STRAND x FEMMESTIVAL Spotlight: Rivkala
Rivkala, a dynamic singer-songwriter blending jazz, funk, soul, and neo-soul, channels her rich cultural roots and personal experiences into music that resonates deeply with audiences. Growing up in Manchester, her musical influences ranged from Alicia Keys and Amy Winehouse to jazz greats like Ella Fitzgerald, while her Jewish heritage infuses her sound with Eastern European flair. With a passion for storytelling, gender performance, and social commentary, Rivkala uses her music to connect, heal, and spark conversations. Her journey from academic pursuits in politics and sociology to the vibrant world of music showcases a commitment to authenticity and emotional depth, making her a compelling voice in today’s music scene.
Daria Slikker: What’s your songwriting process?
Rivkala: I usually start with lyrics. If I need to process emotions or have a funny idea, I jot it down into my notes app. Sometimes, while driving, I’ll record a voice note and return to it later. Once I have a melody, lyric and form, I’ll sit at the piano, figure out the harmony, and work out the chords. Then I’ll take those to the Rivkala band with arrangement ideas and we’ll build things up collaboratively from there. In some other bands and projects I’m in, I do more toplining – creating melodies and lyrics that respond to a group's musical idea.
Did you always start in the jazz / funk / soul genre?
Growing up Jewish in Manchester we listened to all sorts. My brother was playing Red Hot Chilli Peppers, my mum was playing Alicia Keys, Beyoncé, Ella Fitzgerald, Amy Winehouse, my dad Smokey Robinson and 10cc. At bar mitzvahs I’d be the kid spending all night on the dance floor to Earth, Wind and Fire. I also did lots of musical theatre growing up, which definitely influenced my sense of drama and theatricality. Musical theatre often gets a bad rep, and I totally understand why some people don’t like it, but I love being campy, which obviously musical theatre embraces. I also love the music of my ancestors - klezmer - Eastern European Jewish folk, which I think lends itself really well to combining with jazz - and I try to infuse it into my music through clarinet and violin. The music that has always moved me more than anything though – whether emotionally or just makes me dance - is rooted in Black and African diaspora: jazz, blues, soul, funk, disco, hip hop etc.. I didn’t intentionally set out to make any specific genre, and also write a lot of songs in different styles for different projects. I suppose my music is a combination of all my influences - simply what comes out naturally.
What draws you to artists like Winehouse, Keys and Beyoncé?
Their storytelling. Lyrics are so important to me. Some people don’t even notice lyrics, but I always do – words are my love language. Great storytelling connects us on a human level: “I have felt this. See me, hear me.” Jazz, blues, and their offshoots are the greatest 20th-century art forms, capable of moving the human spirit like nothing else. I deeply respect and resonate with these genres, and because I’m obviously not from the African diaspora, I do feel a sense of responsibility to make sure I’m educated on the cultural context. I think it’s important when you’re a guest in someone’s house to show up, show respect, and know the history.
Gender, Performance and Identity
How does gender influence your performance?
I find gender performance fascinating. I studied Marxist and feminist thought at university, and my next EP project after this one dives deeper to explore the theatricality and performances of everyday life. Everyone performs – whether it’s professionalism, gender identity or emotional responses. Everyone’s doing drag. And the people who think they aren’t doing drag are the ones doing it the most. I like getting campy with it - and exaggerating gender symbols in my costumes - juxtaposing a pencil moustache and big eyelashes, lipstick and a tie - blending masculine and feminine to comment on how it’s all just a performance.
Why did you study politics and sociology instead of pursuing music immediately?
I was a confused teen, torn between what I thought people expected of me academically, and other passions. Music was always a part of my life, but I didn’t think I could pursue it seriously. Growing up with parents in the medical field, I always thought I’d become a doctor. I even had offers for medical school, but my mental health during A-levels took a real hit, in part connected to undiagnosed ADHD, and ultimately my grades redirected me. I’ve always been passionate about social justice, and studying Politics and Sociology at Newcastle University was so fulfilling. After my degree, I looked for jobs in the charity sector, in anything to do with gender and the environment, and my first job after uni ended up being for a pride charity. I still work in the charity sector, and have two other jobs, one at now work a gender equality charity, on a project about men’s mental wellbeing and one in informal education, helping young people develop core skills and plan for their future.
How do personal experiences shape your music?
I write constantly – I’m currently sat on over 100 songs, whilst holding down 2 other jobs. Writing helps me process life - when I experience something difficult and then write about it, the thing doesn’t need to change, but the act of writing about regrounds me in the positive, and reminds me of things I like about myself. For example, I once wrote a song on a bad mental health day, and it lifted me out of it. My song “I Don’t Know How to Write a Love Song” was inspired by someone asking if I’d ever written a happy song about them. That question broke my heart, and led me to realise that I rarely write when I’m happy – I’m more drawn to the piano when I’m processing sadness or anger.
Band vs. Solo Projects
How does your solo music differ from your band’s work?
My work as Rivkala is more personal, and involves a lot more of me processing my own emotions. In one of the other bands I’m in, Solcade, it’s less about my life and more about social commentary - and sometimes in a “we’re all going to die, let’s just vibe” way. My goal within the Rivkala band is to always be the worst musician in the room. I write the music and chord progressions, and often write a lot of the horn parts and basslines, and then we’ll all work together as a band to develop the arrangements and instrumental/production decisions. One of my favourite things to do is finding ways to contribute to the story of the song overall.
On Identity and Connection
What’s the story behind the name Rivkala?
Rivka is my Hebrew name. In Yiddish adding “la” at the end of a name makes it a term of endearment - like a nickname. Rivka means “to connect” - and I chose to use it as my artist name because my aim with music is to connect with people – whether collaborators or audiences – to build community and ease loneliness.
Can you recall a moment when your music resonated deeply with an audience?
Performing “Lonely Shade of Blue” solo at the BBC Proms was unforgettable. The audience’s silent attentiveness was surreal. I also cherish smaller venues where I can chat with the audience afterwards. My favourite responses are always when people, especially women, resonate with my lyrics - someone once told me, “You’ve put words to things I’ve always felt.” It’s always gratifying to perform my song “Chess” as well because it gets a lot of laughs and you get the immediate feedback too.
The Power of Storytelling
What role does storytelling play in your music?
I see storytelling as a service – a journey of introspection we can take together. I like being the one to facilitate that. My goal is to create specific yet universal lyrics that resonate. With performance, I use myself as a vessel to evoke emotions, creating spaces for audiences to project their own feelings.
Looking Forward
Are there any new musical directions or collaborations on the horizon?
I’m excited to keep working with my band and producer. Familiarity breeds creativity - I think people make their best work when they feel safe. We’re exploring more danceable sounds – hence bringing in a keys player so I’m not stuck stationary and can move around more on stage. My other band, Solcade, is going to start recording in January and blends psych rock and funk.
Do you ever face a writer / musician block?
My creativity ebbs and flows. I might write three songs in a week and none for the next two. If I’m stuck, I try less pressured creative outlets. There’s always something useful to do even if it’s not songwriting - I could make album art. I have to separate the creator and editor – when I’m writing I have to feel as if it’s the best thing I’ve created, then I’ll revisit it later to edit with a more critical eye. Balancing the raw flow and later refinement keeps the process fresh.
Has the music industry shifted positively for women?
It’s hard to say definitively, but there’s progress. Women dominate the charts, yet behind-the-scenes-roles – like sound engineers and roadies – are still male-dominated. The nightlife industry remains hostile for women and gender minorities. FEMMESTIVAL’s founder, Talia, prioritised venue safety and accessibility by having the show within a five minute walk of a tube station. I’d never come across anyone considering that before and it’s so powerful to have someone do that, not only for the performers but every attending audience member.
Where do you see your career heading?
I’m ambitious. My dream is a Mercury Prize nomination, performing on Jools Holland, and growing my audience across Radio 2 and 6. Ultimately, I want to perform live as much as possible and tour, I make music to connect with people, by building immersive, emotional experiences. My “Chess” launch in Newcastle, where everyone dressed in 1920s glam, proved to me how much audiences love having an opportunity to add to an atmosphere. I’ll keep telling stories, and hope people continue to listen.
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