Genreless Grace: Nápoles on Sound, Soul, and Self-Expression

Music

Nápoles is on a mission to change the way we hear music, one beat at a time

With roots that trace from Scandinavia to Cuba to Russia, Nápoles has steadily carved out a unique voice in the modern R&B landscape. An independent artist with three Swedish Grammis nominations to her name, she moves with complete creative freedom, blending smooth, effortless vocals with genre-bending production that feels at once nostalgic and forward-thinking. Her debut album, Silk City, released in November 2024, has already earned critical acclaim, establishing her as a magnetic force both in sound and vision. As she premieres her latest video for Velvet Dreams, Nápoles continues to redefine what contemporary R&B can be - merging soulful storytelling, striking visuals, and a quietly radical sense of self.

Your heritage spans Scandinavia, Cuba, and Russia which is such a rich tapestry. How has that cultural mix shaped the way you approach music?

Growing up in Scandinavia with roots across Cuba and Russia has opened my mind. It gives me the freedom to move beyond traditional expectations. It’s given me a sense that I don’t need to fit into a box or tradition. I think many people with a mixed background can relate to this feeling of being a chameleon. Also, being based in Sweden, a very multicultural country and progressive when it comes to music, has given me the tools to develop my sound in a serious way, while my Cuban side has kept me close to something raw and rich in history.

You’ve described your sound as nostalgic yet modern. What artists or records from your childhood do you think helped form that signature tone?

I was a true music lover exploring different genres and never really had one prominent idol which allowed me to develop a taste for a wide range of music. A lot of my inspiration came from dance classes where I was constantly exposed to sounds. Whilst working extra hours in cafés and restaurants, I was always the one creating the playlists which kept me experimenting and discovering fresh music. I’ve always been driven by the thrill of finding new songs and the spectrum of influences that shaped me.  This mix of life experiences is what defines my music today.

Silk City feels like such a complete body of work, emotionally and sonically. When did you know you were ready to make your debut album?

After exploring a few EP projects my producer Wahib and I started working on music that felt like the beginning of something entirely new. That’s when I realised we were ready to go deeper. From that moment, it took three years to finish Silk City. I knew I was ready for an album when I could step into the process with full presence. Not just writing songs but shaping the theme, the visuals and the story. I’ve dreamed of making an album my whole life so when it finally aligned it felt like stepping into a new version of myself.

Velvet Dreams is so immersive. Can you tell us a little about the story behind the song, and why you chose it for a visual release?

Velvet Dreams came from a kind of emotional fog. I was chasing something that felt real but slippery, like a memory I couldn’t hold onto. It reflects a state of mind I found myself in during a period of my life. A place between the real and the imagined. The texture of the song felt so cinematic to me that it had to have a visual world to exist in. I decided to collaborate with Swedish creative director Ebba Lange who understood the emotional landscape I was trying to show and could bring it to life. 

Your visuals have such a poetic, cinematic quality. How involved are you in building the visual world around your music? 

Images often come to me at the same time as the sounds when I create. It's like the music paints scenes in my mind and those scenes become the starting point for the visual storytelling. Because I know who I am, it makes the process of building my visual world feel intuitive and exciting. I work closely with creatives I trust and I’m always involved with the vision to make sure it feels authentic to the universe. For me, visuals are an extension of the music. They help translate the emotional language of the songs with more layers and depth.

You’ve remained fiercely independent while achieving serious recognition - three Swedish Grammis nominations is no small feat. What drives you to stay in control of your creative journey? 

I love being able to create without compromise, to follow my instinct and make music that truly reflects where I’m at. Independence helped me protect my voice. I also didn’t feel like the industry in Sweden understood my vision when I first started making music so I decided to explore with the help of my community. Staying in control allows me to move at my own rhythm and to build a career that’s sustainably aligned with my values. The Grammis nominations mean a lot and sometimes I have a hard time letting that kind of recognition soak in. It’s so flattering but what really drives me is the joy of creating.

There’s a real sense of intimacy in your music, whether it’s on record or in a live setting. How do you create that emotional connection with listeners? 

Music has always been the space where I feel most comfortable being so open and I think that the listeners are connecting to that vulnerability. A lot of my lyrics are like love letters and diary entries which makes it personal in a way that’s easy to connect to if you’re open. People can feel when you're present so it’s about creating a space where both the audience and I can exist without judgment.

Silk City blends organic instrumentation with sleek, modern production. How did you find the right collaborators to bring that vision to life? 

Wahib, my producer, shares my vision for blending live instruments with the precision of digital sounds. We first met the saxophonist August Hugmark in our studio complex and knocked on his door when we heard him playing. It was such a fun moment and I made Wahib talk to him because I didn't dare to and when we later spent time during sessions and got to know each other we all just connected as creatives and friends. That’s why we decided to name his interlude on the album “Tears of August”. We met Christopher Lindén who plays guitar on the record in a similar way and got to know each other through music. Thanks to the Swedish studio complex Sensus and all the great musicians that spend time there we were able to add live instruments in a natural way.

You first came up through a pioneering music collective in Stockholm. How did that community shape who you are as an artist today?

Being a part of Ladieslove taught me to believe in myself and provided me with support and encouragement in a way I hadn’t felt before. It helped me set an authentic and professional foundation. I have learned so much by working with friends and I’m proud of everything we have achieved together. That spirit of collaboration and self trust is still at the heart of everything I do.

As someone who merges music and visual storytelling so seamlessly, where do you draw inspiration for the aesthetic side of your projects?

I’ve always been drawn to history and I find inspiration everywhere from film and culture to the club scene and late night conversations. I look at music in a cinematic way so visual storytelling is such a fun way of extending the music. For Silk City I worked closely with creative director and photographer Paul Edwards on the full visual direction from photography to short visuals, and blending our worlds was such a gift. It’s really about daring to express myself visually. I think my background in dance pushes me to keep exploring movement and physicality as part of the storytelling and I’m also into acting which is something I’m curious about exploring more.

There’s something timeless about your work, yet it never feels stuck in the past. How do you balance paying homage to vintage influences while still sounding fresh?

I think it’s about understanding the soul of the eras that inspire rather than copying the surface. For example, I really connect to the way soul music was written and performed back in the days so I try to honour that in a way that feels alive now and authentic to me. I don’t think emotions care about what year it is and I’m obsessed with the ways we keep repeating the same stories in new clothes.

How has your relationship with performing changed, from intimate settings to festival stages? Is there one environment you feel most at home in?

My favourite type of settings are the ones where I can merge the performance with visuals, styling and movement. I love when a live show becomes a world of its own so performing in artistic spaces or at events where curious people gather makes me feel most at home at this stage. I also think intimacy can exist even in larger venues and it’s about creating a shared energy more than the size of the stage.

With the success of Silk City and now Velvet Dreams, how do you see your sound and story evolving in this next chapter?

It’s hard to say what it’s going to sound and feel like at this early stage but I’m feeling very inspired right now and excited about exploring again. Since the release of the album, life has truly happened and I’ve allowed myself to just be so I’m full of new experiences that I can’t wait to pour into my next project. I feel like I’m stepping into an even deeper sense of freedom both musically and personally.

Finally, what does success look like to you at this stage? is it about accolades, audience connection, creative freedom, or something else entirely?

At this stage, success to me means creating freely and growing as an artist alongside my community. I still find the process of turning emotion into art very cool. Success is also letting the music find the people who need it wherever they are in the world. I’d love to keep deepening that connection with my audience.

Velvet Dreams is out now

Photographer Ebba Lange

Words by Jheanelle Feanny