Five minutes with Empara Mi: “I can be both my own enemy and my saviour”

You’ve probably heard Empara Mi on one TV show or another. The artist’s bewitching melodies have been featured on Broadchurch, Dynasty and Riviera to name a few. Her latest single, “On Call for You”, delves into themes of “tender obsession” and “compulsive monogamy”, inspired by what Empara describes as a “sickly” fascination with obsession, its terrifying power and the beauty that comes with it. 

“On Call For You” is the latest instalment of her genre-blending second album, Monsters & Masochists, where alt-pop meets R&B. And vulnerability. And a music video that takes inspiration from ancient Roman leisure’s grandeur of all things.

A visual artist in her own right, the Irish-British singer-songwriter was recently awarded Best Music Video at the Cannes World Film Festival for her track, “I can’t”. And in a further, empowering venture in her career, she has self-produced and self-recorded her latest single, “On Call For You.” In it, Empara embodies grace in fragility. In her candid chat with HUNGER, though, she reflects on her journey as an artist, her inspirations, and her evolving exploration of sound and self.

“On Call for You” was self-written and self-produced. What was it like to take full creative control of that track?

It was actually extremely liberating. There’s a real power in not having to explain or dilute your vision for anyone, which is something I’ve learnt in general now I’m independent. I’d never produced anything quite like it before, so I went into it with zero expectations and no intention of sharing it at first. But then I played it quietly in the background around my husband, and the moment I saw that big ol’ foot tap, I was like yep, I’m seeing this one through. For a long time, I thought I needed someone else to finish what I’d started, but I think a lot of that was down to my own internalised self-misogyny and fear that it wouldn’t be good enough if I did it alone. Now that I’ve proven to myself what I’m capable of, there’s no going back, and it’s allowed me to find so much joy in collaborating with others now it doesn’t feel like a necessity. 

Your album title Monsters & Masochists feels like it’s from a dark place — where did that name come from?

At this point, it absolutely does. I wrote this album as I was going through the real-life motions of both the best and the worst events of my life. I wanted the album to feel as authentic as possible, so I’ve released it pretty much chronologically so people can feel themselves coming on that journey with me. I was definitely in a very dark place, but as the album unfolds, you will see for the first time ever that I’m writing happy slash hopeful music in a way I’ve never been able to before. The name Monsters & Masochists comes from the idea that I can be both my own enemy and my saviour, and you can feel both those extremes in the music.

Visuals play a big role in your work. Which artists do you find visually inspirational?

I’m definitely drawn to the theatrical and the cinematic — artists who blur the line between performer and persona. Björk, Madonna, Queen, Gaga, they all created worlds around their music. There’s a kind of beautiful violence in their visuals, sometimes unsettling but magnetic. I’ve never been that moved by simplicity. While it has its place, I feel most like myself when I’m stepping into a heightened version of me, dressed up, playing a character and telling a story. I love artists who aren’t scared to push boundaries.

Do you think visuals can express something that a track alone can’t?

Absolutely. A visual can translate a feeling in half a second, which might take a whole verse to articulate. Sometimes the way someone moves, bleeds or simply exists in a frame completes the sentence a lyric can’t. I always say my music feels half-finished without a video — a very expensive frame of mind to have!

You’ve said the inspiration for “On Call for You” comes from a fascination with obsession. Did this come from a personal experience?

For sure. I’ve spent years writing songs about revenge and exes, and then somehow, here I am, a married woman — totally off-brand, I know. But I’ve realised that real love still has a hint of obsession to it. A healthy one, of course, but to truly commit to someone, you have to be a little obsessed.

I’ve only just realised — I’ve basically just gone from threatening my exes to threatening anyone brave enough to come near my man. Sounds like I have some serious anger issues. I’d like to think of it less as jealousy and more admiration with a bit of teeth.

Your track “Ditch” blew up on TikTok. How do you feel about social media’s role in shaping your career?

It’s wild. I wish I had actually been present on TikTok at the time and made the most of it, but, my God, am I making up for it now. Once I’d gotten over my perception of it being for teenagers I finally realised what an amazing tool it is for artists like me, likewise with social media in general. People consume music so differently now, and for someone as visually driven as I am, I love that I get to share more of myself on socials and have people discover me that way as I feel like they learn more about me from there than they ever would from discovering my music on a playlist. 

You recorded with the Prague Philharmonic Orchestra for Monsters & Masochists, which is pretty cool. What inspired you to work with them?

I wanted the music to feel vast. The Prague Philharmonic brought a sense of grandeur and scale that I couldn’t achieve alone, and there’s something beautiful about the emotions each player pours into the music that you just can’t mimic with synthetic strings. Also, it helps that my husband is a film composer and has worked with orchestras for years, so it’s thanks to him that I was able to bring those tracks to life in the way we have. My grandad always used to say, that girl needs to sing with an orchestra, so that’s something I always aspired to do. And I know he would have been proud if he could see me now.

Your songs have been featured in some major TV shows. Which is your favourite of the ones your music has appeared on?

Oh, good question! I hate to pick favourites, but my top three I’d have to say would be Day of the Jackal, Behind Her Eyes and Ginny and Georgia! I was already watching all of those programmes, so it was just a bonus to hear myself on them. I’m desperate to get my music in the new Peaky Blinders film, so I’m just going to leave that one out there… But honestly, I still get excited every time I hear myself anywhere. It never stops feeling surreal.

You’ve worked with Fortnite too. Are you into gaming yourself? How did the work come about?

I’m definitely not a gamer anymore. I did love to play a bit of Golden Eye back in the day with my brother, but I’m more of a Spyro the Dragon type of gal. I do now get some younger people asking to play with me on Fortnite because they’ve heard me on there, which is hilariously cute. So maybe one day, who knows, it could become my secret hobby. I would like someone to make a skin out of me. That would be fun.

What are three songs you had on repeat as a teenager?

“Bring me to life”, Evanescence. “Otherside”, Red Hot Chilli Peppers. “I’m with you”, Avril Lavigne. What can I say, I was an emo kid. 

What are you listening to at the moment?

At the moment, I’m mostly listening to what I listened to growing up. I find comfort in music I already love, so I exhaust it, but I’ve just discovered a few people I’m obsessing over at the moment — Ethel Cain, Yseult, Tems, The Last Dinner Party.

What are you most excited about next, both musically and personally?

I can’t tell you how excited I am to get this whole project out. There’s so much people won’t expect that it just absolutely needs to be heard live. I’ve been super inspired by the artists I grew up listening to, so it feels like I’m reliving the best parts of my childhood again through my own music now. The next stop is playing live — being in the same room as people and experiencing it all together. And it’s going to happen. And soon.