Interview by Carol Wright | Photographer: Jordan Knight
Emei, a Chinese-American songwriter based in LA, creates alt-pop that is so catchy it feels impossible to turn off. That is why it’s no surprise her music has hit over 130 million streams on Spotify alone. She talked to NYOTA about her EP RABBITHOLE, competing on Chinese Idol at age 15, and her advice for aspiring musicians.
Singing has been your passion since you were a child. What types of songs did you love to sing when you were 9 years old?
I’ve loved singing my whole life. When I was a kid, I really enjoyed musical theater and Disney songs. I also loved singing ballads, especially Adele’s. But Disney songs were definitely my favorite.
At the age of 15, you placed third on Chinese Idol. After reaching this accomplishment, what did you learn about yourself and what you wanted out of a career in music?
The biggest takeaway from Chinese Idol was realizing I didn’t just want to sing other people’s songs—I wanted to write my own music. That experience inspired me to start writing when I was 16.
During a time when algorithms and the opinions of thousands online can determine a performer’s look, sound, etc., you have a very distinct look and sound. Although connecting with fans online is important, how do you stop all the chatter from influencing your decisions?
I try to follow my intuition and instincts while tuning out outside opinions. Interacting with fans online is super important, but for me, sessions are a sacred space. When I’m creating, it’s just my own brain and world, free from outside noise.
With your latest EP, RABBITHOLE, listeners are getting a closer look into your psyche. What were the writing sessions like for songs such as “9 LIVES” and “THE PART” where you get particularly vulnerable?
I base my songs on my journal entries, so I go into sessions focused on what’s on my mind that day. For “Nine Lives” and “The Part,” those were days when I was feeling those emotions, and the sessions became like therapy for me. Writing helped unpack and process those feelings.
The production on this album has taken your music to the next level. Did you go into the creation of this EP wanting to be more experimental and daring sonically?
I wouldn’t say I went into the creation of this EP with that in mind. I just wrote the songs and shaped the production naturally. When we looked back, I realized that it was moving in this experimental, cohesive direction. It kind of happened accidentally.
When working on your music, do you often get inspiration from literature or pop culture? What led to you tying in the Alice in Wonderland themes and symbols?
I think art is often multidisciplinary, and I get inspiration from everything—experiences, things I watch, and things I see. Alice in Wonderland was one of the movies I grew up watching. After writing and listening back to the songs, it just made sense to tie it into this project.
The full visualizer for RABBITHOLE is superb. What was the collaborative process like between you and the directors Bryant Hyun and Nick Jandora?
Oh, we had so much fun. It’s crazy that we managed to get that much done within the time and budget we had. We shot the entire five-part visualizer series in just two days, all in one space. The process was really smooth—we worked closely during editing to shape the world you see now. It was such a blast to create.
In the comments section on YouTube, your listeners have pointed out the easter eggs and hidden messages throughout the visualizer. Is it exciting to see your fans just as passionate about the project as you are?
Yes, for sure! My fans are the best. Their excitement and passion fuel me so much. I owe everything to them—they make the entire process feel so rewarding.
Thinking back to how you felt when you wrote the song “Late to the Party,” can you believe where you are now in your career?
It’s insane how far we’ve come in the past two years. But what I’ve realized about “Late to the Party” is that it doesn’t matter where you are in life or how much you’ve accomplished—it’s a song I’ll always relate to. Even now, I sometimes feel behind or compare myself to others. That feeling never really goes away, but the song helps me process it.
What advice do you have for aspiring musicians?
Write as many bad songs as possible. Just keep creating and don’t overthink it. The more you write, the more you’ll improve, and eventually, you’ll find your voice and style.
This story first ran in Issue 38: The Music Issue. Read more from the issue here.
