IN CONVERSATION WITH VALENTINA

interview by MARIE-PAULINE CESARI

Valentina has carved a unique space in music, blending soulful roots with experimental electronica. From belting Whitney Houston hits as a teen to releasing deeply personal tracks like "Babbo," her evolution as an artist is a testament to vulnerability and innovation. In this interview, Valentina reflects on her influences, creative process, and vision for music as a force for connection community.

Who were some of the artists or cultural moments that influenced you early on, and how did they shape your approach to music?

Growing up, my mum didn’t have much of a music collection, but she owned a Whitney Houston CD, and I became totally obsessed with it. By the age of 13, I was belting out all her hits! Most of the music I listened to was rooted in soul—Stevie Wonder, Donny Hathaway, Prince, D’Angelo, Erykah Badu, Floetry, Lauryn Hill, The Roots, Cody Chesnutt. Later, I discovered Joni Mitchell and Carole King, whose songwriting has had a lasting impact on me. The girl bands of my childhood also played a huge role—The Spice Girls, Destiny’s Child, TLC, The Honeyz, Sugababes, and more. They were fun, sexy, and powerful, and I wanted to emulate that feeling. My early writing was probably a confused combination of all these influence

When did you first realize music could become your career? Was there a moment that made it all feel possible?

I was completely besotted and obsessed with music. It was very clear to me that it was what I was going to do. My mum, being a dancer, sent me to a lot of dance classes growing up. While I enjoyed it, it never quite felt like my thing. But once I discovered I could sing, I felt a freedom and expression I’d never experienced before. I still feel lucky to have that—it calms my nervous system and always brings me back to who I am.

You’ve been described as a “secret weapon in indie electronica.” What drew you to this genre and helped you develop your unique sound?

It wasn’t intentional! I kind of fell into it, and that largely had to do with my song Gabriel. Around the time I wrote it, I was releasing an EP of folk songs, which was what Gabriel originally was before it became a house track. That EP, Wolves, came out on the Greco-Roman label and led to collaborations with some really interesting electronic producers. My sound naturally became more experimental and electronic after that.

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From ‘Gabriel’ to ‘Babbo,’ how has your relationship with music changed over the years?

In some ways, nothing has changed—writing a song is still a mystery and still draws me in like nothing else. But I do feel I have far more autonomy and control over what I create now. Especially since producing myself, there’s less separation between the different elements. For while, I was perhaps seen as more of a singer or “topline writer”—a role women often get pigeonholed into. But first and foremost, I’m an artist, and I always see the whole picture. Producing has felt quite intuitive for me.

‘Babbo’ took several years to come together. What was it about this song that made it such a long process, and how did you know when it was finished?

It wasn’t the writing process itself that took a long time, but rather the emotional weight behind it. Babbo felt like my final word on a story I had explored in many other songs before. I wrote it year ago, alongside Hands, but put them aside when I released my first self-produced EP, You Know Where My Happiness Went. Coming back to them now, they felt like the right songs to release at this point in my journey. Babbo is about my father and the challenges of my childhood and our relationship. He passed away last year, and since I wrote it before his death, the lyrics now feel eerily prophetic.

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Your music often delves into deeply personal themes. How do you find the strength to be s vulnerable in your work?

I don’t see it as strength so much as a necessity. Making songs allows me to excavate and process difficult emotions. That said, making music and releasing it are two very different things. Sharing these songs can feel uncomfortably vulnerable, but I’ve learned to embrace it. When you’re honest in your work, people feel it, and it can resonate deeply with those who need it most.

You’ve collaborated with such a diverse range of artists. How have these partnerships shaped your own music, and how do you stay true to your artistic vision?

Everything I’ve learned in music has been “on the job.” I’ve been lucky to work with people who’ve taught me a lot. Collaborating with producers like Kwes and Blue May early in my career, and singing and touring with Kindness, changed the way I thought about music and influence my writing. I’ve always had a strong sense of my own taste and style—sometimes to a fault, as I can be stubborn. But it’s meant I’ve never compromised, and I always know what’s important to me.

jacket SALUCI

Your music is known for its lush, textured production. What part of the creative process excites you the most?

Those first moments when a new idea starts to take shape are pure magic. Producing myself has allowed me to stay immersed in the process from start to finish, and that’s been transformative. I get excited about finding sounds that evoke a feeling, a perfect lyric, or a melody that tie everything together. The hardest part is finishing, but I’ve learned to let go of perfection. I’ve come to love hearing the scrappiness and process behind a song.

How does fashion influence your artistic identity? How do you approach blending fashion and sound to tell a cohesive story?

I like to feel playful and comfortable in what I wear—I hate feeling restricted or stuffy. This extend to my creative process; I need to feel free and relaxed, even when I’m just at home writing or producing. Clothes can heighten a mood or thought, excite or bore you, and they have a sense of humor—just like the music I make. Fashion, like production, involves layering elements to tell a story. What you wear communicates something about who you are, just as music does.

What’s next for you? Are there any projects, themes, or directions you’re excited to explore in the near future?

I’m really excited to collaborate more next year. While I’ve loved producing and writing my last three EPs on my own, I want to explore new ground with others. The music industry can feel isolating, despite its relentless connectivity. Building a sense of community and support feels more important than ever to me right now.

jacket SALUCI

TEAM CREDITS:

talent VALENTINA
photography ED AKED
styling FREDDY FLO