Fresh off her May 14 album release show at JIJI’s Jazz Club in Los Angeles, NOAMZ is stepping into a new chapter with intention, vulnerability and a sound that feels entirely her own. Blending flute melodies, U.K. Garage, Drum & Bass, alternative R&B and deeply personal storytelling, the multi-instrumentalist’s upcoming EP TEXTURES explores identity, healing and self-acceptance through what she describes as a uniquely emotional sonic landscape.
We had a chance to chat with NOAMZ following her May 14 show and dug into her process, inspirations and intentions behind her music. She’s also fresh off a stellar SXSW performance. Read on to hear our full discussion with NOAMZ.
Sweety High: For someone discovering you for the first time, who is NOAMZ right now in this moment?
NOAMZ: She is a mixed girl, first-gen artist trying to find peace and heal from her turbulent upbringing. She doesn’t fit in a box, and neither does her music. She’s a flute beatboxer, multi-instrumentalist, producer, songwriter, and makes music to calm her and other people’s nervous systems down. She writes for all the messed-up people like her who just need to chill.
She hopes to be a light to those who need it. It may be hard today, but you’re not alone, and you’ll find a way through whatever you’re going through. I’m still going through it too, honestly, but I hope that through my vulnerability and live processing, people can see with their own eyes that it’s possible to move through the “impossible” pain.
SH: Your name, your energy, your visuals—it all feels very intentional. What’s the world you’re building around your music?
NOAMZ: We need art and leadership to look to as a model for the world we are looking to build. The artist world I’m building is the one I believe we deserve to live in: calm, loving, grounded, peaceful and compassionate. The clothes I wear feel and look organic because being connected to the earth and our environment brings us peace. I play the flute because it’s an instrument that has such deep spiritual and peaceful qualities to it.
We got to the moon. We can build a spiritually in-tune society. We’ll be happier and better off for it.
SH: For your EP, the title TEXTURES is so specific. What does that word mean to you creatively?
NOAMZ: I used to see my mental health struggles, being mixed, and childhood traumas as a curse, but now I realize I simply see the world in different textures. That’s a gift. I’ve found people with mental health issues to be some of the bravest and most intelligent people I’ve ever known. My unique struggles and experiences are a lot of what draw me to unique sonic textures.
In this project, you’ll hear the unique textures of reverb flutes over DnB/UKG beats, pitched vocals and vital synths.
(TEXTURES via NOAMZ)
SH: What kinds of “textures” are you exploring on this project emotionally or sonically? Does each track represent a different version of you, or are they all part of one story?
NOAMZ: I’ve always loved electronic music and organic sounds growing up. I was a huge Skrillex and video game music fan, and I also loved practicing flute, vocals, guitar or saxophone for hours after school. Both soundscapes feel like home. With this project, I figured out how to bring those two worlds together to create a super unique textural landscape.
Each song captures a different feeling or moment from last winter. “Feelin” came from feeling depressed because my sister was out of town. “Find My Way” was written during a moment where I felt optimistic I could finally figure out my music career. “Be Alright” came from making music with one of my good friends, so I was feeling hopeful and energized. “Crazy Things” reflected feeling overwhelmed by the state of the world. And “Anymore” is a super personal song where I commit to not having low self-esteem anymore. I won’t hide anymore.
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SH: What’s a typical day in the studio like for you?
NOAMZ: If I’m in new music-making mode, I usually start by building a drum loop and adding bass and/or guitar to lock in the groove. Then I flow on top of it with loose melodic ideas or flute ideas. Once I feel like I’ve locked in the structure, I’ll add layers that feel right—whether that’s more synth textures, spacey vocals or additional percussion.
Sometimes I’ll get inspired by a guitar-and-vocal voice memo and rush to the studio to build it out and find drums that fit the melody. But honestly, eight times out of 10, I’m in the studio trying to finish songs and make them as perfect as I can.
SH: What’s something about your process people wouldn’t expect?
NOAMZ: I record my flute and vocal takes in one go. No second or third takes. No auto-tune. I want the audio to feel raw, organic and not overthought. Then I chop up the audio and move it around structurally inside the song.
I think people are also surprised when I tell them I fully produce my own music, too
SH: What’s something you’ve had to unlearn to become the artist you are now?
NOAMZ: I’ve had to unlearn letting perfectionism and self-doubt get in the way. I’ve also had to learn how to stop being afraid of vulnerability.
Three years ago, people used to tell me I was super guarded, and I didn’t understand why. But whenever I got on stage, people deeply connected with my music, and I could feel myself opening up. On my first project, I committed to speaking my truth and being vulnerable so I could finally heal. A huge reason I became an artist was that I had so many emotions I needed to process publicly—anxiety, anger, sadness—and music became the safest way for me to do that.
But as I’ve gotten deeper into music, I’ve noticed myself closing off again. I need to trust that the world can hold me in my truth.
SH: Are there still parts of yourself you’re figuring out through the music?
NOAMZ: 100,000%. My lyrics don’t lie, especially in the studio. My deep inner psyche always comes through. A lot of my recent lyrics revolve around wanting to feel better and not still be hurt by my childhood, but I’m not there yet.
“Anymore” was actually meant to be a love song, but it came out as “I can’t hide anymore.” It’s not even necessarily that I’m not hiding anymore—it’s that I physically can’t do it anymore. My soul can’t take it anymore. Something has to change.
My songs keep me honest about the fact that I’m still healing and still need time to get better. But I have faith. I believe that if I keep being honest and vulnerable through the music, I’ll eventually find peace. We all deserve that.
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SH: What energy did you bring into your SXSW set? What about your May 14 show?
NOAMZ: I brought honesty, rawness and musicality. I played flute, guitar and sang for SXSW. For the May 14 show, I brought even more rawness. And I had to play saxophone and beatbox flute, too, of course.
SH: What do you want people to feel walking away from your set?
NOAMZ: I want them to feel like, “I’ll be okay. I’ll make it through. I’m less alone. I feel better.”
I hope they leave wanting to talk to their friends about things they’ve been bottling up, or finally get help, or go sit with themselves in a spiritual or healing space. I want people to leave with hope that things can get better.
SH: With singles rolling out before the EP, how intentional are you about how people experience your music?
NOAMZ: Extremely intentional. I only make music because I want to help change our culture into a more caring and loving one. Every release is an attempt to encourage more self-love regardless of where someone comes from. Every single carries that intention.
SH: What feels different about this era compared to your earlier work?
NOAMZ: Earlier on, I was still exploring and figuring out what felt right with my voice and what kind of soundscape I wanted to create. I committed really early to making my artistry a public exploration because I don’t want to sell the illusion that artists are fully formed on day one. That’s just not true.
This is the first EP where I finally feel locked into my sound and style: hypnotizing emotional vocals, mesmerizing flowing flute melodies over energetic beats and organic guitars. This feels like my first real EP.
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SH: What’s something you’re protecting as your career grows?
NOAMZ: I’m protecting myself from peer pressure, financial pressure and insecurity. If I like something, I release it. If I don’t, then I don’t.
I’ll always find ways to make money, but never at the cost of my authenticity.
SH: What kinds of collaborators or spaces feel aligned with you right now?
NOAMZ: UKG and DnB artists like Hans Glader, venbee and Nia Archives. Soundscape explorers like Tame Impala, Thundercat, Mk.gee and FKA twigs. Creative spiritual leaders like Erykah Badu.
And honestly? Parking garages. Tea rooms. Sound baths. Community gardens. Jazz festivals. Sweaty basement shows. Big dark dance spaces where people can just release. Authentic spaces of connection.
SH: How do you stay authentic when there’s so much pressure to fit into a specific lane or sound?
NOAMZ: I stay rooted in my original intention: helping shift our culture toward a healthier, more loving world. People are hurting right now. We all know change is needed, and I want my music to support people emotionally so they can actually show up for themselves and for others.
And honestly, I trust that growth will naturally come from authenticity and skill. I’m already a one-of-one artist—flute beatboxer, mixed first-gen kid, producer, multi-instrumentalist—and I’ve never really fit neatly anywhere. Just by existing and making music, the work is naturally going to feel innovative. That’s a gift.
SH: Anything else you’d like to add?
NOAMZ: Thank you for this! You’re dope. TEXTURES drops June 1. Early release is available now on KitBetter.
For more insights from the artists who inspire us, click HERE to read our interview with Chris Grey.
