Eva Lazarus on “Everyday Shella,” her new label, boomtown, and motherhood [Interview] – EARMILK

That makes it all the more fitting that “Everyday Shella” drops just ahead of Boomtown—a festival she describes as “one of the best festivals on the face of the earth.”

A longtime favorite among the Boomtown faithful, Lazarus has become woven into the fabric of the festival—whether she’s tearing up the Barrio Loco stage, vibing with Mungo’s HiFi at the returning Lion’s Den stage (last seen in 2019), or contributing behind the scenes to the festival’s iconic opening ceremonies, including a performance in 2024. This year marks a major moment as she returns with her biggest solo set yet at the Grand Central stage, complete with dancers, visuals, special guests, and some brand new shellings.

But this latest chapter isn’t just about high-octane shows—it’s also about building a creative future on her own terms. As a mother, label boss, and shapeshifting performer, Lazarus is balancing festival sets with family life, releasing bold new music while redefining what it means to be an artist in control.

We caught up with her to talk Boomtown memories, motherhood on tour, the rise of Konichiwahgwarn, and why her next record is a deep dive through the soundsystem spectrum.

Firstly congratulations on the launch of Konichiwahgwarn Records this year! “Everyday Shella” marks the second release, what was the spark that ignited this track?

MONSS is a rising name in drum & bass with some serious momentum behind him. What drew you to work with him, and how did the collaboration come together creatively?

Brad Ellis, who is executively producing my next album, and Tim, MONSS’ manager, actually set up the session. It’s not always the romantic image of two artists coming together and getting in the studio, but what I will say is that, although the idea to collaborate may not have come from us directly, it was 100% the respect for what each of us do that led us to walk into the studio and see what could happen.

MONSS and Brad worked so well together, and I couldn’t be happier with how it all turned out—just a couple of talented Gs in a dark room making an absolute slammer.

You’ve described this track and your upcoming work as a reflection of your soundsystem roots. Can you talk about how that heritage is shaping the next chapter of your music?

I’ve been holding down multi-genre sets for a long time, and I’d say that anyone who is on this ride with me will know that one minute I might be singing sweet over reggae, and the next, with no explanation, I’m chatting over DnB or batting over 140. I make what makes me feel something. A lot of what makes me creatively fulfilled is rooted in Soundsystem culture. Soundsystem music—from its root dub/reggae to the evolutionary branches of 140/garage/DnB/jungle—are the places where I find myself saying yes to collaboration, but I’ve never made a record for myself in any of those spaces. Not only is this a part of my musical heritage, but it’s my culture and heritage from a British Jamaican family.

I thought it would be an interesting idea to make a record that explores the Soundsystem spectrum sonically. Working with Brad Ellis on the record has been incredible. The production needs an understanding of the broad spectrum, and he gets it. I geek out over certain genres and eras, and he understands completely and knows my points of reference, while bringing his own unique style and point of view. I feel incredibly lucky to be working with him on my upcoming releases.

Released in the peak of summer, “Everyday Shella” is the perfect sound for festival stages and drops just before Boomtown—can you tell us more about this year’s performance? What stage will you be playing? Will you be sharing any unreleased material?

This year’s performance at Boomtown is going to be different from any show I’ve ever done there. I haven’t done a solo set at the festival for a couple of years, and my show is so different from last time! I’m playing Grand Central on the Saturday. I’ve never played that big stage for my own show before, so I’m pulling out all the stops. My set has lots of special guests, dancers, choreo, a VJ, new material, edits, bells, whistles—all the stuff. Just talking about it has me in my feelings. I’m going to have to have a word with myself on the day, I just know it.

Konichiwahgwarn Records, has already received huge support on its first release! What does releasing independently through your own label mean to you right now, and how does that impact the kinds of music you’re putting out?

It means so much to me! Konichiwahgwarn is a compound of konichiwa and wah gwaan—even the name of the record label is a hybrid of sorts. I don’t want to niche down, and now I don’t have to because this is my label; I just make what I want and put it out. It was just me and my man working on my last EP, Make Your Own Sunshine. I am so proud of everything we did, and we did it all as new parents. I was at home getting radio play and playlist support with a self-released record—sending out T-shirts and CDs in between singing lullabies and changing nappies. Doing everything in-house definitely has its stresses, but it’s on my terms and in my timing. I love this for me!

Your sophomore album, Brandy Kisses, was a deeply soulful, jazzy, introspective project. “Everyday Shella” is full throttle and explosive. Are you intentionally creating contrast between eras, or is this more about riding the wave of where you are personally and musically?

I’m riding that wave. This is less about intentional stark contrast and more about committing to concept albums with producers that I’m vibing with at the time. Working with Dirty Dike on Brandy Kisses was the right vibe for where I was—emotionally and creatively, I needed to make that record. I feel similarly towards my next album. I have an urge to draw the lines between the sound system pit stops of my journey, and Brad Ellis is the right person to do this with.

⁠Let’s talk more about your upcoming Boomtown performance! You’ve performed numerous times before, how has your connection with the festival grown over time? Are there specific memories or maybe a crowd moment or your first set there that stay with you today and inspires you as you prepare for 2025?

Boomtown is one of the best festivals on the face of the earth. I’ve seen it morph into itself over the years, and I’m consistently blown away by the intricacies of the stage design, story, lights, visuals, and performers—and that’s everything before the lineups.

One of the biggest years for me at Boomtown was 2019. I got to play Lion’s Den with Mungo’s HiFi and play a solo set at Barrio Loco—both big stages, massive crowds, dream shows! Well, I was also two months pregnant, no one knew, and I was trying not to throw up in front of people all day, so that made it memorable for different reasons.

Alongside your solo set, you also performed at last year’s opening ceremony—a huge moment at the festival! Can we expect any surprise pop-ups for 2025?

The opening ceremonies there are next level! I’ve actually worked with the team on the curation of them. Outside of contributing, I have fed back on theme, performers, choreographer, styling, etc.

Boomtown cares so much about intention-setting in their opening. They want people to connect, live in the moment, respect each other and the Earth, and finally foster a space for creativity and celebration. If you get to go to the festival, it’s a must-see—the show always has these climactic bursts of energy and colour, pyro, and high-octane music. I will be a part of it this year, but if I wasn’t on stage, I’d be in the crowd.

⁠You’ve spoken about being a Mum on tour and even bringing your eldest on stage to hype up the crowd! Can we expect any cameos for Boomtown this year and how does that shape your performance atmosphere?

Haha! He’s the world’s best hype man. I never know if I’m bringing him on stage or not; it’s always pretty organic how he’s found himself up there. It’s never really me inviting him, more that he really wants to be there and me finding a moment where it fits. If it’s a daytime show, it’s 50/50 if he will make an appearance. My Boomtown set is in the day, so potentially.

I don’t want to ever pressure him; it has to be his choice to join the vibe on stage.

You were also expecting again after last year’s Boomtown—congratulations! Has this shaped and changed your approach to touring a year on from last year’s festival? And what one piece of advice would you share with mums navigating being an artist and a parent?

Thank you! Boomtown 2024 was actually my last show before I had the baby. I genuinely feel like I haven’t stopped since then. I feel the pressure of being a full-time artist, and that includes things like being out of work, paying your own maternity pay upfront and claiming it back, knowing full well what you get doesn’t really cover much.

Equally, I am extremely privileged in that I was able to work, save, and cover it. My advice to other mums in this industry is to ask for help, and as and when it comes, try not to feel guilty for it. I’ve needed so much help from my family and friends since becoming a parent, and it’s taken a while to get comfortable with that.

My hyper-independence is at odds with my need for support. I identify as someone who can do everything on their own. The discomfort of asking for help is now an essential part of my job and my journey as a parent. I’m still working on not feeling guilty for accepting help.

What other plans do you have this year? Can we expect more new music on Konichiwahgwarn Records?

I do have a lot more planned for me and the label; there will be more singles leading up to an album. The bass will be heavy, and the genres broad. Other than being in the studio, I’m going to be at a bunch of festivals in between doing wholesome summer holiday activities with my favourite small humans. It’s looking like shows, ice pops, flights and new music, bubble wands, and water guns. I’m ready to get into it! Let’s go!

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