A deep dive into the highs, lows, and hard-won lessons of a woman who’s done it all—music, voiceover, and surviving men in the business.
If you’ve ever met a woman who could sell out a smoky lounge one night, voice a national ad campaign the next, and then ghost you for a week to binge-watch White Lotus in her panties, you’ve probably crossed paths with Michelle Ann Owens. The woman is a walking, talking masterclass in reinvention. The former frontwoman of the LA-based funk-rock band Ladyfox, Michelle’s resume reads like the dream diary of every multi-hyphenate creative: Billboard songwriting award winner, SAG-AFTRA voiceover talent, podcast producer, soul alchemist. She’s voiced everything from cars to edgy tech, dropped music cues into RuPaul’s Drag Race and Big Brother, and most recently flipped Rick James’ “Give It to Me Baby” on its head—casting herself as the tipsy, horny one in the relationship, waking her man up for a bit of midnight worship. And somehow, through all the industry gaslighting, band drama, and bullshit contracts designed to siphon off her shine, she never stopped writing. Even when she stepped back, and the spotlight faded, the music didn’t. It just waited for her to return.
When I met Michelle for our interview, she was pure late-night energy—glossy lips, heels kicked off, a half-finished glass of red on the table, and a glittering stage outfit still hanging from the door like it had just come home from sinning. Her studio looked more like a mood board than a workspace, with bold visuals from her latest shoot pinned up on the wall and a laptop still open to Logic, mid-idea. There was a confident chaos to it, like creativity had passed through and lit a fire. She greeted me with that sly half-smile—like she already knew something I didn’t—and before I could even hit record, she leaned in and purred, “Let’s get into it. I’ve got stories.”
She wasn’t kidding. What followed was less of an interview and more of a confessional: bold, unfiltered, and just a little wicked. Like a teenage slumber party at 2 AM, when the lip gloss is smudged, the secrets spill fast, and nobody’s pretending to be the good girl anymore.
Tell us something about yourself that might surprise people.
I have had to fight so hard as an independent female doing music on her own terms. Since I’ve mostly done my originals over the years, I handled all aspects of the band, from music to marketing and booking. While I had a manager for some time, most of that part of my career was self-managed. I had no male buffer as a director to keep the musicians in line, and I had no one to liaise with promoters and negotiate those deals. I had so many bad experiences with male musicians who would purposely fuck with me, likely because they just needed to bring me down a few pegs.
This isn’t the first time I’ve heard that from women in the industry!
I know, right?! Men don’t like being told what to do by a woman, but they will comply if it’s a fellow dude they respect. At least, this has been my experience. I once played at this festival in San Francisco, opening for a well-known 90s rapper, and I had a substitute drummer that night. I didn’t know at the time that he was upset with me because he was afraid of flying, and apparently I didn’t coddle him enough on the flight. I recall ensuring him it would be ok, but I had to move on and take care of everyone that weekend. I had to make sure everyone had their travel arrangements. I was communicating with the promoter, had to arrange transportation to our hotel, and all the logistics involved in making sure the band knew where to go when to show up at the venue, etc. etc. So, since I didn’t treat him like I was his …
His mommy?
Like his mommy, yes, he decided to randomly start a huge drum solo in the middle of our set, completely derailing the performance, acting out like a child having a tantrum, and getting us a red light to finish up and get off the stage after just two songs. One of my background singers was ready to choke him literally, and I stayed up all night with the promoter negotiating just to get the musicians paid. I took nothing home for myself out of that performance. Meanwhile, my guitarist was so high on whatever the hell he took or smoked that he almost fell off the bus transport back to the hotel. Here’s me, 5’6″ and 110 pounds, trying to hold up a 6’3″ 150-pound guy.
I’m just imagining that!
Well, it was a huge gig for me, and these guys sabotaged my ability to ever book with that promoter again. Great players, but totally unprofessional. It really pissed me off. And will they work again? Of course, they will! But was I going to book with that promoter again? Nope. Another time, I had someone unplug the electricity to the stage in the middle of a performance, and we had to immediately transition to an acoustic set with no microphones. I had a packed venue that night, too.
On the flip side, I’ve also had great performances where the players really showed up and showed out, however, after the bad experiences that I knew were personal attacks on me, I had to take a long break from making music altogether. I literally disappeared, removed a bunch of content from the internet, and got a regular day job doing business development for creative production. I continued with voiceover work on the side, and then I started my podcast in 2016 as a creative outlet, but I never got the same creative satisfaction I did with music. I kept writing songs, but I wasn’t performing or releasing anything.
So when did you return to the studio for new music?
I decided to get back to it more recently, and now some people seem surprised that I’m back. Some of my old rocker friends always supported me and were happy to see me back at it and continue to push me to get out and perform, but other people I met over the period when I took a break didn’t even know I was a songwriter, vocalist, arranger, or performer. They saw me strictly as a business person. So now they don’t get it. Quite frankly, they can all fuck off because it’s rare for people close to you to truly support your creative work. At least, that’s been my experience over the years.
That’s like crabs in a bucket, when people you’re close to try to pull you back down the moment you start climbing up.
Yes! I always get more support from strangers who hear the work and like it. I’ve never understood why it’s been such a difficult path for me with music, but it became clear after a period of time that it was both because I was a woman in charge of everything and also because I took that break, which set me back in terms of momentum. I had a backup plan of working a regular business job, and no musician should have a backup plan, so I fucked up with that. I can blame my mother all day because she discouraged me from doing music for a living, but it’s really on me that I listened and allowed doubt to creep in. This is my reset. This time has to be different.
You’re not just a singer—you’re doing writing, voiceovers, podcasts… really a lot of things. How do you juggle all of it without losing your mind or voice?
I have to keep a bunch of different plates spinning at the same time, or I get too bored. I was never diagnosed, but I’m likely ADD. The upside to this is that I have a lot of different skill sets, and it gives me flexibility for the long term. I was very lucky to have been a TV music ghostwriter for several years. A lot of my music cues are still used in a ton of reality shows, and that’s cool. But that work eventually shifted as the writing team expanded, so I was getting less work, and I needed other creative avenues to pursue. I caught the acting bug, which got me into voiceover. I specialize in commercial and corporate VO, so luckily, it doesn’t wear on my voice. It would if I were doing animation and screaming and yelling for video games, but I’m not.
Also, my singing voice has only been affected over the years when I sang too much heavy rock material or when I was an idiot and was part of the rock scene smoking cigarettes all the time in LA for a few years.
I’m a vocal coach myself, and smoking and singing heavy rock without proper training are major no-nos. But you knew that.
Well, I always had a rasp, and despite having proper training and knowing how to use my voice with support, I’d push through it a lot for effect. As a result, I got nodes on my chords, and I had to rest my voice for 2 months and get cortisone pills. That period of time wore on my voice for sure. I feel like I’ve matured a lot over the years, and it’s really helped to be recording the cleaner soul stuff nowadays, too. Also, getting 8-9 hours of sleep every night is crucial, or I start to sound like Barry White in the morning. I truly sound like 2 octaves down. It’s not pretty. I can’t stand getting VO auditions first thing in the morning.
Your music often has this undercurrent of power, confidence, and feminine fire. Was female empowerment always part of your creative vision, or did that evolve?
Female empowerment has always been the thread. Some of my older material, which I think is still on Pandora, was heavily focused on that theme. One song, “Just To Please You, ” was about a woman standing her ground and not wanting to be subservient to a man or continue to shrink herself just to please him and take care of his needs. Funny, as that was on the set list with the asshole who sabotaged my festival set in San Francisco, but I don’t think we got to play it because of his dumb ass tantrum. Anyway, another tune of mine is called “Do My Own Thang” and is about a woman telling her intensely jealous boyfriend to back off and let her be. I think there are a lot of men who expect the once bold, assertive woman that attracted them to suddenly shrink herself and dim her light so that he can feel more comfortable with himself.
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Behind every successful woman should be a man who knows when to pour the wine, shut up, and cheer her the fuck on.
Yasss! And I’ve dated so many men who compete with me. That’s pathetic. And yea, that makes me sound bitter about men, and while many men suck, I still believe in love and believe that there are still good men out there. Somewhere.
If you put that out in the universe, they’ll start lining up for you.
Maybe I should cast a spell.
So, let’s talk about your songwriting process. Are you the “wake up at 3AM and spill your soul into your Notes app” type, or do you need candles, crystals, and chaos?
I don’t have a routine, and I don’t need any specific rituals to be creative. I simply work when I’m inspired, and either the feeling is there or it’s not. I never try to force it. Some writers think it’s important to write whether you’re in the mood or not and to make it a habit. Some of my worst ideas come when I try to do that. I have to write based on emotional experiences and or a melody that comes to me or when I’m inspired by something I’ve listened to. Sometimes, a bassline or a melody comes to me while I’m driving, and I have to quickly record it into my voice memos on my phone. Other times, I’ll open up a new template in Logic and start laying a basic drum beat and bass line, and things progress from there. Other times, I’ve had collaborators bring a rough demo to me that calls for a topline, and I’ll write to it if I’m feeling it. But no matter how writing happens alone or with collaborators, I do find that I’m either inspired by being irritated with someone or feeling a rush of attraction and love.
“Fuck, I’m really into you” or “fuck off, I’m protecting myself” songs are really the book ends to my catalog of work, a lot of which is not released anywhere. It’s not a profound set of songwriting themes by any means, but it’s what comes out of me and is relatable.
If we peeked at your voice memos or unfinished demos, what’s the most unhinged lyric or idea you’ve left in there?
Well, I have a very basic funky soul jam reminiscent of Janet Jackson’s “Anytime, Any Place” track, and I’m likely going to add it to my upcoming album. There was one lyric in there that is literally “Fuck Me,” but I changed it to just singing the word “Funk” instead and then having a flute fill in the blanks. I think it’s super sexy, and I hope people dig it when they hear it. It’s more of a moody jam than a banger and is definitely meant for the bedroom.
I’d love to hear it! So, what’s something you’ve learned about the business side of music that no one prepared you for?
That it could take over 10 years of consistent work to get the right timing and the right opportunity to elevate your career. I was doing it full-on for about 6-7 years, and then that’s when I took the break. I was financially strapped by it, and I had no money to make videos, pay musicians, or do too much of anything. And I didn’t want to do a wedding band or corporate gigs. I never thought I was a fit for that. I still don’t. But anyway, stopping was a huge mistake. I needed the time off for my own sanity. I was doing it all alone. I didn’t have a real band, it was hired guns or musicians also investing their time and energy into it and often not getting paid if we didn’t get a cut of the door. I’m not playing any venue now, and this time I have a better strategy to avoid the bullshit that comes with it all so that I can continue doing what I love to do without feeling like everyone is trying to stop me from progressing with it.
How do you handle the male egos, industry gaslighting, and quiet misogyny that still haunt the music business? Do you fight it, flip it, or finesse around it?
When I was doing my original band, Ladyfox, I was getting a lot of attention in LA then. I rolled with it and enjoyed the attention, but during my break from music, I reflected on a lot of experiences, and damn, I realized I was really young & dumb. I missed the best opportunities that I could have nurtured and turned into something great, and the ones that were bullshit, I leaned into instead, and then I was taken advantage of! I was too young to really create a boundary for myself, and the only way I did that was through my songwriting. But in real life, I was getting fucked over continuously.
The result of not having boundaries was that I’d be nice, and nice some more, and let people waste my time, let people try to take away my writing credit, let people have me work and promise to pay me but never pay me, had a former manager who tried to get me to sign a contract with a sunset clause that would take a percentage of my royalties from my tv music work when he had nothing to do with getting that work for me, and the list goes on and on and on. When I’d finally stand my ground about something, these men would GASP and suddenly accuse me of being a bitch or being that word they always use with strong women: “crazy.”
Well, my previous boundary-less self is a very grown-up woman who is a bit smarter now and can finesse it. Fighting it would be of no help. People don’t want to work with you as a woman if you’re not pleasant and don’t stay in your feminine energy. So it’s very tricky. It is what it is, and that will never change.
I think many women in the industry are learning to navigate this these days.
Right? I mean, I have loads of respect for Dolly Parton, as she mastered the art of being sweet but savvy. I could only dream of being that kind of woman because I am not from the South and was never taught to be sweet. I am from the northeast, and we are mouthy, bold women up north.
I’m originally from Long Island.
Yeah? Then you know it’s a challenge not to tell people to go fuck themselves, but again, now that I’m a bit more grown up, I have a greater ability to control my choices and my actions and to make better decisions as to what I’ll deal with and what I won’t deal with. And now, I’m way less attached to outcomes, which helps a TON. If someone doesn’t like me, I really don’t care. I used to care, but I don’t need their approval now. I don’t think I’m more important than anyone, but I’m also not going to give away my power like I used to.
A lot of young female artists are being told to “get an OnlyFans” just to fund their music. I have mixed feelings about that. What’s your take on that kind of pressure—and do you think it’s empowering or exploitative?
Not just young artists. There are a lot of older ones, too. Look at Kate Nash. She’s a successful actress but got a ton of backlash with her “Butts for Tour Buses” OnlyFans to raise money for her music tour. I’ve been recently pushed toward the crowdfunding path and told I’d “kill it” on OnlyFans with some sexy content. I think it could be a combination of exploitative and empowering. It’s exploitative because it’s a shame that women have to show their bodies to get fans. But that’s always how it’s been. Look at Marilyn Monroe, Madonna, and pretty much any popular artist.
On the flip side, it’s also empowering because it’s available as a choice to use OPM to pursue your creativity. You can use that as a tool if you want to stay independent and not rely on a label to help you which, in reality, they don’t help you – they need to get their money back plus some on top. For me, I have to be careful, as focusing on doing content for a crowdfunding platform would be time consuming. I could see it quickly overshadowing writing music in terms of the time required unless I figure out a really easy, efficient way to do it and not send myself down a rabbit hole of that funding tool taking center stage. I certainly don’t want to stop making music just because I don’t have enough money to keep hiring these top-level musicians to play on my stuff, you know? I also want to put together a show, but that also takes money. I’m definitely not going to self-fund it all, and I can’t. And in my opinion, Patreon and GoFundMe are way too much for me. Offering tiers of goodies? I don’t think my kind of fan would give a fuck. But I know they’d love some boudoir shots! So there it is. A recent nudge by a music industry contact of mine to do OnlyFans makes sense – show your bits, get the money. Make your music. But yeah, it can be a double-edged sword if you want to retain self-respect.
You always show up styled to destroy. Who inspires your look, and what’s one fashion risk you regret—or totally don’t?
I’ve always been the one to dress myself. When I was doing my band Ladyfox, it was very funky rock n roll inspired. I bought this custom zip-up vest with a rabbit cape on the back. I got it at this great shop on Melrose in LA. I have pictures of me in this vest performing, and I really loved that piece. But I wore it to some small show in Palm Springs, and someone stole it from the artist tent. I’ll never see it again, and that has always pissed me off. It had a little patch on the back that said “pussy power.” I think the one thread for my look has always been adding that old-school funky element, like feathers, sequins, scarves, hats, anything funky has my name on it, but in a way that works for me. I’m not trying to be Parliament or Bootsy Collins or MonoNeon. Those looks are too much for me, and that is not my brand. My latest shoot for my covers project was inspired by the big headdresses and feathers of the Las Vegas showgirls. I did a spin on that look, too, just like the songs on the record to follow. My look is way darker, less “theatre” and less “jazz hands,” and more gritty and edgy.
Your visuals are always so cohesive—do you have a hand in art direction, or do you let the team take the wheel while you seduce the camera?
I’ve been working with the same graphic designer and art director since 2012. I knew a guy who was well-known for album cover art, and I called him. He was busy then, so he referred me to one of his protegees. Since then, I have always called on this guy (no longer a protege but a grown man!) to do logos for my various projects over the years, and more recently, the album cover art for my covers project, soon to be released as a full album. But I don’t just hand over art direction to him. I have a big hand in it. I always have a creative brief with a general direction of what I want and references to guide the visuals. I drive it, and let the artist bring it to life. We go through multiple revisions until we get to what I want. For my most recent music shoot, I knew I wanted to look like a powerful “queen.” A badass. Someone in charge of her personal power and life. I’ve been trying different photographers, as I’m really not easy to shoot.
I recently found a great gal in LA who is so much fun to work with. She’s from Ukraine and always manages to get great shots of me. But as she knows, I don’t feel comfortable posing for still photos. I never have. I don’t spend my days in front of the mirror or taking selfies like a lot of people do these days, so it’s pretty uncomfortable for me. Performing is one thing when I’m singing a song on stage. Sitting in front of a camera to promote my music is another thing, and for me, it’s rough. The best I can do for myself when I have to shoot is to “act.” I have to get into a mood and hope the photographer gets at least 1-2 great moments. I think this is part of why OnlyFans is not something I’m not embracing full-on. It’s going to be a pain in the ass to get the right sexy shots that ride that line between hot, cute, and accessible while not being outright porn and not getting too glossy. Hitting the “tease” button will be the goal for me, and I’m usually really picky about photos, so I will need to exercise the idea of letting go and just saying, “fuck it.” We’ll see what happens.
If your stage persona had a name, what would it be? And how is she different from you off-stage?
Ladyfox. People still call me that, even though it was meant to be a band name, not an individual artist name. Some chick is now using it in Australia, or I’d still use it as my stage name. I have it trademarked in the US, though. But I decided to use my real name recently because I’m not big into the trendy name thing that’s so prevalent. Like T-Pain and Bad Bunny. What the fuck? I just can’t, and I’m not hip-hop anyway. I am who I am. Take it or leave it. I’m not an emoji or avatar. Ladyfox on stage is no different from Ladyfox off stage, except in the morning when I am half asleep and not feeling foxy in the slightest, unless of course I have a hot guy I’m seeing and he’s stayed the night. During those times, Ladyfox is prominent all the time.
Oooh, we’re opposites. I always wanted them to sneak out early and come back around lunchtime.
Nooo, morning sex is my favorite. It’s been a while since I’ve had a guy who has brought that out of me, though, probably because I stopped dating guys 15 years younger than me, hahaha. I’m reassessing this decision, though, because I’m finding that the older men have so many issues…oh my back, oh my neck, oh my dick takes a really long time to get hard nowadays…that kind of stuff removes Ladyfox from the room. I’m not trying to imply that I’m some kind of circus act in the bedroom. In fact, men who expect a show like the porn they watch too often ruins real, authentic, sexy connections. I could be seen as more vanilla in that way – I definitely prefer connected, romantic sex vs. fucking wildly with zero connection and only getting off…and then feeling horrible later on and trying to palo santo myself from the experience. Sex should be about intimacy and openness to each other and relishing that skin-on-skin feeling, and fucking is the opposite of intimacy for me. If a guy is like, “get on top,” my eyes roll because I know right then he’s expecting a fuckin’ cowgirl and also expects the woman to do all the work. That’s when I lasso him out of my house. If we naturally change positions, fine, but don’t make me your personal circus act.
You’ve got songs that feel like love letters and revenge fantasies. Which one’s more fun to write—sexy obsession or savage heartbreak?
I actually really love writing ethereal, ethnic-flavored, angsty, tense stuff. I recently released an old track of mine called “Need.” It’s this anxious song with robust Middle Eastern-flavored production about being unable to quelch desire and the consequences that come along with giving in to your personal addictions. That song has been licensed a lot. It’s REALLY outside of what I’m focused on now, which is more horn-driven funk. But I had to get it out there. It’s too good not to be heard. And I have many songs I’ve never finished with that sound. Maybe a future album.
Groupies are usually associated with rockstars, but let’s be honest—have you ever had a fan you wanted to take backstage?
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No. 100% of the time, it’s with one of the band members! I get turned on by talent and bond quickly with the people I work with. Don’t worry, wives of the world—I won’t steal your husband. I don’t seek it out—it just happens after you’ve worked with someone for a while. Look at Fleetwood Mac, then shut up, reader, and stop judging me, LOL.
On the same topic, finish the sentence: The best sex I ever had happened after I…
… temporarily let go of my usual type, which is a tall, dark-haired, olive-skinned kind of guy with soulful eyes, a full head of hair, and a creative, artsy vibe. Instead, I briefly dated a very short, bald, ginger…a regular businessman. The chemistry was off the charts, and it surprised the hell outta me! I never thought in a million years I’d be turned on by someone who wasn’t physically my type. But what was most interesting is that it wasn’t about his looks AT ALL. With that, the energy between us was very intense. There wasn’t anything beyond that, though, so it didn’t last long. And if we tried to be friends, that spark would end up keeping us in a toxic cycle of being friends with benefits, and I am not interested in that kind of situationship these days.
So you tried something a little different…
Yes. A gal pal of mine told me it’s important to let go of the “type.” She did, and now she’s in a very fulfilling, happy marriage. I HAVE to be attracted to a man, though. I am not at the point where I only care about stability, although that trait is definitely close to the top of the list. I have taken care of too many young men over the years, and I’m not doing that anymore. I want to be the lady and not have to be the lady AND the man, know what I mean? I want a man who is stabilized in his life. My dream guy is the man who’s like, “Baby, why don’t we go to Italy for a few weeks? I’ll take of everything. You just relax.” Yeah, I know. A pipe dream in today’s society of men who still live with their parents at 30, but one can dream.
What’s your biggest on-tour temptation—and have you ever given in? We won’t tell. Probably.
I’ve never toured. I’ve played lots of shows, though. And one in particular was with a group of classic rock musicians in LA. I connected really well with one of the famous guys, and we both gave in after working together for a few days. And I don’t regret it. I chose it, and I was not coerced one bit. It was beautiful, and we talked a lot too. I felt respected by him, and it naturally happened. I guess I was his on-tour temptation.
Have you ever written a song that was too hot to release? Or one that someone begged you not to put out?
I made the mistake of sharing a song I wrote and offering to re-record it and then split the song with two musician dudes I had met to get a collaboration going. They were so green that they thought they suddenly owned 100% of the song just because they played on it. They were extremely rude and extremely nasty to me when I was the one who actually wrote the whole damn thing and sent them the rough demo in its entirety. I tried to school them on how songwriting works, and they demanded that I take it off Soundcloud at the time and that they owned it. I was like, these people are so green and so fucking dumb. Total amateur hour. I just let it all go and told them to fuck off, and I forgot about that song until now, actually. It was a good song, but yeah, it was another horrible experience and one reason on the long list of reasons that I took a break from music.
Which song of yours do you think deserves more love—or has a secret story behind it we don’t know?
I wrote a song about an ex who put me through absolute HELL with his ongoing drug addictions and bipolar schizo disorder. If he ever hears this, he’ll know it’s about him. He lost his shit one night after going cold turkey on his meds, and he punched me in the face and knocked a tooth out. He called the police on himself and sent himself to jail. He might not care at this point, but maybe there’s a chance it would piss him off. He really sucked! Literally at the top of the list of worst boyfriends! I was so young and dumb that I didn’t kick him to the curb, and I tried really hard to help him. I didn’t even press charges, telling the police that he was just struggling with his mental health. Uh, today it would have NEVER even progressed to the point where he’d be in my home to begin with. He even abused my poor dog at the time, blowing pot smoke in his face. Now, I would throw him out immediately for that. I can’t believe I let him do that to my beautiful dog. Idiot!
What’s something that scares you about fame and something that turns you on about it?
I really wanted to make it back when I was getting traction with my band Ladyfox. But now I think it’s a bitch to reach fame, truly. There’s the whole “sophomore album” thing, and people get WAY more judgy once you’re in the limelight. They expect more and more from you, and they expect greater and greater work every time. And they can’t wait to see you fail! You can’t rest, and you have to push super hard to make sure you’re still relevant and all the bullshit that comes along with it, like having to hire a PR person, creating gossipy relationships that don’t exist in real life just to get press, yadda yadda. I think it’s a lot easier not to chase fame and just make music because you love it, not because you need to be recognized for it.
People never consider the trappings of fame, only the glamorous side.
Exactly! Who the fuck wants to get stopped for photos with strangers when you just want to eat out at a restaurant? Sometimes, I really relish being free as a nobody – being able to go to the grocery store in sweats, with no makeup, and living normally. But- if I were famous, photos would splash the covers of trash mags, and it would be rumored that I’m “dying” or that I’m “depressed” or whatever other gossip shit that goes along with being famous and not stepping outside looking flawless and ready for the camera at any turn. Some of the greatest musicians I know have no followers, no big social media pages, no big albums getting millions of streams, but they are WAY better than some of the artists of today who have reached widespread fame. And they have less stress, I’m sure. That’s just my viewpoint, so take it or leave it.
I think the only thing that turns me on about the thought of fame is getting more opportunities to work with amazing writers, producers, musicians, etc. and the ability to live in real luxury and not worry about my financial future. I have always had a “champagne taste with a beer pocketbook,” as my grandmother would say. It would be amazing to have my dream home and to be able to record with the best musicians in the world whenever, wherever, however, just because they would know about me then. Recently, a songwriter told me that in order to collaborate with him, I’d have to pay him for his time. So, my answer is thank you, but no. I’ll write by myself then. You know damn well that if I were famous, he’d do that shit at no charge for the chance to get a big hit. So, there are pros and cons to fame, as with anything.
When you’re not writing bangers and breaking hearts, what’s your guilty pleasure? Trash TV, fan fiction, baking in lingerie? Spill.
Definitely wine. And I love having flowers in the house. I may not come across as super feminine with all this strong woman talk, but I love flowers. And I especially love flopping onto the couch in my panties and a t-shirt with wine and snacks to watch my favorite shows or find new gems on different streaming platforms. I was recently into my Sunday night Righteous Gemstones/The White Lotus episodes on HBOMax. But I also love music documentaries, cooking battle shows, and true crime.
What’s your dream collaboration—dead or alive, any genre, no limits?
Hands down- Michael Jackson and Prince. And I have my eyes on some really fabulous artists still alive and well in Europe, and I hope to collab with them in the coming years.
If you could whisper one thing into every young woman’s ear before she hits “publish” on her first single, what would it be?
Don’t worry about what other people think. Don’t worry about how many streams you get out of the gate. Just publish it because you’re proud of it. Let your music speak for itself. That’s it.
What’s your five ultimate “sexy playlist” starter track… and would we find any of your own songs on it?
OH, 90’s R&B is the shit. Janet Jackson’s 1993 album “Janet” with “That’s the Way Love Goes” and “Anytime, Anyplace” on it. Eric Benet anything – I really love his versions of “Dust In the Wind” and “Georgy Porgy”. Some Maxwell, for SURE. Damn, he was sexy. And yeah, maybe a track from this unknown named Michelle Ann Owens. She’s got a bunch of sexy tracks that haven’t been released yet, but for now, check out “Give It To Me Baby,” her sexy spin on Rick James’ original that shows zero shame for wanting to get laid right now.
