Introducing:Possibly Jamie

Possibly Jamie isn’t just making pop—he’s bending it, queering it, and blasting it into bold new territory. The Glasgow-based producer and singer-songwriter fuses classical music smarts with chaotic, club-ready maximalism, crafting tracks that are as brainy as they are body-moving.

With nods to Björk, SOPHIE, Charli XCX, and Prince, Jamie’s sound sits somewhere between a philosophy lecture and a glitter-drenched warehouse rave. His latest single, “FTDJ”, is a lust-fuelled love letter to queer club culture—equal parts satire and celebration—and the first taste of an upcoming EP that promises more rule-breaking bangers.

BBC Introducing’s Phoebe Inglis-Holmes nailed it: “It’s as if Prince, early Róisín Murphy, Harry Styles' Harry’s House era and Death Grips had a baby—this is how it would sound.”

Whether onstage at Kelburn Garden Party or behind the decks at your favourite sticky-floored basement, Possibly Jamie is building a world where pop doesn’t play nice—and we’re all invited in.

Your music pulls from a wild range of influences—from Björk and SOPHIE to Prince and Charli XCX. How do you channel those sounds into something that still feels uniquely you?

It’s always the artists who go all-in on a concept that inspire me—whether it’s Gaga or Prince’s performance maximalism, or James Blake’s sonic maximalism. I put a lot of thought into a song before it even hits the DAW, but once it does, it becomes all about feeling. The concepts are still there—you just need to feel them.

“FTDJ” is a precision-engineered burst of pop chaos. What were you trying to capture emotionally and sonically, and how does it set the tone for your EP?

Honestly, it’s just me indulging in making an unapologetic, horny, queer anthem. I started it during Brat summer, and pulled inspiration from Tove Lo’s HEAT, The Dare, M.I.A.’s Kala, and Björk’s Volta. The EP carries that same experimental energy, but with a sharper edge—more defined pop structures, more genre-hopping, often within a single track. FTDJ is just the tip of the iceberg.

You trained in classical music but take a fiercely DIY approach to production. How do those two worlds clash or complement each other?

Classical theory helps me unpack what makes a pop song hit. I remember looping We Found Love on piano for hours—such a simple progression, but so effective. That kind of analysis shapes my understanding, but my process is still very much DIY. Trial and error over technical perfection, every time.

The phrase “pop provocateur” feels fitting. Is pushing boundaries a conscious mission or just a natural part of how you create?

I’m proud of that label! I always want to stay one step ahead—if a sound’s trending, my instinct is to twist or upend it. I think I stand out because I do a lot of things “wrong,” or at least unconventionally. My sound came together through intuition, not instruction. Whenever I try to follow the rules, I get bored. Forgive me!

You’ve been building momentum through live shows—how does your music evolve on stage, and what do you want your audience to walk away feeling?

Performing more has made me think about the “liveness” of my music. I started creating during lockdown, so everything was designed to live in headphones. Now, I consider how something will feel on stage—even if it’s just to make sure I can shake my ass properly. Ideally, when a parent sees their kid at one of my shows, they immediately know something LGBT is happening. My agenda is to reduce worldwide coming-outs to zero.

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