Take one listen to Konyikeh’s latest EP, Cinere, and you will find yourself floored by a piercing voice that takes in classic soul stylings but uses them for songs that tackle the most modern of dilemmas. The stirring ‘Buyers Remorse’ is a unique rumination on self-worth, while ‘Miserere’ successfully aims for an epic sound that borders on the orchestral. It is a fitting evolution for the London-born soul riser, who achieved her musical education in classical circles and conservatoires before a chance discovery of Kendrick Lamar on Spotify as a teenager made her realize that it was indeed possible to blend multiple worlds at once.
From the Ashes: The Genesis of Cinere
The title of the EP, Cinere, is a Latin phrase meaning “from the ashes,” a concept that deeply manifests throughout the body of work. For Konyikeh, making this EP was a process of self-discovery and rebuilding from personal situations. She describes a conscious decision to push through adversity rather than wallow in it, developing a stronger sense of self and resilience in the process. Writing these songs became a form of release, a cathartic experience that allowed her to find joy amidst the struggle.
The EP navigates a striking duality of light and dark, featuring both dramatic ballads and more hopeful, fun moments. Konyikeh structured the project with an A and B side in mind: the first three tracks are full and dramatic, while the final two are stripped back and optimistic. Even when dealing with dark subject matter, she intended for tracks like ‘Miserere’ to act as a palette cleanser for the listener, offering a sense of hope.
Navigating Identity and ‘Buyers Remorse’
One of the most poignant tracks on the EP, ‘Buyers Remorse,’ reflects Konyikeh’s experience as a Black woman who plays classical music while consuming genres ranging from electronic to rap. The title explores the idea of vulnerability and the fear of whether others will have “remorse” for investing in her—both financially through her music and emotionally through relationships. It is a deconstruction of herself as a concept and a proposition, questioning how she is perceived as a human being in an industry that often paints a static picture of artists.
A Classical Foundation and Future Steps
Konyikeh’s background is rooted in a deep immersion in the arts. After signing up for violin lessons at a small primary school, she was introduced to the world of conservatoires. She spent ten years studying violin and performing in orchestras, a world that remained her primary focus until streaming services opened her ears to new possibilities. She recalls Kendrick Lamar’s ‘Broccoli’ as her “Rosetta Stone,” the catalyst for her exploration of contemporary sounds.
Despite frequent comparisons to Nina Simone—an icon Konyikeh views as an “untouchable force”—she is careful to distinguish between referencing and copying. Her vocal style is a product of her classical training and her own natural sound, rather than a conscious imitation of her predecessors. Looking ahead, Konyikeh is focused on the live experience. Having recently toured with Jalen Ngonda, she has developed a passion for performance that informs her writing and recording process. With a headline show scheduled for July 8, she is ready to bring the live, organic sound of Cinere to the stage.