Danish singer-songwriter Erika de Casier’s cult following has reached new heights. Her latest album, Still, is an odyssey through genre, it’s a masterpiece of sonic evolution and production that takes R&B to new dimensions.

Still has many a meaning in the world of music: ‘Still D.R.E’, still Jenny from the block, or just simply stillness, a moment of quiet amongst the chaos. For Erika de Casier, it’s a bit of everything: her third album was a step into a new realm, one without boundaries or borders, one with collaboration and creative community, and one which has lauded her with praise.  


From the hip-hop-infused ‘ice’ featuring Floridian rap duo They Hate Change to the Kate Moss-referencing voyeuristic visuals accompanying ‘Ex-Girlfriend’ with nonconformist artist Shygirl, the album is full to the brim with experimental partnerships with some of the industry’s best rising stars. Heavily inspired by the Y2K world of pop and R&B, Erika draws in influences from the likes of Aaliyah and Missy Elliott, creating a sonic identity both nostalgic yet utterly innovative.  


Talking us through her musical beginnings, we find out what led Erika de Casier to Still and where it’s taking her to next… 

Looking back, do you remember the moment you fell in love with music? 

I can’t remember a specific song, but I do remember getting a portable CD-player at a local supermarket when I was maybe 11. It was clear blue so you could see the CD spin inside it. Before that I had a small radio I used to put up to my ear at night on very low volume so I wouldn’t wake up my mum. I didn’t even have headphones! The struggle. The CD-player gave me a whole new freedom and a feeling of independence – I could listen to whatever I wanted, or whatever CD I had at any time. I remember I brought it with me everywhere – I taped it to my bag when I was biking to school, and I had to bike very calmly so the CD wouldn’t skip. It became my most precious possession.  

Your most recent album Still is an incredible project, pushing boundaries of genre How do you feel about the reception so far? 

Oh, wow. Thank you for that. I feel relieved. I’m amazed by how kind people have been. I think I was expecting the worst – an illogical fear that those who have listened to my music before would turn against me, or something. I don’t like to admit that, but it would be dishonest to say otherwise. I’d love to say I’m super confident in everything I do. I am confident of my choices, my taste and my values, and when I make music, I do it for my own pleasure. But I am filled with uncertainty whenever I have to share it with others. Like it’s too personal. Meeting people after the concerts always baffles me – to have made something that means something to other people is wild. It has given me a lot of fulfilment. 

How do you feel like your sound has evolved to Still and what do you think makes this album different from your previous ones? 

It’s the first album where I have worked with other musicians and the first time I’ve had any features on. I guess after my second album that I made during lockdown I could really feel that fundamental need for company. I think what makes it different is also where I am in life now and what I feel the need to write about.  

Your music often blends elements of R&B, UK dance, and other genres. Can you tell us about the influences behind your sound, and how you approach incorporating different styles into your music? 

I actually don’t think about what styles to incorporate while I’m making music. I’m aware of my references, but I just use whatever sounds make me feel something or fit the certain track I’m making. I think we’re all just melting pots of whatever we’ve been exposed to and whatever we’ve connected a certain feeling towards: we make art that reflects that. Maybe I shouldn’t speak for everybody. Of course, sometimes I can start a track thinking it more as a playful challenge: “let me make a trap-beat”, but in general, I just go tone by tone, sound by sound, word by word. Then the track ends up having different genres incorporated, but that’s none of my business.  

One of the themes in your music is the tension between confessional songwriting and keeping a sense of privacy as an artist. How do you balance authenticity with maintaining boundaries in your work? 

I think even though my lyrics are intimate and honest, they’re still private. I never mention any names and I still want others to be able to make their own stories to the songs. I’ve always valued room for imagination in music – when it can be the soundtrack to my daydreams. I also value my privacy in my daily life, so even though I love sharing my music and have grown more comfortable with being in the spotlight on stage, I still want to keep my private life to myself. 

What role does vulnerability play in your music? 

When I write songs, I imagine I’m telling someone face-to-face. Or like it’s a look into my most honest thoughts when I’m in a vulnerable situation. For me, expressing vulnerability is something I find natural to do in a song because I write for myself – when there is no fear of rejection. 

Your journey as an artist has included the creation of an alter ego for some work, Bianka. How did Bianka help you deal with the pressures of the industry, and what led to the decision to step away from that persona (for the time being at least!)? 

I think creating Bianka came from not feeling as confident as I would have wished to be before a video shoot, and I felt like wearing a wig might help so I bought one and suddenly I had an alter ego. I also didn’t decide to step away from it. I just didn’t want to wear the wig anymore. Maybe I’ll wear it again later. It’s a look! 

What’s one thing you’ve learnt about yourself through making music? 

One important thing I learnt is that it’s possible to be brave without overstepping my own boundaries. I’ve gone past my comfort zone and evolved from it, but I think I’ve learned – and I’m still learning – to say no to things I don’t think match my values. 

From co-writing with NewJeans to collaborating with artists like Blood Orange and Shygirl on your own album, you’ve been involved in a diverse range of projects. How do you navigate between these different creative spaces, and what do you enjoy most about each? 

I guess it’s just like making dinner. One day you make spaghetti for one, the next you make a three-course meal for 20 people. Some things take more planning than others but in the end it’s just food. Forgive me for that metaphor, but you get the point! I’ve enjoyed working on all projects because I usually have a feeling if it’s a match or not before I begin. I enjoy everything from hanging out in the studio and talking about life, to choosing a snare or what feeling I want the song to encapsulate. I think my favourite part of the writing process is probably creating the melodies. When a nice melody comes to mind out of nowhere – it’s a great feeling. If it also comes with a word or sentence – even better. It’s like a puzzle you have to solve. It doesn’t matter which project it is or the size of it – as long as the people I work with are nice people. 

As a sought-after songwriter, you’ve worked with various artists, including those outside of your usual genres. How does the songwriting process differ when collaborating with artists from different backgrounds and genres? 

The songwriting process was different because I wrote it with other people but the craft is the same. In terms of collaborating with artists from different backgrounds and genres it played no role – music and love are universal languages! 

Looking ahead, what’s next for you? Are there any new directions or collaborations you’re excited to explore in your music? 

I’m going on an EU/UK tour starting in Amsterdam on May 4th. I’m trying to focus on that right now and after that we’ll see! 

Erika de Casier’s album Still is out now.

Listen to Still now:

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