Glass speaks to singer Yasmin Hass, whose first EP expresses her eclectic musical roots and determination not to be pigeonholed
From Summer Issue 58
Yasmin Hass has pondered, played and paused trying to figure out what type of artist she is. Exploring the many facets of her musical knowledge, from the formative records that her parents played at home during her childhood to stepping into studios with lauded producers, she has now found her own.
After an initial introduction to the industry that left her questioning whether the songs she was releasing resonated with her, she took a step back for a year and returned with Cleo, a single that painted a new picture of who Hass is as a musician. Her first EP, Worst of Me – produced by Ross Macdonald of The 1975 and Ed Thomas – followed in 2024 and now she is pushing her soulful take on indie pop further with a string of new singles that are destined to land her in the fast lane.
Photographer: Elliot Kennedy
You grew up in London with a German mother and a Jamaican father – how did that merger of cultures translate sonically to your childhood?
My mum is a trained opera singer and also a vocal coach, and my dad has always loved music. I’ve grown up with such a different ecosystem of music, being either Eva Cassidy, Joni Mitchell, Leonard Cohen or, on my dad’s side, Luther Vandross, Alicia Keys and Nina Simone – it was just such a big influence for me growing up.
My aunt, Carlene Davis, was also a celebrated gospel singer and going to church when she’d be in London and watching her sing would just be mesmerising. This merge of different cultures in music from an early age has been instrumental in the way I’ve grown up thinking about the music I want to create and the way I write.
Photographer: Elliot Kennedy
With your family being in the industry, from your uncle being Bob Marley’s tour manager to your mum being a vocal coach, do you think this knowledge helped you realise this is do-able?
Definitely. It gave me the confidence in myself to think that this is a path that I can take and feel confident enough on. As an artist at the beginning, you’re very much developing your sound and, to be honest, that was tricky for me because I’ve grown up with so many different genres that I love and I’ve always been conscious of wanting to merge the worlds together.
Often, in industry people say ‘you need your sound, and you need one sound’, and I’ve tried not to pigeonhole myself in that way. I don’t want to necessarily genre-bend too much but explore these differences that I grew up with. It also helped that I was so supported in my decision – my mum being my biggest inspiration and champion. Seeing what she’s achieved and how hard she’s worked so that my sister Laurie and I have every opportunity, has definitely pushed me forwards, particularly whenever I feel nervous about my career.
Photographer: Elliot Kennedy
Your initial experience of the music industry was foregrounded by an attempt to pigeonhole you as an R&B artist. What was that like?
It was just frustrating because I felt like I wasn’t being listened to and maybe it was because of the way I looked and I’ve got quite a soulful sound. All my references at the time were like Paulo Nutini, Lianne La Havas and even Nick Cave. But every producer I was being put in with was definitely pushing for an R&B sound so I felt I didn’t have much room to explore them.
But then I applied to Ont’ Sofa Session and met Scott Quinn who was running it at the time. We started writing together and he became one of my best friends. I’d get on a three-hour train to go and record with him. He was just so encouraging and attentive; he gave me back my confidence in my writing.
Photographer: Elliot Kennedy
How would you describe your sound now? What are the simple traits that define Yasmin Hass as an artist?
It’s in the lyrics. I think for me that has always been a big thing. I love story-telling. My last EP was a bit of a milestone because it was my first extended project and in that I named two of the songs after two significant people in my life. I realised that’s where the magic is for me – being as personal and open as possible. Hopefully, that’s laid the foundation for people to listen and get to know me as a person as well as an artist.
Photographer: Elliot Kennedy
In July, your lead single Won’t Hold My Breath is released. What led you to write this track and what does it mean to you?
Won’t Hold My Breath was written after a breakup, but this time, instead of longing for another outcome, I really felt a sense of self-soothing in the idea that I was going to be OK whatever the outcome. I think at the time of writing it, it was a mixture of trying to reassure myself and also telling myself sonically what I needed to hear. The lyric “let’s just call it, I’ll be fine” felt like something I wanted to say in the situation but couldn’t find a way to.
Photographer: Elliot Kennedy
All My Friends depicts the sad reality of the changes that happen in your twenties – what sparked the need to write about that?
I think it really stemmed from finding yourself in that intersection where your friends are settling down and preparing for marriage and kids but you are still striving to chase your dreams. When you find yourself in a place where you feel like you’re going against the grain and almost becoming an outsider because everyone around you has changed their motivations. And then really, when you look into it more and really talk about what is going on, you realise that the common thread among us all is that we are still quite lost in our twenties.
Do you have a favourite lyric you have written?
“Get out of my head and into my heart” as I think any time in life where I’ve applied this lesson, I’ve been most true to myself.
by Imogen Clark
Photographer: Elliot Kennedy
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