Intense violin lessons starting at age 5, harshly criticized first singing practices, obligatory classical music and pop culture forbidden at home: this musical education, strict at the very least, nearly put Kadhja Bonet off ever touching a musical instrument again, including her own voice, whose exceptional mellowness and crystal-clear tessitura turn the heads of music lovers today.

Introduced on the mini-album The Visitor (2016), this Generation Y Minnie Riperton refines her intoxicating formula with Childqueen. It’s like a fantasy of an obsolete past (girl bands, Motown soul, spiritual jazz), yet in tune with the present (such as R&B creations by Solange or SZA).

Now, Kadhja doesn’t need anyone to roll out her universe (she plays, records, and produces everything herself) or to push her to question herself. She suffers from acute perfectionism. Childqueen should be heard as a declaration of independence, as luminous on the outside as it is painful on the inside.

Kadhja Bonet, Childqueen (Fat Possum Records / Differ-Ant)

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Centre national du cinéma et de l'image animée | With the support of the Creative Europe programme of the European Union With the support of the Creative Europe programme of the European Union