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GET TO KNOW: SUNKISSED CHILD

TUESDAY 10TH JUNE 2025

WORDS BY DARNELL RICHARDS

Bright, blinding, and bold, these are three words that capture the radiant energy of SunKissed Child as she shines from Beirut to London with the release of her debut EP, Yasmina: Like the Flower. Born in Lebanon and shaped by her journey through France, London, and Leeds, her music reflects a life lived across cultures, infused with sunlight and soul.

Having sold out shows in cities like Istanbul, London, and Leeds, and performed at international festivals such as We Out Here and Sound of Europe, SunKissed Child has been steadily building both national and international recognition. Following a string of singles and collaborations with artists like Yung Yousef, Yasmina: Like the Flower marks her first full length project, a bold introduction to her identity as an Arab woman navigating life in the West.

Yasmina: Like the Flower is a vibrant fusion of jazz, neo-soul, electronic textures, and rich Arabic instrumentation, creating a soundscape as layered and dynamic as SunKissed Child herself. The EP explores themes of mental health, self-reflection, and rediscovery, set against today’s political climate and the complexities of womanhood and mixed identity.

Yasmina: Like the Flower isn’t just SunKissed Child’s introduction, it’s her blossoming in real time. Vibrant and rooted in truth.

The title Yasmina: Like the Flower feels deeply symbolic. Can you share the story behind the name and what led you to make it both the title track and the name of the EP?

Jasmina is my real name, but growing up in the UK, people always mispronounced it or treated it like it was strange. For my family, though, especially my mum and grandma, it was always something beautiful.

They'd connect it to the jasmine flower. When we lived in Beirut, there was a jasmine tree near our house, and that memory still brings me comfort. Naming the EP Yasmina: Like the Flower felt like reclaiming that identity. It’s a way of saying, yes, I’m SunKissed Child, but I’m also Yasmina rooted in memory, culture, and growth.

Yasmina: Like the Flower marks a significant milestone in your musical journey. Can you tell us what this project means to you and what it represents at this point in your career?

Honestly, it’s been a journey. Growing up, I mainly listened to full albums, so releasing an EP felt like the natural first step. But as an independent artist, I haD people saying, “Slow down, take your time.” And I’m glad I did.

That space helped me figure out not just what I wanted to say, but how to say it. Now, the story of SunKissed Child feels intentional and whole. Yasmina: Like the Flower reflects both sides of me, the personal and the artistic. It’s a snapshot of where I’ve been and where I’m headed.

How does the duality of being a London-born artist with roots in Lebanon shape the sound of your music, and more specifically, how has it influenced the creative direction of your new EP?

It’s shaped everything. Growing up in Beirut, there was a rejection of our own culture. People looked to the West for what was “better.” Then I came to the UK and saw people embracing their heritage, and I felt a bit lost with mine.

As an Arab woman, there are a lot of assumptions that I’ll sing in Arabic, sound a certain way, fit a certain image. This EP pushes back on that. It blends jazz, neo-soul, electronic, and Arabic instrumentation; a mix that reflects the duality of who I am.

The final track, Missing, is in Arabic. It’s my way of expressing that I’m still reconnecting with my roots. The project ends on that note because I’m still figuring it all out.

You first teamed up with Yung Yusuf on Are You Okay, and now you’re back with Top of the Ceiling. What keeps pulling you two back together, and how has that creative spark evolved?

Yusef and I went way back; we started our music journeys together in Leeds at university, and grew into our sounds after moving to London. We’ve always had a strong bond, musically and personally. Are You Okay? It was our first recorded collaboration, written and recorded in just a couple of hours it flowed so

naturally.

With “Top of the Ceiling”, things were heavier. I felt stuck, and Yousef brought clarity. We always have deep talks about identity, heritage, politics, and that energy shaped the song. His verse added something real and grounding. It wouldn’t be complete without him.

How did you navigate the tension between vulnerability and lightness in Yasmina: Like the Flower? Was that balance a conscious choice or something that emerged naturally?

It all came together quite naturally, but I have to give a lot of credit to my producers Jacob, Lucas, and Theo. I’m good at writing and creating demos, but actually turning those ideas into full, cohesive tracks? That’s where they really shone. They made everything sound beautiful, lush, and ethereal, which was so important considering how vulnerable the lyrics are.

I’ve always been drawn to gritty textures, too, like in “Sorry for Me” and since I listen to a lot of hip-hop, that edge always comes through in my writing. Working with Theo, especially, was a great balance. I'm a bit of a maximalist, and he’s a minimalist. That contrast helped give the EP a clear direction. His influence really grounded the project, and without it, I honestly would’ve been a bit lost.

Your lyrics often draw from personal experience, but given your political awareness and Life across Lebanon, France, and the UK, how do you approach shaping the messaging in your music, especially in this very divisive political time?

Honestly, it’s something I’m still figuring out. As someone on a Lebanese passport, on a visa, there’s a real fear in speaking out it can feel dangerous. I know I have a voice and a platform, and that creates this pressure to be vocal, but at the same time, I have to think about my own safety.

Right now, the way I handle it is by writing from personal experience of my family's, my friends’ and showing how larger political issues affect us on a day-to-day level. It’s less about making bold political statements and more about offering a personal perspective that might resonate with others. I want my music to provide comfort, even if I’m not being overtly political yet. That part of Sun Kissed Child is still evolving, but it’s something I reflect on constantly.

Your EP explores self-love through deep self-reflection, like in “Can’t Fight the Feeling, ”where you write, I’m front row / watching my downfall.” How do you balance self-acceptance with raw honesty in your writing?

Songwriting has to come naturally,I can’t force it. That’s why each Sun Kissed Child track feels personal and unique. I love a good summer bop, but writing, for me, is cathartic. It helps me let go. Sometimes it becomes a song, sometimes it doesn’t.

This EP was a long process. Many songs started over two years ago but stayed unfinished until the final week of recording. Revisiting those emotions was tough, but giving the songs time to grow added depth and honesty.

On the title track, Yasmina: Like the Flower, you blend guitar, Arabic instrumentation, and sing in Arabic and English was that mix a personal choice, or does it also reflect the duality of identities between Lebanon and the United Kingdom?

Yeah, it was definitely about finding not just a duality, but what I’d call a trilogy of identity. I even sang in French at one point, which was really important to me. I’ve always wanted to do that, but only if it felt natural, never performative. On the title track, it just flowed. Using English, French, and Arabic wasn’t just a stylistic choice, it was a way to speak multiple truths from different parts of my life.

English reflects my experience living in the UK as a foreigner; French captures the way my community is engaged with in Europe; and Arabic, to me, represents how we’re often reduced or sidelined. It felt powerful to bring all of that into one track to offer something fuller, more layered, and deeply personal. I’m so proud of this one, and I really hope it resonates.

You’ve played sold-out shows and major festivals across cities like London, Leeds, and even Turkey. What have those live moments taught you about your audience and yourself, and is there a dream city or venue you’re still hoping to play?

Live shows have always been my favourite part of making music. Back when I was studying in Leeds, we were gigging constantly, once or twice a month after COVID. That period helped me grow as a performer. I learned how to read different rooms, adjust to audiences, and connect with people on a personal level.

Performing with friends like Plant Food, August Charles, Misha Sefia, and Young Yousef during that time was so special. We were constantly sharing stages and bandmates; it felt like a real community. Those experiences taught me how different audiences respond depending on where you are. In Beirut, I play more commercially leaning songs. In the UK, I lean into the rawer, more alternative stuff, because that’s what resonates here. It made me think of live performance as a conversation, something flexible, where I give the audience what they came for, rather than just playing what I want.

As for a dream venue, it’s always been the Royal Albert Hall. That’s my benchmark. Whether it’s headlining or supporting, that stage would feel like a real milestone. Hopefully, within the next five to ten years.

How do you see the evolution of your sound going forward? Is there a direction you’d like to take next, or an element you’d like to explore more in future projects?

As for what’s next, I’ve been writing so much over the past year, really exploring new directions. There’s an ideal version of where I want my music to go: I want to bring more of my cultures and heritage into my sound in a way that feels real, not forced. I actually have two projects I’m really excited about, one’s a romantic, jazzy pop EP, and the other is more groove-heavy, with an energy that leans into artists like Ezra Collective or Yazmin Lacey.

I don’t like boxing myself in creatively whatever feels authentic in the moment, that’s what I follow. Even if iit’s a headache to tie it all together, that freedom is how I stay true to myself.I don’t have a set drop date yet, life keeps throwing curveballs, but hopefully, by the end of the year, I’ll have something out. I’m just trying to be more consistent and stop letting these demos collect dust on my laptop. I’m excited to see where it all takes me.