photo By DipPhoto

In conversation with Phoebe, Gina Jeanz opens up about a new phase in her creative life. Her sound is shifting, her process is evolving and her perspective is widening as she moves between continents, motherhood and a growing world of artistic possibilities. She reflects on the flow she is learning to trust, the discipline she is reshaping and the new frequency she is tuning into as an artist.

Listen to Gina Jeanz’s new single “Ride”
A percussive Afro House cut that moves with the same energy she explores in this interview.

P: Starting with your creative process, is there anything that’s been occupying your creative attention lately? Maybe not even specifically your own projects, but something about your way of thinking?

G: I think that with the rise of AI, and just how much easier it is to get into the flow of things, I’ve tried to deconstruct my creative process by kind of going back to the basics. When I started producing music, it was sort of like you had to really look for your samples and hunt for them, and build this catalogue for yourself that was unique to you. I think if you hear a lot of artists from, I would say… okay, let me say, for example, Timbaland and Pharrell, they all had their unique sound. It was almost like this special little box of instruments and samples and everything that they would use. So, in a way, with the rise of AI, I think yes, it’s made things accessible for us who maybe didn’t have the financial backing or infrastructure. But I’ve also found that there’s been a lot of the same-sounding sounds. If we’re all using the same kits, eventually that leads to, from my perspective, not a very interesting take on what’s happening. Of course, there is the commercial side of music, which has the workings of a verse, chorus, bridge, and then you kind of have the flow of the song.

Pop songs, for example, have that recipe. So I’ve tried to go back to running different programmes and starting with a different project outline instead of saying, “Okay, today I’m just doing drums. Tomorrow I’m doing violins or strings,” whatever the case is. I’ve really had to throw a spanner into what I’m doing, just so I can have a different experience for myself. I think that’s what’s driving me creatively. I now keep a notebook by my side with a pencil and pen, and I just scribble random things. Even as I’m producing the song, lyrically I’m also trying to think, “What would this sound like if it looked like this?” I don’t know. I’m keeping as much inspiration around me as possible, just so that I can continue to have my own sound and identity. Even though I’m definitely inspired by the African diaspora and what’s happening in the Afro scene, I think it’s very important to continue to strive to find out what makes you you. For me, it just keeps things exciting, and I’m not necessarily just relying on, “Oh, I can quickly download this sample.” I’m really deconstructing everything in my catalogue to try and find a groove, rhythm and sound that’s going to stay uniquely Gina Jeanz.

P: I love how you’re pointing to the more positive angles of AI. It’s something scary for a lot of creators, but not something that means a complete deconstruction of music and art. It’s just about how you move around it. For you, that means just going straight to your source, to your essence — going into your blueprint, what makes you you.

G: Exactly. I’m not afraid of the rise of that because what makes you unique as an artist will never leave you. I think because I’ve been doing this for some time, I’m confident in being able to create from nothing. That will always stay with me. A machine, of course, is there to assist, to help, maybe to find a fast track for some people. There’s nothing wrong with it. I think I’ve just realised that the artist in me is still there, so I just have to reactivate her every now and then.

P: Which brings me to my next question, closer to the essence of your process. When you’re beginning a new track, now that you have a new project coming out, are you searching for a particular feeling, a sound, something else inspiring? What’s that creative spark where you’re like, “Ooh, I’m onto something here?”

G: Oh my goodness. Now more than ever. Look, I’ve been producing music for my DJ sets these last couple of years, so that kind of meant more dancefloor-heavy tracks. But now I’m trying to create a narrative that is me. Like I said, that’s still uniquely me. For example, if I have a melody in my head, I have my phone with me. This is the thing about maybe not having a fully kitted-out studio at home. I’m limited to what I can do, and the limitations then cause me to push a little further. I use my phone to record some of my vocals, then I’ll run them through a quick tuning programme, use that, break it down and put in instruments. I’m even using my son. I’ll get him to play some random chords and record them. So it’s about finding the fun in not being so structured. For me, using my DAW is like an empty canvas, and I can really get crazy with it.

But what inspires me — and just to make sure I answer your question — I think I’m trying to make sure that the part of me that lives on through the music is true to my essence. There are some things that move me: poetry, books that I read. There are so many different elements I’m trying to incorporate, but it’s not necessarily a straightforward answer. I can’t really say that I’m going to do a beat like this, go into the studio, and it ends up exactly like that. For me, it’s about the art of play. That would be the foundation of starting my creative process. It’s just like, “Let’s play. Let’s have fun today.” Not too serious. Of course, when you’re in the studio with other producers, I think there’s a level of respect where it’s like, “Okay guys, we have eight hours. Let’s be more structured.” But when it’s just me… oh my goodness… I really try to have fun doing what I do.

P: Honestly, it’s about finding the balance. I don’t think you can be at either end of the spectrum.

G: Absolutely. It’s very hard to define because the me that produced ten years ago compared to now is so different. So different. And I love the growth. I love being able to challenge myself, getting to a new plateau and being like, “Wow, this is a new view. How cool. Okay, what’s next?”

P: Is your son getting production credits on these tracks?

G: Might have to! Even then, I want him to have my catalogue while I’m still around… or should I leave this earth. It’s more for him to have creative control later on. So I will have to credit him, for sure.

P: Looking at the bigger picture now, you’ve given us some insight into the more intimate side of your creativity. You’ve worked across broad scenes in both Africa and Europe, all while navigating electronic music, which is very male-dominated. Are there any effects of that, and also structural differences between working in Africa and Europe? I know there’s a significant difference in how electronic music is received. How has that been for you?

G: I think on the African side, you’re surrounded by community. You’re surrounded by people who are really trying to change the narrative for the rest of the world, and I love that drive because everybody’s hungry. However, on the infrastructure side, you run into challenges. Maybe if you’re trying to start something of your own, you might not have the finances. Of course, a lot of shows right now are heavily ticketed, and not everyone can afford to go to a rave these days. So you’re also looking at limitations in where you can travel to in Africa to play shows or work. For example, it’s hard to fly around the African continent. But we have the hubs. You have Nigeria, South Africa, Kenya, and I’d say those are the bigger music scenes. Ghana too, of course, in December. So it’s not as financially viable to be an artist in Africa because that requires a lot of backing — signing to Sony or Universal, having financial support.

Whereas in Europe, I’m finding that people are giving me a chance. There are more spaces and more opportunities, so I can make income from what I’m doing and put that back into my career. It’s not that Africa isn’t there. We’ve seen a global shift in how many African artists are coming to play in Europe now, so the opportunities are there on both ends. I just think, for my individual experience, because I’m doing electronic music, it’s been a bit harder to get support compared to being an Afro-house artist, a hip-hop artist, an R&B artist, or a more commercial artist. But long term, I do see there being less resistance. You’re also dealing with visas, people who are very powerful and have a seat at the table.

P: Is there something you’re curious about creatively that you haven’t yet explored, but wish to in the future?

G: Oh my gosh. It’s something I’m already touching on right now. As a music producer, there are so many avenues to explore beyond just making music for streaming platforms. That would be scoring more commercials, movies and films. I did one for BMW Switzerland. That was so much fun, and I loved that it took me out of this rat race of putting out music. Obviously, as an artist, it’s all about where you are on the charts and all these things. So I’d love to get into that more and be able to create a catalogue outside of the streaming world. That BMW commercial opened up a huge opportunity for me to compose outside of everything I’m used to.

Like I said earlier, I love being challenged. I’d love to explore scoring for films more. It was something that was already there, but I just didn’t know how to get into it. Being in Europe, like I said, there are a little more opportunities, and you can pitch yourself and hopefully get people to support you. So I think that’s the next step in what I’m doing. I’d still like to be performing and DJing, but now that I’m a mum, I’ve also changed my perspective on my career trajectory and the things I want to do, which is exciting because it keeps things fresh and new.

P: I feel like it’s a very transitional period for you.

G: Yeah. Oh my gosh. In so many ways. I didn’t know what to expect for this year. I think it was also because I was trying to figure out how I was going to juggle motherhood, my son growing up and his needs, and my personal needs. But when I just surrendered to everything, things started to flow naturally. I’m very intentional with my decision-making and the things I want to do for my life, so I’m not resistant to changing the script if I need to. It’s not necessarily, “Oh my God, if it doesn’t happen like this, it’s over.” I’m more like, “What’s this teaching me? How can I apply this to what I need right now, in this present moment?” I found that’s allowed me to flow through it rather than hike through the process. So I’m just open to the opportunities and the things that align with me as a person and as a creative. Who knows what the future will bring?

P: One last question. Is there a question you’ve been asking yourself that you still don’t have an answer to?

G: Oh my goodness. No, I don’t think so. I ask myself “why” a lot. Like, why are we doing this? Most of the time I give myself the answers. I don’t think there’s anything unique that I haven’t asked myself. Maybe on the performance side, the DJing side, it’d be: Who do I see myself playing with next? I’ve been doing festivals, I’ve been doing club shows, but… I don’t know. We’ll see.

P: I feel like there’s so much happening with electronic music right now that in three years the whole landscape of who your collaborators are, how you’re performing, and how people access you will just keep changing. But you seem like the kind of person who goes with the flow, so it’s valuable being flexible and finding the way that works for you as those things evolve.

G: Absolutely. We’ve seen the shift in the last two years. Things are moving so fast. So it’s actually in your best interest not to be too precious. Of course, as artists, we already are. We’re sensitive about our work. But it’s teaching me to… and when I say “go with the flow,” someone might read that and think, “Oh, you’re just being blown with the wind.” I’m like, “No. I have my sails. I’m going in a direction. If I see that it’s going to benefit me to turn them and work in a different way, absolutely.” That’s collaborating with artists, maybe taking an opportunity that opens more doors. I think it’s just about how you want to progress as an artist.

It’s better to be sailing through a storm than to be docked.