In the ever-evolving landscape of Southeast Asian pop music, few artists have captured hearts quite like Shazza. The Singaporean singer-songwriter, born Shareefa Aminah, has been crafting evocative soundscapes since she was eleven, weaving narratives of love, longing, and self-discovery. With an upbringing soundtracked by the likes of Norah Jones and the Black Eyed Peas, Shazza has seamlessly blended jazz-inflected intimacy with the radio-ready sheen of modern alt-pop. Yet, what sets her apart is her unwavering commitment to representation—carving a space for herself as a hijabi artist in an industry where such visibility has been scarce.
Since her debut, Shazza has built an impressive catalogue that speaks to both her personal evolution and the growing globalisation of Singaporean music. Her first album, Chapter One, laid the groundwork for a career defined by sonic experimentation and lyrical vulnerability. Now, with her sophomore project on the horizon, she returns with “MIDNIGHT”, a striking collaboration with fellow Singaporean musicians, the genre-fluid producer and instrumentalist teem (Timothy Liew) and the velvety-voiced Umar Sirhan.
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Hot on the heels of her single-slash-fragrance launch for “Perfume”, “MIDNIGHT” serves as the second release from her forthcoming record and her first collaborative single of 2025. The track—out 28 February 2025—melds anthemic alt-pop textures with expressive guitar work and introspective lyricism, creating a soundscape that oscillates between yearning and catharsis. Thematically, “MIDNIGHT” captures the quiet agony of late-night longing, when the weight of heartbreak is at its most unbearable. It’s a song for the hopeless romantics, the insomniacs, and the wistful souls still clutching onto love that has long since slipped away.
Ahead, Shazza gets candid on her journey thus far, creative process, pre-performance rituals and more.
Describe yourself with three songs and why.
“Faith” by George Michael, because I cling to faith in everything I do. “Super Trouper” by ABBA, because I love performing and creating but nothing beats having a safe sanctuary and loving arms to return to at the end of it all. And “She’s Always A Woman” by Billy Joel, for the multitudes of myself I will spend the rest of my life trying to embrace.
What inspired “MIDNIGHT”, and what was the creative process like?
Tim and Umar are very dear friends of mine, and the three of us just really enjoy the process of making music. That’s essentially how this song came about—we decided to come together one evening to create, and Tim showed us this track he had been working on. We jammed it out and wrote together, and once we figured out the story we wanted to tell, the song kind of wrote itself. I write a lot with Tim these days, and the last time I collaborated with Umar was on our 2024 release, “Rain in Manhattan”, so it was really nice to come together again.
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What do you want fans to take away from your upcoming album?
Firstly, I’d like to thank them for sticking around—it truly means the world to me. I want them to listen to this project and feel like they’ve grown alongside me. This record has been cathartic, helping me navigate the chaos of 2024. I wanted it to be more intentional than Chapter One—to reflect my growth as an artist and as a human being.
What’s a fun or unexpected memory from recording “MIDNIGHT”?
My favourite memory is from the first night we started working on it. Tim had just shaved his head for a gig, and it was the first time we saw him nearly bald in person. I can’t help but giggle at the thought of the three of us in Tim’s little room, switching between chairs and the floor, trying to figure out where the song was going. There was magic in that session, and I remember looping the track for weeks.
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What has been your most surreal moment so far?
The Crash Adams viral video and meeting Chris Martin last year were insane, but what gets me every time is meeting people who tell me they’ve felt inspired by my music. That’s all I ever wanted—to make an impact.
Have you faced challenges in the industry? How have you overcome them?
Challenges will always come with this line of work. Beyond the usual struggles that Singaporean artists face—like the stigma against local music (which has improved!)—I’ve dealt with crippling self-doubt. You rarely see instant returns in this industry, and it can be terrifying to keep going without knowing if it’ll pay off. But I’ve learned that a little bit of delusion helps. Believing that good things will come to those who wait and persist has gotten me through a lot.
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If you could collaborate with any artist—past or present—who would it be?
ABBA. I grew up on them, and they’ve influenced my writing immensely. People don’t make music like that anymore! The way they tell stories in their songs is so profound yet straightforward—I’d love to have been able to work with them.
Do you have any pre-performance rituals?
I try to calm myself, run through my set in my head, and say a little prayer before going on stage. My band and I have also been trying out a team huddle, but we haven’t quite synced up the chant yet—we’re working on it.
How would you describe your fashion style and what are your wardrobe staples?
I’d say comfy-chaotic. I love layers and bling. Fashion, to me, is about expressing myself without saying a word. My staples are a good pair of interesting jeans, big earrings, stacked necklaces, and a black hijab—though I’m trying to embrace more colour.
What excites you most about the local music scene?
It’s a great time to be in the scene. People are more supportive than before, and we’re able to connect better with the world, giving us a real shot at putting Singaporean music on the global map. I’m excited to be part of this.
If you could give advice to young Shazza, what would it be?
I’d thank her—for never letting go of this dream and for being brave enough to believe, despite the odds, that we’d make it to this point and beyond. I want to make her proud.