My pet peeve in music is elitism. That just doesn’t match the energy or culture of music to me.

South London-born, and raised in a strong matriarchal family, just lil has made her imprint across the creative world, from fashion to music and beyond. Her sound is intimate and alert, soft in places yet dark and frayed at the edges, shifting between softness and shadow. Her latest EP, Distant Shade, was recorded in Frankfurt with producer Ludwig A.F. The release is accompanied by an official visualiser directed by Talia Beale (Nia Archives, Gorillaz, Pa Salieu) and a series of short-form performance visuals shot by filmmaker Arran Ashan. 

In our conversation, we discussed writing as both an antidote and a way to transform sadness into something powerful. We discuss the places, faces, and memories that have creatively fueled her career, and reflect on future projects and what is to come for her.

You’ve built this whole world around “just lil.” Are you protective of your government name, or are we allowed to know it? What’s the story behind the name?

My full name is Lily Laine Wright, which is a bit of a mouthful and also reminds me of a school register. I wanted something fresh, and people have always called me Lil, so it felt right. Lil’ Laine was also considered.

Biggest pet peeve in music right now? 

My pet peeve in music is elitism. That just doesn’t match the energy or culture of music to me. 

Best track of 2025 that’s not yours.

I’m obsessed with a band called Ear. Run their new album. 

Style’s a big part of your energy. It doesn’t feel separate from the music at all. Has fashion always been your thing, or has it grown with your music?
My mum is a very talented designer. The rumble of the sewing machine from the basement is a core memory for me. As a teen, we would make clothes together that I’d designed. I’ve always been in awe of her ability to construct and deconstruct garments with no formal training, just pure talent. She always dressed me well as a child. My wardrobe was full of gorgeous clothes, but I’d usually opt for wellies, odd socks, and a swimming costume. I think as you grow older, you appreciate your mother’s style a lot more. My godmother also had a successful children's wear brand, more like streetwear for kids, called Bon-Bleu, which my friend Hak Baker and I are now re-launching. I’ve been surrounded by inspiring women in fashion, so that was bound to rub off on me.

That’s sick! Very interesting to be going into kids’ apparel, can you tell me a bit more about ‘Bon-Bleu’ (if you can)....
It’s a 90s designer brand with a real cult following in London and Liverpool. They were known for colourful oversized trackies and really high-quality children's wear, which adults ended up wearing because everything was so oversized. People just adored it. The first time I tried to bring it back was years ago. Wavey Garms posted about finding loads of deadstock Bon-Bleu, and I saw hundreds of people liking and commenting. That’s when I thought, okay, maybe there’s something here. I made some Fruit of the Loom jumpers with the old-school logo embroidered on them, and they sold out. 

One day, a fashion editor from GQ rushed up to my friend at London Bridge because he was wearing one. He said he’d been Googling Bon-Bleu for years and couldn’t believe it was back. He invited me to shoot at Vogue House. But I just didn’t have the money at the time to relaunch it properly. Fast forward seven years, and I’d made enough money through music to do it properly. 

Who are you wearing/who are you rating right now?

My favourite brand of all time is probably Prada. And off the top of my head…Clints is a brand I fuck with. 

I just remember thinking, I want to be surrounded by colour. Now I know my purpose sits somewhere between fashion and music. It always has.

Your visuals hit just as hard as the tracks. Who’s helping you shape that world? Do you see the visuals as equal to the sound, or is that a different headspace completely?

I feel like I’m sort of publicly working it out. There is no team. Small budgets. I edit a lot of it myself. I collaborate with people who have great ideas. I want the music to match the videos, so the grade and effects are important. I want it to feel like the visuals travel with the music. The music is both analogue and digital, so I use mixed media: glitchy effects paired with new age technology.  

When you’re writing, what mode are you in? Diary mode, alter ego mode, observation mode? What do you find yourself pulling from the most?
I’m very used to pulling from heartbreak. I intentionally have to switch that off sometimes, especially when writing for others who don’t want to play the victim or send for someone. My boyfriend even shed a tear when I wrote a happy love song, because he never thought he’d see the day (true story). People are often confused by my music when they meet me and find out I’m not a complete drain. But I’ve always used writing as an outlet for pain and sadness; it’s always been the antidote. I find it’s a superpower.

Your EP distant shade has just been released (congrats!). You made it out in Frankfurt with Ludwig A.F….. What was the vibe in those sessions? What does he bring out of you that maybe other producers don’t?
We just had one of those weeks where everything clicked. When collaborating, it is really important that your taste and vision align; you waste time. That is not to say wildcards do not work, but I often find something is missing for what your sound actually requires. Up to this point, I feel my sound has been consistent and cohesive, so it is important to truly understand the influences of the people you collaborate with. You never know if the vision will manifest, even with the same taste. It can be hit-or-miss, and this one just hit. He is a very talented musician.

I’m very used to pulling from heartbreak. People are often confused by my music when they meet me and find out I’m not a complete drain.

If you had to describe the EP in no more than five words to anyone who hasn’t heard it, what would you say? 

Heartbreaking, empowering, sensual, warm, hopeful.

You work with producers across the globe. Do different cities unlock different versions of you? Is London still the place you feel most alive creatively, or do you need to leave it to level up?
I love London. It is my home. But the rat race can be overwhelming. Whether you are in finance or something more creative, the chase can easily and insidiously infiltrate your psyche. I love to be away as much as possible. It brings clarity.

You’re also heavily involved in community radio. What does radio still give artists that socials just can’t? 

Just that…community! And also, for me, it has helped me to be less of a perfectionist. 

What’s about to happen in 2026 that people aren’t ready for? Any big plans? 

Big things coming [insert sleep paralysis demon] #imawalkingparadox.

Manifest it for us… who are you trying to get in the studio with next?

Blood Orange 

And finally, put us on. Three artists or producers we should be locked into right now. No gatekeeping. 

There are loads. But to name a few: Sloucho, Cameo Blush, and Hemlocke Springs.

I love London. It’s my home. But the rat race can be overwhelming [...] ‘the chase’ can easily, insidiously infiltrate your psyche.

Stream just lil’s latest EP distant shade on Spotify and make sure to follow her world.