INTERVIEW: Avant-Garde Pop from Oriana Bohème

Based in London, Oriana Bohème is a singer-songwriter whose music embraces the emotional context of timeless storytelling. A multi-lingual artist with a voice often described as ageless and captivating, she’s drawn comparisons to artists such as Sandy Denny, Joni Mitchell, Kate Bush, Björk and Sinéad O’Connor and not hard to see why; her sound fuses folk, classical and electronic elements into something wholly her own, underpinned by lyrics that are at once poignant and honest.

Her music is shaped by a cosmopolitan life spent absorbing the rhythms and traditions of different cultures, a thread that runs through her genre-blending approach. Drawing from classical influences, cinematic atmospheres and modern art pop stylings, her work pieces together art from emotional fragments, resulting in songs that connect with delicate intimacy. For listeners, her compositions play out like journeys, blending poetry, sound and legend into pieces that are mysterious, moving and profoundly personal.

In 2023, Oriana unveiled her debut body of work, The Tigers of Bardo, a fifteen-track outing that combines original songs with haunting reimaginings of folk material from around the world. Recorded with the help of Matt Terry at Vada Studios, Ernesto Marichales at Cloud Studio and Pete Fletcher at Black Bay Studio, the project framed themes of loss, hope and the many forms of death. The collection captures Oriana’s mission of both musical exploration and cultural reverence, presenting her as an artist able to dig deep into life from her perspective.

Her debut track titled “Paper Tigers” presents a stunning distillation of what Oriana represents as an artist. Penned during a period of personal upheaval, it emerged instinctively, the lyrics spilled onto the page within minutes, though the melody would only surface a year later when she began to reclaim her creative strength. Recorded in the solitude of Black Bay Studio in the Outer Hebrides with producer Peter Fletcher, the song is at once a confrontation and a renewal, channeling heartbreak and determination, offering a vulnerable portrait of transformation through art.

Reflecting on its creation, she shared, “Everything I thought I knew was falling apart. I couldn’t rely on my usual creative tools—so finding my voice became a necessity. Paper Tigers is what surfaced when I had no choice but to let go and simply listen.” Musically, the song lands as an experimental folk pop scene, full of elegant melodies, sweeping instrumental textures and immersive atmosphere. Slowly coming into focus with the swell of warm synth tones, Oriana’s airy voice arrives to drift through the dreamy soundscape, stitching graceful melodies into the absorbing musical fabric.

Expanding with hazy tones which stretch out in the arrangement, the bubble of flickering synth elements add flashes of colour to form an utterly mesmeric and fully engrossing listening experience. Haunting, highly original and thoroughly compelling, “Paper Tigers” offers a transportive sound unlike any other. With more releases on the horizon, Oriana Bohème is sure to continue going from strength to strength as a visionary artist with an astonishingly unique musical output.

We caught up with Oriana Bohème to find out more about her musical journey so far, her single “Paper Tigers” and what she’s got lined up for the future. Check out our interview with Oriana Bohème below.

What’s your earliest memory of making music?

Born into a musical family, I was always surrounded by it. At primary school, we followed a music programme where we sang from a booklet, and I remember being able to choose from the fascinating percussion instruments on the music trolley — a real highlight for me! I loved the triangle and the guiro; maybe that’s where my love of Latin rhythms began.

Which artists do you draw most inspiration from?

So many. There’s no greater inspiration than the musicians I work with: Diego Laverde, Chebeto Requena, Henry Bravo, Dan Glendining (BlackCar), Greig Stewart (Guillemots), Paul Smith (Violet Mary Music), Ernesto Marichales (Jordan Rakei), Nic Rowley, Emilie Rowley, Gemma and Nicky Kirk (Lost Chimes), John ‘Barberovski’, Joanne Jefferis and Carmen Oriana.
Beyond that, I’m inspired by:
• Aldemaro Romero
• Insólito Universo
• Lucho Bermúdez
• Serge Gainsbourg
• O Terno
• Connan Mockasin
• Simón Díaz
• Minnie Riperton
• María Teresa Chacín
• Skott
• Juan García Esquivel
• Pablo Barrios
• Brigitte Bardot
• Ike Quebec
• Fela Kuti
• Cartola
• Chopin
• Arvo Pärt
• Bach

How else do you find inspiration for your music?

Inspiration is everywhere — from a falling leaf to overheard train conversations, from a stranger’s funny look to some weird towpath graffiti.
My biggest source of inspiration is nature. Living on a boat means I’m always just inches from the natural world, surrounded by a symphony of sounds. That’s my orchestra right there.

What was your highlight of 2024?

Musically, it was performing at Howling Barge Fest — a festival on a boat. It was such a wonderful event supporting grassroots musicians, and it was filmed by Channel 4 as part of their Narrow Escapes series.

What do you love about the London music scene?

I love being surrounded by musicians — particularly those in the Latin music scene. There are phenomenal artists in abundance here. That said, now that I’ve moved my boat to rural Warwickshire, I find the music scene outside London equally exciting, because I can take things at my own pace without the pressure of the city.

What would you say is the perfect setting for listeners to enjoy your sound?

That’s tricky, as my music spans different genres. Maybe I make seasonal music — for hibernating in winter, for waking up on dewy mornings, for balmy summer days. I’d say curled up in bed, walking a remote, windy hilltop, lying under the breeze of a willow tree… or even a kitchen disco.

How has your style and sound evolved since you started out?

My sound is always in flux, mirroring me and the nature I’m immersed in: nothing stands still.
All of my original songs from The Tigers of Bardo wrote themselves. By that I mean both the lyrics and melodies came from a primordial, instinctive place within me — like a splinter naturally working its way to the surface. Those songs had to come out.
Now I’m in a phase of consciously crafting songs, blending genres I enjoy. Working with different musicians means each brings a piece of themselves to the musical pie, while my voice remains the constant.

Who would be your dream artist to collaborate with?

Serge Gainsbourg, Fela Kuti, Aldemaro Romero, Cesária Évora and Bach would be on my heavenly list. Even being a fly on the wall with those greats would have been incredible.
Making sounds with Hermeto Pascoal would also have been a lot of fun. From today’s artists, collaborating with Tim Bernardes (O Terno) would be wonderful. There’s something truly special about his music. A duet with Soledad Bravo would be a dream too. And if you threw Finneas O’Connell into the mix, I think we’d create a melodic Latin/jazz/folk-pop banger!

How did you find making your single Paper Tigers?

Paper Tigers is a beast of a song, with a life of its own. The lyrics wrote themselves during an intense period of my life in 2021. At the time, I didn’t believe I could create a melody strong enough to match them. A year later, I finally sat down to try, and surprisingly, the melody came quite quickly. I recorded myself humming ideas with the sound of my old 1956 boat engine clanging in the background.
But I could always hear different versions of the song in my head. That’s when I turned to John ‘Barberovski’ — a fellow boater and exquisite pianist. For nearly a year, he delicately crafted the sound of my thoughts. Together we created the beautiful Paper Tigers (Romantic Piano) version, recorded at Vada Studios in Warwickshire.
From there, I took the song to producer Pete Fletcher at Black Bay Studio in the Outer Hebrides. He totally got it. Together, we created the single version of Paper Tigers — hauntingly sparse and understated, but powerful. I still have to pinch myself when I hear it; it’s the song I’m most proud of.
After the release, Dan Glendining (BlackCar, Headswim) approached me for a remix, and Paper Tigers (BlackCar Remix) turned into an absolute jungle-infused banger — a total earworm. It’s humbling that the song stirs others in this way.
Looking ahead, I hear both a really stripped-down version and a full orchestral version of the song. If anyone out there would like to help fund that…!

What message did you want to get across with this release?

Truthfully, I didn’t have a message — that hadn’t even crossed my mind. It was a track that simply had to come out of me. The song was a personal battle, an achievement, a leap of faith. For me, it represents metamorphosis and expansion. But it’s so rich, lyrically and melodically, that people can glean their own meaning from it.

What artist have you been listening to most recently?

Lately, I’ve been diving into these tracks:
• Los Tecolines – No Importa Corazón (on repeat!)
• Marion Black – Who Knows
• Irini Arabatzi – No Matter What (for U)
• Lucho Bermúdez – Tolú
• Roberta Flack – The First Time Ever I Saw Your Face

What’s the main thing you want people to get out of listening to your music?

Connection + disconnection.

What’s been your favourite live performance so far?

I sang Date the Moon with Fyfe Dangerfield (Guillemots) at his gig in Hebden Bridge a few years back. I was so nervous that my voice trembled audibly on the recording. Looking back, though, it was a significant gig for me. There’s a quiet beauty in seeing how far the journey has taken you.

Who would be three artists to headline your dream festival?

Only three?! I’d mash them up into one act: Robert Plant, Nicola Cruz and London-based Venezuelan genius Pablo Barrios — with guest artist Eliza Oakes. That would be one awesome headline.

Do you have any advice for a new artist wanting to follow in your footsteps?

Self-belief is your superpower, so go for it. Focus on your own journey rather than the outcome, and don’t forget to enjoy the ride — especially the bumps.

Finally, what do you have lined up for the rest of the year?

For the past year, I’ve been storing sounds, lyrics and ideas in my head after having my recording equipment stolen. I’ve only just replaced everything, so I’m itching to delve back into my creative headspace and record new material.
I find autumn and winter especially evocative. I love closing the doors to the outside world, lighting a fire in the stove, and listening to rain on the roof of the boat — now with a kitten in the mix, which might add some creative chaos!
I also have a juicy collaboration lined up with French artist Apadelou, which I’m really looking forward to. And I’ll be finishing another collection of covers from my favourite Latin songs, which we began recording in July.
‘Tis the season of abundance. Watch this space, 2026.

Listen to Paper Tigers below