ALL EYES ON: EMILY MAKIS

FEATURES - MUSIC - ALL EYES ON

FRIDAY 7TH NOVEMBER

WORDS BY HENRY TUPPEN

Fabric’s New Chapter, Emily Makis’ Defining Moment.

Anyone who’s spent nights beneath the streets of Farringdon, in Fabric, will be aware of what an institution it is. It is a living archive of electronic music’s constant evolution. Its FABRICLIVE series became a rite of passage for both artists and fans alike: a collection of mixes that defined eras, bottled moments, and provided a soundtrack for journeys home through first light.

When news came that the series would be making its return, anticipation was bound to be sky-high. And fittingly, it’s Pola & Bryson who set the tone for this new chapter - with Emily Makis’ voice ushering in the opening track.

Makis has carved her place in the world of drum & bass with a striking duality: her vocals soar with clarity and soul, yet they’re also rooted in rawness, lived-in, emotionally unfiltered, as if cut straight from the night itself. In just a few years she’s gone from local studios to festival main stages, lending her voice to some of the scene’s biggest names while simultaneously establishing herself as a writer with narrative intent. To find her involved in FABRICLIVE’s rebirth feels less like a coincidence and more like a confirmation: she belongs in this world.

We caught up with Emily to talk about the making of Worlds Apart, the quiet therapy behind her lyrics, and how collaboration can feel like instinct when the chemistry is right. She reflects on finding her place in a male-dominated scene, the importance of camaraderie, and why the rave, in all its grit and euphoria, remains at the heart of what she does…

FABRICLIVE has such a legendary legacy - how did it feel to be asked to feature on the first track of its big return with Pola & Bryson?

I still listen to Chase & Status’ RTRN II Fabric mix on a regular basis, so it was a special moment finding out Pola & Bryson would be involved in the legacy. The nature of this mix, I think, is quite progressive, and so is ‘Worlds Apart’, so it made perfect sense to pair the track and mix together. It’s a real honour to be able to release some more narrative-based music.

Can you tell us about the creative process behind “Worlds Apart”? How did the track come together?

We wrote Worlds Apart together in the studio with the lyrics feeding off a synth line that Harry made. It’s weird because the instrumental kind of re-ignited some feelings that I thought were dying down until they came out on paper. It was a bit of a therapy session. Normally I’m concerned with compressing song structure but this was purely conversational and very emotional! We got the bare bones finished that day. The second half I did at home where I could do a thousand takes of that one high note at the end.

What’s it like working with Pola & Bryson, how do they bring out the best in you as a collaborator?

I think we just understand each other in a sort of unwritten way. Their mix of gritty and euphoric is something I really resonate with so it makes collaborating easy.

Do you approach writing for a landmark project like this differently than you would for a standalone release?

No I don’t think so. Isn’t the aim to make everything a landmark? Haha. Whatever the instrument tells me to do, I will act accordingly. If anything, this project allowed me more creative freedom because Pola & Bryson are the kings of progression, meaning more sections to work with.

Your vocals are so emotive and soulful, how do you channel that raw emotion into a drum and bass track?

It’s the Drum and Bass that channels it out of me really! That and really feeling things I suppose.

Do you tend to start with lyrics, a melody, or does it depend on the producer’s beat?

I do love starting with a beat. It takes a lot of the pressure away, you’re able to fit a melody around what already exists, there are certain limitations that push the melody in a certain direction and make the outcome satisfying. If not though, it’s normally a melody and then a unique phrase that you can work into the lyric content.

Are there particular themes or moods you find yourself drawn to when writing for D&B?

I meant the most obvious one is the rave. At first I tried to shy away from rave based lyrics but actually it’s such a big part of this culture, sometimes you just have to give in to the ‘big room’ connection. With DNB though you can really write about anything. I wish people wrote about other things more.

You’ve already worked with some huge names like Wilkinson and Kanine what have you learned from those collaborations?

I’ve learned that people really care about their fanbases. Fanbases or a perceived audience can really shape a sound. There’s a lot of dedication to finessing the sound of elements in the scene, even in the ‘commercial’ sphere. It’s really hard to make a drum beat pop. These guys are making some real genius stuff.

When you look back, was there a moment where you felt: “Okay, I’m really establishing myself in this scene”?

Probably when Disconnect came out. At the time I think something like one fifth of the UK top 40 was Drum and Bass. It felt good to have written something that was standing amongst titans in the industry. It felt like I finally proved to myself that I could achieve something here, even just as a writer.

What’s been your proudest moment in your career so far?

Ooh! It’s always nice being able to play on the other side of the world. Maybe getting on that Rhythm and Vines in New Zealand? Being able to see that we’d transcended just our territory was cool

Drum & Bass has often been male-dominated, especially behind the decks and in production. How has your experience been navigating that space as a female vocalist?

I’ve definitely faced some micro-aggressions, but I think if you can turn any perceptions of being ‘looked down upon’ into fuel it actually makes you better and stronger in the long run. Overall I’ve been blessed to work with very sound individuals so may not have felt the impact as much as others have. You just have to constantly believe in yourself and make your opinion known, but that’d be true of anyone irrespective of sex.

Do you feel things are shifting for women in the scene, and what would you like to see change further?

I see a lot of camaraderie between the women of the scene. There are some insane talents around at the moment, Lens, Harriet Jaxxon, A Little Sound, Venbee, Issey Cross, Ama, Oko, Sabrina, to name a few. We just need to keep producing quality material, and I think in time we will see more of a shift. Negativity will always exist, especially on the net, so having tunnel vision is the only thing that will make the situation any different.

What advice would you give to young female artists or vocalists who want to break into electronic music?

I would say be as dedicated as your life allows. Keep working on your craft. There are so many online resources that will allow you to grow. Social Media can be your friend if you are fearless enough… I’m still learning about that one. If it’s vocals, I would find a way to record some demos showcasing your vocals and keep sending them out. Rejection is okay. Just keep pushing!

What upcoming projects or collaborations are you most excited about?

I’ve been writing some silly music at the moment. I’m excited to try some stuff outside the 174 space. Maybe some Dubstep!

If you could collaborate with anyone in the wider dance music world right now, who would it be?

Calvin Harris or Tiesto but imagine Tiesto back when he was making PURE trance!

And finally, what can fans expect from Emily Makis in the next year?

More music. Live events. Honing in on that attitude. More experimental lyrics. More writing for others. Let’s go