ISABELLE METTLE: “TAKING COMMAND MEANT JUST TRUSTING MYSELF AGAIN”
The North London singer, songwriter and producer is reclaiming her sound, backing her own instincts and putting production front and centre on her new EP, CMD. We caught up with Isabelle Mettle to talk creative confidence, musical freedom, the emotional weight of ‘STAINED GLASS’ and what comes next.
There’s a lot to be said for backing yourself — and Isabelle Mettle is doing exactly that. Having spent time questioning her direction and what the industry expected of her as an R&B artist, the North London-born musician is turning self-doubt into creative fuel with her new EP, CMD.
Released on 29 October via Sunday Best Recordings, the five-track project takes its name from the computer keyboard’s Command key, serving as a statement of artistic ownership, autonomy and self-determination. Moving between digitised pop, neo-soul, funk, jazz and gospel, CMD puts Mettle’s production skills firmly in the spotlight, embracing the identity of a “producer who happens to sing”.
At the heart of the EP sits ‘STAINED GLASS’, Mettle’s first ballad and arguably her most vulnerable release to date. Inspired by the cinematic emotion of Prince’s Purple Rain and D’Angelo’s Untitled (How Does It Feel), the track explores the complicated space between wanting love and struggling to let your guard down. Its accompanying music video, directed by her father Duke Mettle, brings an equally personal dimension to the release.
Following BBC Radio 1 support for ‘GOOD IN ME’, acclaim from outlets including CLASH, COLORS and Official Charts, and performances alongside De La Soul and Self Esteem, Mettle is entering a new chapter with serious momentum. With a headline show at London’s The Social on 12 November, CMD feels less like a stepping stone and more like an artist finally taking full control of her own narrative.
We caught up with Isabelle to discuss finding her confidence again, challenging expectations within music production, the stories behind CMD and why this next chapter has her more excited than ever.
1. Your upcoming EP, CMD, takes its name from the computer keyboard’s Command key and explores themes of control, autonomy and self-determination. What does taking command of your own artistry mean to you, and how did that idea shape the project?
In all honesty, ‘CMD’ came out of a period where I was really struggling with self-doubt. I was focusing far too much on what other people wanted from me as an artist, and as an R&B artist, rather than what actually made me feel good. The tracks on the EP were a handful of the ones that made me feel excited about my work again, which was such a special feeling. Each of these tracks have been on loop over the past year. So, for me, taking command meant just trusting myself again, backing my own abilities harder than ever before, and reminding myself that I make music because I love it.
2. You’ve described yourself as a “producer who happens to sing”, and CMD moves between digitised pop, neo-soul, funk, jazz and gospel. How important was it for you to put production at the heart of your identity as an artist, particularly within a music industry you’ve described as male-dominated?
It was really important. Production has always been at the root of how I write music and create, and for a long time, the creation process has been conducted through a one-woman-team. I can’t remember a time I’ve felt more myself than when I’m sat making a song. I found a voice through writing music, so it really is an integral part of who I am. I think it took me a while to realise that people weren’t recognising that side of me as an artist. It’s really important for me to claim that title of producer because it’s always been how I’ve operated! With CMD, it was about repositioning that part of myself and introducing my audience to a side of my music that’s always been there - and championing for the teenage version of me who was making music this way without realising that what she was doing was music production.
3. ‘STAINED GLASS’ marks a significant moment on the EP as your first ballad, exploring the tension between wanting love and finding it difficult to let your guard down. What made you want to explore this more vulnerable side of yourself, and how did influences like Prince’s Purple Rain and D’Angelo’s Untitled (How Does It Feel) shape the track?
The song came from reflecting on an experience that turned my world upside down, and completely reshaped how I saw myself, the people around me, and how I trusted others. At the time, I really did feel quite broken - my friendship group fell apart because they couldn’t navigate what I was going through. I was living in Liverpool, trying to make sense of everything, and I felt really alone. It’s almost been five years and I finally felt in a place where I could revisit those feelings, with a better understanding of what I’d been through and with the right people around me. I wanted to capture that feeling of wanting connection and love, but struggling to let your guard down and trust again.On Prince and D’Angelo, I think one thing they both brought to their music was a raw sensitivity, in ways which that weren’t expected from male R&B artists at their respective times. After finishing the song, I knew that in writing this big, emotional ballad that their influence would quietly come through.
4. The music video for ‘STAINED GLASS’ was directed by your dad, Duke Mettle, making it a particularly personal collaboration. How did working together influence the visual, and what was it like to create something so intimate with someone who has also played a role in shaping your musical influences?
Working with my dad, who loves music the same way I do, was amazing. His love of music has always been a huge influence on me, so it felt really special to collaborate with someone who has helped shape my musical world and understands exactly where I’m coming from creatively. We watched music video after music video, talked through the concept and the meanings - it was really lovely to have someone who understood my vision but could also take the wheel and bring his own perspective to it.The video would’ve been completely different otherwise - I originally wanted it to be this huge, crazy video, and after pitching it to him he made me realise that it would’ve just taken away from the lyrical meaning behind the song, which was far more important to me. Given how sensitive the subject matter is, I couldn’t think of anyone better than family to trust with telling that story. I think there’s something really special about having your dad direct a video like this, because the story must be difficult for him to hear in its own way too.
5. You’ve had an exciting year, from receiving BBC Radio 1 support for ‘GOOD IN ME’ to performing at festivals alongside artists such as De La Soul and Self Esteem. With CMD arriving alongside the release of ‘STAINED GLASS’ and a headline show at The Social in November, how do you feel this next chapter represents where you’re heading as an artist?
I’m so excited. I literally feel the adrenaline vibrating through my bones. I’ve never felt more motivated to create, and I don’t think I’d be here without this EP and the repositioning of my artistry that’s come with it. It’s quite ironic that the project was born out of self-doubt because it’s ended up giving me so much confidence and excitement about what’s to come next. It’s like a reminder that sometimes the biggest obstacles are the ones we put in our own way, but once you move past them there’s so much possibility.
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