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. In band projects, 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?
Not intentionally. The music that moves me – whether emotionally or just makes me dance – has its roots in Black and African diaspora. Growing up Jewish in Manchester, we listened to Alicia Keys, Beyoncé, and Amy Winehouse at home. Musical theatre also influenced my sense of drama and theatricality. I enjoy being campy, which musical theatre embraces, though often unfairly criticised for it. My music is simply what comes out naturally.
What draws you to artists like Winehouse, Keys and Beyoncé?
Their storytelling. Lyrics are crucial 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. While I’m not from the African diaspora, I deeply respect and resonate with this music and its cultural context.
What music influenced you growing up?
My biggest influences have to be Ella Fitzgerald, Louis Armstrong, Diana Ross, and James Brown. Funk changed the world and Brown is its godfather. I also blend Eastern European and Jewish sounds into my music using clarinet and violin, combining jazz and klezmer.
Gender, Performance and Identity
How does gender influence your performance?
I find gender performance fascinating. I studied Marxist and feminist thought, and my upcoming projects explore the theatricality of everyday life. Everyone performs – whether it’s professionalism or emotional responses. Even people who think they aren’t performing are doing it the most. I often exaggerate gender in my performances with a pencil moustache and large eyelashes, 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 academics and helping people. Music was always there, but I didn’t think I could pursue it seriously. Growing up with parents in the medical field, I thought I’d become a doctor. I even had four offers for medical school, but my mental health during A-levels, undiagnosed ADHD, and grades redirected me. I found my passion for social justice at Newcastle University. Once I completed my degree, I looked for jobs in the charity sector to do with gender and the environment, and ultimately ended up working for a pride charity. Later, dating a musician exposed me to a creative, freelance lifestyle, and I realised I wanted that too. Music allows me to combine all my interests – writing, performing, styling and collaborating.
How do personal experiences shape your music?
I write constantly – over 100 songs while holding down a job. Writing helps me process life and reclaims my sense of self. 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 processing sadness or anger.
Band vs. Solo Projects
How does your solo music differ from your band’s work?
My solo work is more personal, and involves processing my own emotions. Within the band, it’s more about social commentary in a “we’re all going to die, let’s just vibe” way. My goal within the band is to be the worst musician in the room. I usually describe things in a less technical way and write the music and chord progressions, whereas they will do the arrangements and final instrumental decisions that contribute to the story we’re telling.
On Identity and Connection
What’s the story behind the name Rivkala?
It’s my Yiddish nickname, derived from Rebecca. In Yiddish, adding “la” at the end of a name makes it endearing. Rivka means “to connect,” fitting because my music aims to connect 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. One person once told me, “You’ve put words to things I’ve always felt.” Hearing people laugh at my song “Chess” reminds me they’re connecting in real-time and is such an immediately gratifying response.
The Power of Storytelling
What role does storytelling play in your music?
Storytelling is a service – a journey we take together in introspection. My goal is to create specific yet universal lyrics that resonate. Whether through drag or 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’d like to explore more danceable sounds – hence bringing in a keys player for greater movement on stage. Everyone is involved in the project of Rivkala even though it’s solely my name and I technically lead it. My band, Solcade, is going to start recording in January and blends psych rock, Afrobeat, 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. I separate the creator and editor – writing as if it’s the best thing I’ve created, then revisiting it later to edit. 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. Someone considering safety and access is impacting not only 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 tour, connect with diverse people, and build immersive, emotional experiences. My “Chess” launch in Newcastle, where everyone dressed in 1920s glam, showed me how audiences love having an opportunity to add to an atmosphere. I’ll keep telling stories, hoping people continue to listen.
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