The diaspora has always been one of the Caribbean’s greatest strengths. From the Windrush Generation to the fearless immigrants who helped establish historic districts like Brooklyn’s Little Caribbean, West Indian people have been transforming and reinvigorating global culture across music, dance, food and fashion for countless decades. And that reverence for family and lineage manifests in Leigh-Anne, the history-making Little Mix alumna who looked to the core of her identity to reclaim her power and craft a splashy solo debut in the genre-traversing My Ego Told Me To.
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Born and raised in England’s High Wycombe, Leigh-Anne grew up in a Jamaican-Bajan household, chowing down on dishes like ackee and saltfish and gungo pea stew as she soaked up her family’s kaleidoscopic soundtrack. While her mother was partial to Alanis Morissette and Pure Swing CDs, her father went deep on reggae, and her two older sisters gravitated towards jungle and garage, as well as ‘00s R&B of the B2K/Jagged Edge/Brandy variety. But it was the one-two punch of Rihanna’s ascent and Alexis Jordan’s breakthrough that opened up Leigh-Anne’s worldview of what a Black Caribbean pop star could look and sound like.
“I remember going to my first X Factor UK audition and saying that I wanted to be the female Justin Bieber,” she reflects with a laugh. “I used to watch Alexis Jordan, and I saw myself in her as this really cute Black pop girl. I basically mirrored her look for my audition. I wanted to be a pop artist, so I’ve [blended] those influences with everything I listened to growing up.”
Alongside her Little Mix bandmates — JADE, Perrie and former member Jesy Nelson — Leigh-Anne won The X Factor UK, earned three Brit Awards and scored 19 top 10 singles in the U.K. (including five No. 1s). That kind of success immediately placed those ladies in the pop music history books and presumably prepared them for instantly successful solo careers. But as it happens, no one is immune to label woes, especially Black women fighting to express their singular, diasporic vision to suits who don’t — and might never — get it.
After Warner Records forced her to make countless versions of “Most Wanted” instead of her preferred Valiant-assisted rendition, Leigh-Anne parted ways with her label, quickly pursuing an independent partnership with Virgin Music Group to ensure a solo debut that arrived on her own terms.
My Ego Told Me To — a personal manifesto of reclamation and independence rooted in samples of Denise Belfon’s soca classic “Work” and nods to Sister Nancy’s timeless “Bam Bam” — arrived last month (Feb. 20) to a historic chart debut buoyed by Leigh-Anne’s relentless belief in herself and her music. Not only did she top the U.K. Official Independent Albums chart, but Leigh-Anne also became the first Black British girl group member to reach the top three on the U.K Official Albums chart with her debut solo album. The only two Black girl group members to accomplish that feat? Beyoncé and Kelly Rowland.
Now with the numbers to back up her steadfast bets on herself, Leigh-Anne is formulating the next stage of her debut solo era — including how to continue bridging her sizzling record with both new audiences and the islands from which she draws so much inspiration.
Below, Billboard’s Caribbean Rookie of the Month for March chats about the years-long making of her debut album, her journey as an independent artist and the unending influence of her family and heritage.
When did My Ego Told Me To begin to take shape?
I’ve been making this album for four years. My first [writing] camp was right after Little Mix decided to go on a break. I took a little bit of time, and then I went to Tulum, Mexico, and had a camp with Khris Riddick-Tynes and Leon Thomas, which was my first ever time making music on my own. I always wanted to create something that sounds like mine, but also incorporates R&B, reggae, dancehall, and all the different genres that I love.
Then I had a camp in Jamaica, where we made some of the best music, and it felt like the album was shaping up. When I got back, I was still working on the album, and the label decided they wanted “Don’t Say Love” as my first single. Great track, but it was so far away from what I was creating in Jamaica. They wanted something easily marketable or more of an overnight hit. I wanted to listen to them, but ultimately my gut was saying something different. That’s when the disconnect started happening.
Within the next year, I went independent, but that freedom to do what I want to do is the best feeling ever. I am right where I’m meant to be.
How did those writing camps compare to your Little Mix days? Did the physical change in location impact the way you created?
We stayed in Portland [Parish] at a place called Geejam in the mountains. Khis Riddick was there, so were Tayla Parx, Dyo and Abby Keen. I felt even freer in Jamaica. Coming out of Little Mix and writing on my own and exploring myself was a really incredible time.
Who did you look to as influences while putting this record together?
I made a playlist that had Janet Jackson’s All for You, Kehlani’s “Nights Like This,” Beres Hammond, lovers’ rock, Gyptian, etc. I incorporated all those sounds to ultimately have a Leigh-Anne sound.
“Dead and Gone” is such a statement. What was that recording session like?
That was the first moment where I was like, “I’ve unlocked something here.” We put together the most random tracks — Rihanna’s “Man Down” and Kelis & André 3000’s “Millionaire” — and managed to get “Dead and Gone.” I just wanted to experiment. Owen Cutts and Clarence Coffee Jr. were the dream team. There were no limits, and we made this at a time when I wanted to block the label noise out. Even the way I was singing felt like my attitude and boldness were coming back. That’s what this whole era is about: bringing back my younger self and her fearlessness.
What are some nods to your heritage on My Ego Told Me To people may have missed or not even realized yet?
Obviously, collaborating with Valiant and Rvssian; Valiant added that extra essence “Most Wanted” needed. There were so many different versions of that song. Rvssian suggested we put Valiant on it, so we called him, and he wrote his verse on FaceTime right then and there. Immediately, I was like, “This is the version.” I really, really want to shoot a video in Jamaica.
I’ve always had this dream of performing the album in my granddad’s back garden and doing an interview series there, like how Miley [Cyrus] did her Backyard Sessions. I’d love to have my granddad and grandma walking around, cooking and doing their everyday things. They were on the “You Are a Star” interlude as well; they’re a huge part of me.
What specific label feedback about “Most Wanted” proved the final straw for you?
The fact that they made me do 20 different versions of this song was enough. To make any artist do that… it’s just not how you create. And then when I played them the version with Valiant on it, they just did not get it. They wanted something that would fit more comfortably in the pop space. They weren’t seeing the vision, and I knew I wasn’t going to be able to make an album that I love with them. Being in a group and compromising for so long without being able to show my full self — I wasn’t about to be controlled anymore. As cheesy as it sounds, I needed to be free. And it’s not easy being independent! There are more obstacles, but I would choose this over anything, any day.
Where does your resilience come from?
My mum. My husband tells me how inspiring I am all the time because I don’t give up, and it’s like… I could never. I don’t have that in me. My mum is so strong and can do everything on her own, so I’m inspired by her. I’ve watched my two older sisters raise kids on their own. I have an amazing family of women around me. And I have kids myself! I have little girls I’m raising, and I want them to look up to their mum and see a strong fighter.
There was a call where my manager told me, “I’ve sent [the label] the music, and they said they don’t think it’s going to do what [you] think it’s going to do.” That was their response to “Dead and Gone,” “Revival,” “Goodbye Goodmorning” and all these other amazing tracks. I didn’t even hesitate; I literally said, “Alright, we’re going.” I believe in myself, and I believe in this music.
What are some of the harshest realities of indie life?
There’s such a massive team at a major label. With an indie, everyone has to work harder because it’s smaller. There’s also not as much budget. Everything takes a little longer as well. I’m in a weird place: I’m starting again, but I’m also not.
You sang Rihanna’s “Only Girl” in an early X Factor UK audition. Was she an inspiration for blending your pop and Caribbean sides?
Rihanna is the queen of everything, and I love how she’s had eras so she’s constantly evolving. The way that she introduced a Caribbean sound to a mainstream audience was incredible. Of course, she is the blueprint for me, and I really look up to her. She is my favorite artist of all time. And one thing I feel me and Riri might have in common is that we’re good A&Rs for ourselves. I sequenced this tracklist myself!
Have you ever jumped Carnival?
Yes! I’ve been going to Carnival since I was old enough to go on my own. It’s somewhere I could immerse myself in the culture and have the best food and the best time.
Did you speak Patois growing up?
I’m so bad. My granddad has a very thick accent, so it’s only now that I can really understand him. When I was younger, sometimes I would just nod. [Laughs]. And my dad’s Patois is terrible. He tries all the time, especially when we’re out and about in Jamaica, and I’d be like, “Dad, stop, they know we’re tourists!” I remember struggling to understand my cousins as well, but I’ve definitely gotten better. My husband likes to give me Patois lessons too.
The same week you dropped your album, Manon announced a hiatus from KATSEYE. What’s it been like watching this age-old story of the sole Black girl group member getting sidelined? Have you been able to speak to Manon?
It does feel like a vicious cycle. The more I think about it, the more I want to go into a dark hole. It’s exhausting. We have to look out for each other. I remember when I was in Little Mix feeling less than, feeling like I didn’t have as many fans as the other girls, and feeling like I had to work 10 times harder. I still do. But I can’t let that fester, for the sake of my mental health. I did reach out to Manon — how could I not? It’s like seeing history repeat itself again and again. When is it going to stop?
Knowing that I made history as the first Black British girl group member to make the top three in the U.K. [with a debut solo album] was crazy to me. It’s only ever been Kelly [Rowland], Beyoncé and me. The fact that Mel B didn’t? What?!
How did you react to debuting at No. 3 on the U.K. charts?
And getting a No. 1 album on the Independent Albums chart! I got a No. 1 trophy! It’s mad because that was on my vision board. I was with my sister when I found out, and we both cried. [As we were rolling out the album], I remember her saying, “Leigh-Anne, I just want you to be prepared that we might not get a top 10, but it doesn’t matter. You’ve worked so hard, the album’s amazing; I just need you to be prepared that it might not happen.”
I was like, “Okay.” But I wanted this. We fought for that top three spot, so to get it feels so freaking sweet. And I did it as an independent artist with music that’s very different from what people are used to hearing from me
Are there any tour plans?
The stage is where I belong. I love performing. I don’t even care how small the venues are; I just want to be in the States.
