In Talks With Genre-Bending Rapper, Francesca Wexler
Acting as a new euphonic voice in the rise of genre experimentation, Francesca Wexler is a stone’s throw away from becoming the next big thing in the modern rap scene. After a prolific series of single releases distributed throughout the course of 2021 and 2022, including “Pink Noise,” her best known track “Sweetheart,” and latest endeavour, “Princess Diana” in late April, Wexler’s discography demonstrates the truth that she is as musically talented as she is underrated, effortlessly blending a variety of genres into a smooth, flowing body of music that sounds just like her. Editor Caitlin Andrews had the wonderful opportunity to interview Francesca about the heritage of hip hop, her love for Donna Summer, and her to-be-announced musical project that arrived in June 2022.
Caitlin Andrews: Hey, Francesca, thanks so much for taking the time to chat with me! How are you doing?
Francesca Wexler: “I’m doing well, thanks for having me!”
CA: So, let’s talk about your latest 2022 release, “Cherry Fields Forever.” What was the approach to writing that song like, especially in relation to the track’s LGBTQ+ themes? How has your style changed since you began making music?
FW: “‘Cherry Fields Forever’ was such a fun song to write. I was listening to a lot of Donna Summer when I was making that. I love the free-spirited nature of disco and house music. Knowing that its origins are queer and black makes me proud. ‘Cherry Fields Forever’ was my way of paying homage to that glorious era. My music is like a mirror to my life; it reflects the things that I’m going through and the things that take up space in my mind. I started making music during the peak of the pandemic, and those were some strange and sad and chaotic times, so naturally, my music reflected that. The themes of loss, longing, and isolation are present in everything from my lyrics to my album art. I’m a different person than I was when all of that started, and so my new, unreleased music is somewhat of a departure from that sound. My music evolves along with me.”
CA: Many of your tracks manage to offer both a nod to an Old Hollywood-style nostalgia and to the sharper flow of the modern rap movement. Who would you consider your main musical influences? If you were given the opportunity to sample a track from any musician, which track would you sample?
FW: “I know next to nothing about Old Hollywood, so I’ve never thought of my music in that way. I would say that each and every one of my tracks takes on a different shape: there’s no definitive sound. I see making a song as capturing a sonic snapshot of a particular moment in time. I don’t have any main influences. I’m influenced by so many artists—everyone from Tina Turner to Missy Elliott to Thom Yorke. All of them come from different genres, but they are all free and unapologetic with their sound. They have all pushed boundaries and opened up doors in their respective genres. In a way, when you listen to a song over and over again, it becomes a part of you. And so when I go to make a song, parts of these artists pour out of me from time to time, to quote Joni Mitchell. [If I were to pick a track], I would sample either the guitars on ‘Landslide’ by Fleetwood Mac or the guitars in Mary J. Blige’s 2007 Grammy Performance of ‘Be Without You.’ Either that or ‘Over My Head’ by The Alabama Shakes. Those are the songs I keep coming back to no matter how much time has passed.”
CA: As a woman who was born in Lagos, Nigeria and immigrated to Canada, do you think your cross-cultural transition affected your music in any way? What drew you to rap specifically?
FW:“Yes! Coming from Lagos gave me a broader scope of musical influences to draw from.
I grew up listening to artists like Fela Kuti and Lagbaja, but I also had Britney Spears and Kanye West on repeat. And the first time I heard rap, it was like a magnet. I loved it and it loved me too.”
CA: Are there any lines or verses written by someone else that you wish you had written
yourself? Of your own tracks, which are you most proud of for their lyrical skill?
FW: “Nicki Minaj’s verse on ‘Monster,’ period! [For my tracks, I’d pick] ‘Pink Noise’! It’s one of my least listened to songs, but I’m so damn proud of that one.”
CA: How do you think (if at all) writing rap music differs from writing other forms of music? Several of your songs successfully mix genres, including “Sweetheart” which infuses a mellow indie-inspired melody; how do you manage to adapt genres to fit your own personal style?
FW: “Rappers are magicians in a sense. There’s this phrase that goes, “We’ve done so much with so little that we can do anything with nothing now,” and to me, that describes the essence of hip hop. Kids that came from neighbourhoods plagued by crime and poverty and a country plagued by racism took samples from other songs and gave them a second life, which spurred on a whole new genre and cultural movement. Fifty years later, it’s the most influential genre of our time. That’s some Houdini shit. They took a whole lot of nothing and made it into something. Adapting genres is how hip hop came to be. And so adapting genres is second nature to me. Bars.”
CA: Previously, you’ve stated that artists “need to move with intention.” What is the intention
behind the music you release? What other advice would you offer to individuals hoping to improve their musical capabilities?
FW: “My intention with my music, and honestly with my life, is to do everything with feeling. I make art to make people feel. My advice to musicians wanting to get better is to be consistent. Consistency is king! And have a plan. With those two, you’ll be good as gold.”
CA: How would you describe yourself in five words or less? If your personality were represented
by a song, would it sound like the music you make?
FW:“Like Walt Whitman said, ‘I contain multitudes.’ It’s tough to choose just one because there are so many different sides to me—all of the songs I’ve put out are expressions of that. I’m very fascinated by the idea of the multiplicity of self; it’s a recurring theme in my work.”
CA: Given how prolific you are, I think it’s safe to assume you have some tracks in the works, but do you have any upcoming releases you can tease? What’s next on the Francesca Wexler skyline?
FW:“Yes! There’s always something new in the works when it comes to me. I recently dropped a single called ‘Princess Diana.’ It’s best described as a raw meditation on the toothache of living. As far as what is coming next, stay tuned! I promise y’all are not ready for the heat I’m about to drop in June!”
CA: Where can our readers find you?
FW: “You can find me at @francescawexler on Instagram and as Francesca Wexler on all
streaming platforms!”
Periphery Magazine thanks Francesca Wexler for her contribution and wishes her luck with her future releases! You can find her on social media and streaming platforms here:
Instagram: https://www.instagram.com/francescawexler/?hl=en-gb
Youtube: https://www.youtube.com/channel/UCgC5DyFw5cCNBVIFbgFxMoA
Spotify: https://open.spotify.com/artist/3Lc7WiR6p26xEQsoV8QZDa?si=j7rU9pSuT0G6bvIR6dvRNw
Twitter: https://twitter.com/francescawexler?lang=en-GB
If you are interested in being featured in Periphery Magazine’s interview series surrounding interesting people in creative roles, please contact Madison Case at theperipheryzine@gmail.com.