Jessie Ware opens a new door with “Superbloom” – away from the persona and towards real life. What she reveals about glamour, loss and dance music.
With her sixth album “Superbloom”, which will be released on April 17th, UK star Jessie Ware is opening a new door: less persona, more present, more feeling. In conversation, she talks about diva fantasies, dance floor catharsis – and songs that suddenly change completely.
ME: My favorite song on the record is definitely “Mr. Valentine”. Do you have a favorite yourself?
Jessie Goods: My daughter loves Mr. Valentine. I also love him because he has a self-confidence and a certain freedom. I was definitely inspired by things like ESG and Tom Tom Club. It works perfectly – both when listening alone and in the show. That’s why I really love him.
You’ve said that “Superbloom” is inspired by Studio 54 and a glamorous diva aesthetic. How did this aesthetic influence your creative process?
For me, the idea of being a diva means consciously taking on this role. It’s not about clichés, but about the celebrated aspects: voice, performance, outfit or storytelling. For me there is something very positive about that – with a theatrical touch.
Was that more of a visual orientation for the songs or did it also shape the mood in the studio?
It’s difficult to call yourself a diva – you have to earn that title. I wanted to challenge myself vocally and also push myself further aesthetically. I wanted to create a world that I could invite people into. For me it’s not a concept album, but one with different concepts. You should immerse yourself in my world for the duration of the album and end up somewhere else. That’s exactly what good dance music – and good theater – does.
The “superbloom” phenomenon
How did the phenomenon of a “super bloom” influence you during the creative process?
To be honest, not at all – which almost makes me a little sorry. “Superbloom” felt more like something supernatural connected to real life. It was only later that I found out from a friend that this natural phenomenon existed. I thought, “Oh, okay – that fits pretty well.”
I often marvel at what happens in my life and that I get to do this as a job. But also about the fact that you have to constantly learn and relearn – how to become a better partner, a better mother or an artist. This constant development, the acceptance of changes – that shapes everything.
Was there a moment when you personally had the feeling that something was “blossoming”?
Yes, for a while now. This album was the right time to show what I can do vocally – and let people be more involved in my real life. On the last few records I often had a persona. It was fun, but I don’t want to shy away from real life.
I love my life, I love domesticity. Also the humiliating moments of parenthood. I wanted to bring this together and celebrate it – without apologizing for it. And I understand better and better who I am as an artist and as a person. I feel more comfortable in my own skin as I get older. You can hear that on the record too.
Were there any moments while writing the music where you were particularly emotionally surprised?
“16 Summers.” I can hardly sing the song without crying – and I wonder how it’s going to work live. Originally it was about feelings of guilt – am I working too much, am I doing everything right? Then a friend died, leaving behind two small children. This completely changed the meaning of the song. Suddenly it was about appreciating and honoring life. Nevertheless, the song reminds me of a very difficult time. It’s really emotionally heavy – but I’ll sing it live.
Joy and vulnerability on the dance floor
On “Superbloom,” joy and vulnerability exist simultaneously. Is dance music a layer of protection or a way to reinforce that vulnerability?
I don’t think it’s a protective layer. But it’s a place where I feel safe to make music. Dance music enhances feelings. There’s nothing quite like singing a song on the dance floor – happy or sad. An obvious example is “Dancing On My Own” by Robyn. This song makes everything emotional for you. But because it has that drive, that movement, it gets something that it wouldn’t have as a pure ballad. So yeah, I think dance music reinforces those emotions.
Is there a song in which this tension is particularly strong for you?
In “Sauna” there is a certain restraint – a tension. It’s an invitation, but not everything is revealed. “Ride” is the opposite. Then I say clearly what I want.
“Ride” was the first song you wrote for Superbloom. Did he lay the foundation for the album?
I briefly considered whether he even belonged there. Then it was clear: it fits. I wanted to capture cinematic qualities – images, something cinematic, small scenes. “Ride” has exactly that. It may not have directly shaped the album, but it complements it very well. Of course “Ride” is part of it. It’s totally cinematic – and contains a Morricone sample from “Two Glorious Scoundrels”.
Theatrics, musicals and cinematic storytelling
When I listened to “Superbloom,” I almost felt like it was very theatrical – like it could accompany a stage production. Was there any inspiration for the structure from musicals or film storytelling?
Musicals are definitely something I think about a lot – especially those big moments in choruses. I would really like to do a musical one day, but I also know how difficult that is. I think it’s great that my music sometimes has that effect. Performance inspires me a lot. When you see Nicole Scherzinger perform in “Sunset Boulevard” – it’s just incredible. Or Cynthia Erivo and Ariana Grande in “Wicked.” Musicals bring out the best in people who love them. And I love musicals. To be honest, I don’t have time for people who don’t like them. I love this fantasy level because it takes you out of real life for a few hours. That’s exactly what I do with my music.
You once said that it took you a while to really feel like an artist. Was there a moment that triggered this change?
The success of “What’s Your Pleasure” – and the process of making this album. We were a strong team and locked ourselves in and created this world, without outside opinions. This was the first time I didn’t seek validation. And then it worked. That’s when you realize: I know what I’m doing – and I do it on my terms.
“Superbloom” as a big feast
Together with your mother you do the podcast “Table Manners”, where you create a homemade dish for your guests. If Superbloom were a dish, what would it be?
A big feast with many different foods and tastes. Lush, generous, full of people enjoying it together. It would feel like it would never end.
Do you think loyal fans from your podcast might recognize personal stories in the album?
Maybe if they really act like detectives. I’ve been working on this album for two years – you’d have to dig deep. I also keep podcasts and music a bit separate; these are also different audiences. If you really want to, you could do a Sherlock Holmes analysis. That’s not necessary.
How much of your music is inspired by personal moments?
Everything. Really everything.
Maybe “Superbloom” is just that: not a concept, but a moment in which everything happens at the same time. The album will be released on April 17, 2026.
