the next stage is a more refined integration. I want to bring that “calm intensity” from the studio to the stage in a way that feels raw, spontaneous, and deeply connected to the audience.
