Lola Wild is no stranger to weaving cinematic nostalgia into her music, and with her latest single ‘Jump the Gun’ she continues to push sonic boundaries. A mesmerizing blend of moody ’80s production and raw introspection, the track serves as a preview of her forthcoming EP, Lost Signal. Known for her evocative storytelling and hypnotic soundscapes, the London-based singer-songwriter draws from a range of influences—Billy Idol, Roy Orbison, and the smoky allure of ‘60s pop—to create something both timeless and refreshingly modern. We caught up with Lola to discuss the inspiration behind ‘Jump the Gun’, her songwriting process, and how Hackney’s vibrant creative scene has shaped her music.
Your new single, “Jump the Gun,” has a distinct 80s production style. What drew you to this aesthetic, and how do you balance it with modern elements?
I’ve been listening to a lot of Billy Idol recently and “Eyes Without a Face” has been on repeat – it really had me hooked. The nostalgic drums and melancholic lead and backing vocals are so enchanting. This influenced the synth and Phil Collins esque drum beat in the track for sure, but I really wanted to balance it with modern elements to make it feel current with a stripped-back intimate vibe, so it didn’t feel too retro. I guess finding that sweet spot where the past and present meet.
Can you take us through the writing process behind “Jump the Gun”? How did you come up with the concept and lyrics for this song?
The whole concept started with this feeling of impulsivity, how I often act before thinking things through and the consequences that come with it. I was reflecting on those moments where you say something or do something and immediately regret it, but there’s also this underlying sense of vulnerability in that, like you’re constantly jumping into the unknown. Despite being rooted in a personal space I wanted to make them relatable too. I started with the idea of feeling like you’re always just a bit ahead of yourself, a little out of control, and letting the music mirror that tension. The track evolved organically from there, with the production adding that sense of tension, but it still has a touch of nostalgia, a kind of bittersweet longing for things that never turned out how you imagined
You’ve mentioned that “Jump the Gun” has a dual interpretation. Can you elaborate on the internal dialogue aspect of the song and how it relates to your own experiences?
It certainly reflects that internal push and pull I’ve often felt, especially when it comes to impulsive behavior in relationships, both with people and more often, with myself. Rushing into decisions without thinking things through, not being able to fully express how you feel. But I also wanted to capture that duality – that instinctive urge to act without thinking and the internal dialogue that follows, where you start reflecting, questioning and trying to make sense of it all.
The lyrics “It’s always been a problem for you, saying things that are on your mind, no wonder why you jump the gun and slip and fall every time” seem to reflect a sense of self-awareness. How do you think this theme will resonate with listeners?
I guess anyone who has experienced moments of regret after speaking too soon, or acting impulsively will be able to connect with this. It taps into the struggle of trying to balance honesty with caution. I’ve always wanted to write introspectively, I find it’s always comforting when you can see yourself in a song. Makes you feel like you’re not on your own – or going crazy!?
How does your background in dance influence your approach to music and performance?
In particular with my experience in the showgirl/cabaret scene there is a lot of expressive storytelling and a strong connection with the audience that goes beyond just dance or singing. The discipline and precision I have learnt through dance performance and crafting costumes have also translated in my music arrangements, making them more dynamic. It’s a fusion of showmanship and immersion. Blending a retrospective visual with sonic storytelling
You’ve been compared to legendary artists like Roy Orbison and David Bowie. How do these comparisons make you feel, and do you see yourself carrying on their legacy in any way?
Honestly, it’s incredibly humbling to even be mentioned alongside legends like Roy or David. They were true visionaries who pushed boundaries and created music that even now resonates so deeply with people. I wouldn’t dare say I’m carrying on their legacy though, but I do hope to channel even a fraction of their fearlessness and depth in my own way. In all honesty, I just want to tell stories and make people feel something
“Jump the Gun” has a very cinematic quality to it. Can you tell us about the inspiration behind the track’s production and how you achieved that retro-futuristic sound?
Going back to the Billy Idol record I found heavily inspired by this track in particular. I guess I’ve always been drawn to music that feels like it belongs in a film or transports you to another world. With this track I wanted to create something nostalgic and otherworldly. Working alongside Producer Jim Wallis we leaned into rich, reverb drenched guitars and this retro rhythm that feels like it’s pulling you forward, like a heartbeat. The idea was to capture that feeling of longing and motion, like driving through the night, reaching out for something that is just out of reach
You’ve mentioned being influenced by the grit and allure of ’60s pop and the moody, atmospheric production styles of the ’80s. Can you recommend any specific artists or songs that have had a significant impact on your sound?
Artists like Nancy Sinatra and The Shangri-Las had this haunting yet defiant energy that really speaks to me. Then there’s the moody, cinematic production of the 80s, which you can hear in artists like Chris Isaak and Julee Cruise – songs like Wicked Game or Falling just have this beautiful, melancholic lingering atmosphere. I also love the way David Bowie could make something feel both otherworldly and deeply human at the same time. Those kinds of sounds and emotions definitely find their way into my music
How does it feel to be part of the vibrant music scene in Hackney, London? Do you think your surroundings have influenced your music in any way?
Coming from a small working class background in the outback of Lincolnshire to coming to London and moving to a creative hub like Hackney blew my mind. There’s such a raw, creative atmosphere here. So many artists are pushing boundaries. In particular Hackney Wick, where I’m based, the mix of the old and new, the grit and glamour, the late-night neon lights against historic buildings – it all seeps into the music. It’s a place that embraces the inbetween, which is where I think my music lives too.
Your music conjures vivid imagery of smoky rooms and dim neon lights. Do you have a specific visual aesthetic in mind when creating your music, and if so, how do you bring that to life in your performances?
Visuals have always played a huge part in how I experience music. When I’m writing or in the studio, I’m always painting a picture – the atmosphere, colour and mood. David Lynch is a big inspiration for me, especially for Jump the Gun his film Blue Velvet, with its surreal, dreamlike tension. On stage, I try to bring that world to life through my fashion, movement, and the way the music unfolds, almost like a film scene. It’s all about pulling people into that world.
You’ve had a whirlwind few years, selling out headline shows and receiving press coverage. How does it feel to be gaining momentum as an artist, and what’s next for you?
It’s honestly surreal. When you’re creating music, you never really know how it’s going to connect with people, so to see it resonating, selling out shows, and reaching new audiences is incredibly humbling. As for what’s next, I will be dropping more singles working towards the Lost Signal EP. There’s definitely an album on the horizon
Can you tell us more about your forthcoming EP, Lost Signal? What themes or ideas do you explore on this project?
There’s certainly a theme of disconnection running through this EP, whether its between people, the past and present, or even between reality and dreams. Sonically it still blends the nostalgia of 60s pop with the moody cinematic textures of the 80s. Kind of a retro-futuristic sound.
How do you approach songwriting? Do you have any specific techniques or habits that help you come up with new ideas?
One of my unconventional approaches to songwriting is what I call the music box method. I’ll start by creating simple melodies, like a nursery rhyme or something with a similar, delicate sound. My Omnichord is great for this because it gives off that ethereal, almost otherworldly vibe, which can be heard on the intro to Jump the Gun, and it’s really easy to create little loops or atmospheric textures that spark ideas. I’ll build around those sounds, layering harmonies and lyrics as the emotion of the melody takes shape.
Your music often has a dark, moody quality to it. Is this a reflection of your own personality or a particular mood you’re trying to evoke in your listeners?
I’m actually more of a happy as larry vibe than a brooding type. But I think my music tends to lean toward the darker, moodier side as a bit of a protective layer. It’s like creating a space where I can express emotions that aren’t easy to show on the surface. I enjoy playing with contrast, I guess, on the outside, I might be lighthearted and carefree, but my music allows me to dive into the deeper, more complex feelings I’m processing.
As an artist who blends music, dance, and visuals, how do you think your unique approach can help you stand out in the music industry?
I guess I’m trying to create something immersive, not just a song and not just a person. I’ve always been drawn at blending artforms into one cohesive moment. It’s not just about the sound, its about transporting people to a different world. The way I move, the way the lights and visuals interact with the music, it all adds depth to a story I’m telling. I wouldn’t claim to be doing something entirely new, but I am focused on creating an experience that’s personal and expressive, something people can really connect with.
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