UK artist Bonnie Freechild is turning up the heat this summer with her bold new single ‘Honey’, a sultry, playful anthem that captures the electric rush of a new romance and the lingering question of trust. With flirty, raw vocals that channel the ache of Snoh Aalegra, the sass of FLETCHER, and the layered harmonies of Mariah Carey, ‘Honey’ is a heady blend of vulnerability and cheeky confidence.
So we sit down with her to dive into the making of ‘Honey’, Bonnie’s fearless creative process, and how she’s redefining connection and community in music through her bold, immersive storytelling.
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Can you tell us a bit about your musical background and how you got started in music?
We had a piano when I was very small which I used to tinker on – I ask my dad why they didn’t make me have lessons and he says ‘we couldn’t MAKE you do anything’ – their fault for naming me ‘Freechild’…! I was always a dreamer in my own little creative world as a kid, I was raised between a farm in Australia (near Byron Bay) and city Brunei (situated amongst the jungles of Borneo!) – I would write little songs about my grandfather who I’d never met on the cattle grid, or songs about snakes we found at school in Borneo. Lol. My mum passed away when I was 14, and that really solidified my writing, from poetry to songs, it’s the only place that I could find some relief from grief.
Who are some of your biggest musical influences, both past and present?
My mum loved Elvis, Buddy Holly, and Irish folk, while my dad was into world music – I still remember him coming back from Borneo with a Sheila Majid album, who’s basically the Malaysian Whitney Houston. It was gorgeous.
Parental influence aside, my own taste is a real mix. Lenny Kravitz for his fearless spirit. SZA and Snoh Aalegra for their emotional honesty. BANKS for mood and minimalism. Mariah Carey and Michael Jackson basically taught me to sing – I’d study their harmonies and phrasing on repeat. There was also a time I was deep into hip hop: early Kanye, Missy Elliot, Micki Minaj, Twista, Mos Def, De La Soul. I went through a big Donny Hathaway, Etta James and Deniece Williams phase too.
Growing up in Borneo, I was surrounded by ‘jiwang’ music – Malaysian love ballads that are dramatic, heartfelt, and really make you feel. That influence still shows up in my melodies and lyrics.
In more recent years: PJ Morton, Beyoncé, Jazmine Sullivan, Melanie Fiona, Jessie J, Ariana – vocal powerhouses with soul. I also love a bit of country – Dolly, Willie Nelson, Band of Heathens – real storytelling.
Right now I’m listening to a lot of Sinead Harnett, CoCo Jones, Muni Long, Elmiene, Tori Kelly, Raye, Jorja Smith, FLO… the list could go on forever. Whatever moves me.
Are there any specific artists or bands that have had a significant impact on your music style or approach?
I think a lot about freedom and authenticity. As an artist who wants to succeed, there’s always the temptation to stick to commercial formulas – but I try to resist that. I focus on what feels natural and trust it’ll become what it’s meant to. If I get stuck, I often ask myself, what would another artist I love do – e.g. ‘What would Prince do?’ – because he was known for artistic freedom. That mindset shaped Honey – the song has a verse, a sort-of pre-chorus, a chorus, a post-chorus, and then a rap. I’d never rapped before, but it felt right, so I did it. Even though it made me feel exposed and super vulnerable I just thought – let’s do it – plus I had a few friends I trust to confirm I wasn’t awful at it!!!
Could you share any memorable moments or experiences that have shaped your musical journey so far?
There have been so many, but a few really stand out. One of the earliest was being supported by BBC 1Xtra – I only had a few acappella demos at the time, and they still put me forward for a bursary award. That was hugely affirming.
Then there was the time I went viral on YouTube across Southeast Asia for covering Malaysian and Indonesian pop and R&B – completely by accident. That sudden wave of attention taught me a lot about the industry and the feeling of early success.
I’ve also had moments that taught me through not saying yes – like the time I shared an Uber with all of G-Unit’s management and didn’t sing when asked. That one definitely stuck with me!
Living in New York for a month and doing open mics helped me push through stage fright. Being mentored for a time by Bushkin and Fonti from Heartless Crew and getting thrown on stage with them taught me to perform without overthinking.
I’ve sung in Trafalgar Square to thousands, been on TV in Singapore, written with 90s artist T.Q., and even had a song on BBC Proms – but honestly, what’s shaping me most now is curating my own events around my releases. The way strangers have responded – dancing, crying, connecting – that’s when I really started to feel like an artist in my own right.
How do you express your personal experiences and identity through your music?
Sometimes the only way for me to escape my own mind is to write. In my musical bubble I can be vulnerable, obsessive, chaotic, divine, petty, powerful – all at once. I grew up moving between countries, cultures, and versions of myself, so identity has always been fluid. That shows up in my music – in the shifting tones, in the mix of softness and grit, in the way a song might start sweet and end with a punch.
A lot of what I write comes from emotional experiences I haven’t fully processed until I sit down with a pen and a mic – unspoken crushes, complicated grief, the weird ache of being misunderstood. Even my single Honey is rooted in that: it’s playful and seductive, but underneath it there’s longing, performance, fantasy.
I think identity in and of itself is a mosaic. And so I hope my music reflects that.
Have you faced any challenges or obstacles as a female musician, and if so, how have you overcome them?
Definitely – and I’m still navigating them. There are three that stand out. First, the pressure around *image*. As women, we’re constantly told how to look – and in music, that’s amplified. I try to counter that by treating myself like I would a best friend: eating well, staying grounded, and letting the women around me – who see me fully – shoot me on camera.
Second, navigating boundaries with collaborators in creative spaces. Music-making can create real chemistry, and sometimes that gets confused for something romantic. I’ve learned to set boundaries early: keep it professional, no alcohol, clear intentions.
And third – ageism. It’s shifting, but slowly. I love Mariah’s take: she doesn’t believe in time. I try to live that too. We’re all on our own timeline. What matters is showing up, staying true, and not rushing the process.
Are there any particular themes or messages that you aim to convey through your music?
I have always wanted everyone to feel free to be themselves. I write a lot about longing, identity, power, emotions – that tension between vulnerability and confidence.
I seem to have this thread of duality, whether it’s a flirtatious track like Honey playing in the moment between will they or won’t they, or something more introspective like Goddess, I’m always exploring the space between who we are and who we think we have to be.
Can you talk about your creative process and how you go about writing and producing your music?
I do this in so many different ways. Sometimes it’s a song title that sparks it all, sometimes a melody gets stuck in my head, sometimes I have a feeling I need to get out and I sit down with a musical loop and try to write out my feelings, or I sit and tinkle on the piano. I did recently realise that I think I am more lyrically driven than melodically. What I’m trying to say is really important to me, and I want those words to form visions in people’s minds. I do produce my own music, but I don’t feel confident enough to release it as is – so I work with different producers to either add to what I’ve already created, or entirely start from scratch on the production. With Honey I did a very basic beat which took 3 different approaches to get right! In the end it has a more acoustic feel than I envisioned but I love the random sound effects. I’m not afraid to put that stuff in there – a ‘vroom’ of a car, or a ‘clink’ of glasses when referencing cognac – why not!? When I work with other people I tend to ask them – what’s the opposite of what you would do on this song? And try that! lol!
How do you hope your music will resonate with your audience, especially with other aspiring female musicians?
I hope my music reminds people – especially women – that you’re allowed to be complex. You can be soft and powerful, messy and magical. You don’t have to be perfect to get started – you’re allowed to get things not quite right, and to grow. As scary as it is to bare your soul with your music – the first step is just to start!
For aspiring female musicians, I hope my journey shows that you don’t need a huge team (a small one is enough!) or a perfect plan – you just need honesty, persistence, and a lot of audacity. I’m still figuring it out as I go, and that’s okay. You’re allowed to take up space, to evolve, and to do it on your own timing and your own terms, so long as you are being you.
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Listen to Bonnie Freechild’s new single ‘Honey’ below.