Natasha Jane Julian, a California native, blends confessional art-rock, trip-hop, and film soundtracks to create moody yet melodic pop songs. Imagine a fusion of Lana Del Rey, Coldplay, Kate Bush, and Sia, and you’ll begin to capture her unique sound. Natasha’s music is rich with substance and sophistication, featuring provocative, thoughtful lyrics that explore the depths of humanity. Her signature style—haunting, melodic, and atmospheric—showcases her sultry, smooth vocals, always leading with the heart.
Natasha Jane Julian Interview
How did living in California combined with your travel experiences, shape your sound and sonic identity?
I think that’s why I’ve been told you can’t quite put a finger on it. Which I don’t mind . It makes it a little mysterious lol. Growing up i California I had early influences from my mom like America singer songwriter Linda Ronstadt, James Taylor, Carol King, and the eagles, to Dan Fogelberg. And high school was all about the bands …Sublime, Red hot chill peppers, train, Radiohead. So I had a huge Cali influence but then living abroad I was introduced to Older rock bass like Uriah help as I was invited to play at a UH convention , so it was so different than anything I was exposed to. And I really started gravitating towards downtempo songs with art pop and trip hop elements . They felt like they were moving through me instead of just listening to them. It was also my alto ego coming out of this dark side I really loved to explore that was very different than my straight laced personality growing up . . It felt sexy, and emotive, and provocative, and me. So sometimes I feel like Cali singer songwriter mixed with phrasing from the chili peppers and Portishead like dark and haunting feels.
Your lyrics often explore the depths of human emotion: love, pain, growth. love, pain, growth. Can you describe a personal experience or period in your life that led to a breakthrough in how you write about vulnerability or introspection?
Yes I went through a lot of pain about a decade ago and questioned everything in my life. It was physical pain that was manifesting from years of self abandonment . It paralysed me in some aspects but I turned to music, to writing. It was my therapy and it started the process of discovering who i was and exploring the depths of my character and bringing the pain to the surface. Even though I didn’t understand what was happening by bringing my pain to the surface and into my music I started the process that led to many breakthroughs over the last decade. There’s beauty in vulnerability not weakness.
Your debut full-length album, “Beauty That Lies,” was three years in the making. What made you decide to wait and take your time? How has that time changed you personally and artistically since you released your EP, “ANGEL”?
Well I didn’t make that decision initially but the producer came down with a post covid infection and it led to inflammation and his hearing was affected. But he didn’t communicate this information with me for a long time which is understandable because he didn’t know what was happening to him so he stayed quite. So months and months went by and I didn’t know what was happening either. But once I found out I was like super compassionate and knew there wasn’t much I could do but hope he was ok. We decided in the end it would be best for me to find another producer that could carry on with the remaining 50% of the project because we were half way through and that process took time also because I wanted it to be cohesive. So a lot of unexpected hurdles and it was the biggest test of patience that I’ve had to date. Sometimes you have to let things be and trust they’ll be ok. That was a hard year a half being so close but so far away.
You covered a classic song, reinterpreting it as your version of “Summertime Sadness.” What do you like about covers? How do you balance respect for the original with making it uniquely yours?
Great question. When doing a cover I want to make sure the FEEL is still there . A lot of artists change songs too much I believe to where it does’t sound like the same song anymore. I like to keep it feeling like the same song but then do something crazy in one section like change the key in the bridge and do a slightly different melody on some lines. So it’s a like a detour, then back to the song you know. I still love performing that cover of Summertime Sadness and plan to keep it i my set for a long time. It’s fun
When you’re writing, do you begin with a lyrical idea, a melody, or a mood/ vibe first? What is your creative starting point most often?
It’s always different but I’d say most often I feel a mood first, then put chords on it, then lyrics.
You blend many influences spanning decades: ‘70s folk/pop (from childhood), modern art-pop, trip-hop, and cinematic atmospheres. If you could describe your music in three distinct “eras” (past, present, future), what would they be, and what emotions or stories define each era?
Past “The Dreamer”
This era feels like a faded film—soft, nostalgic, and a little haunting. It’s heavily influenced by the ‘70s folk/pop I grew up on, but emotionally it’s about innocence and escapism. There’s a sense of romanticizing everything—love, pain, identity— because I didn’t fully understand it yet. The stories live in longing… in wanting to be seen, to be chosen, to belong. It’s delicate, but there’s an underlying melancholy that hints something deeper was always there.
Present — “The Awakening”
This is where everything sharpens. The sound becomes more cinematic, moodier— pulling in trip-hop textures and art-pop influences, somewhere in the emotional world of Lana Del Rey but with my own lens. This era is about confronting myself— breaking illusions, unlearning patterns, and sitting with uncomfortable truths. It’s raw, introspective, and honest. There’s a duality here: softness and strength, beauty and darkness. It’s the moment where I stop running and start feeling.
Future — “The Rebirth”
This era feels like rising. It’s expansive, ethereal, and more Free —like stepping into a higher version of myself. The sound opens up, becomes more immersive . Emotionally, it’s grounded in self-trust, freedom, and alignment. The stories shift from healing wounds to embodying wisdom. It’s not about searching anymore—it’s about knowing. This era feels like the lotus finally above water… rooted in everything it’s been through, but no longer defined by it.
As someone who has lived and worked internationally, how do cultural differences affect how you write, produce, and present your music?
Living and performing internationally I’ve really got to be an observer. I observed different cultures body language and emotional processing and somethings I’ve picked up along the way and some things I’ve held onto from a child and never changed. It’s definitely added depth in my writing and introspection. And in terms of presentation, it’s made me more intentional. I think about connection on a human level rather than just a cultural one. Whether I’m performing or sharing visuals, I want it to feel honest and emotionally accessible, no matter where someone is from.
At the core, those experiences have taught me that while culture shapes how we express ourselves, the emotions underneath are the same—and that’s what I try to tap into.
Your voice has been described as “sultry yet clinical, wistful yet haunting.” How do you connect that vocal style to the emotional themes in your songwriting?
Honestly, that vocal style wasn’t something I consciously created ,it was just my natural delivery, just the way I deliver emotion i guess.And people began describing it in those contrasting ways. But when I really sat with it, I realized it totally is me.There’s a duality in how I express myself. I feel things deeply, but I don’t always present them in a loud or obvious way. There’s a restraint that makes the emotion linger a little longer. I sometimes picture it like a cheetah, there’s a grace, a subtle sway in the movement, something fluid and almost hypnotic… but underneath that, there’s mystery. You can’t fully predict it. You don’t quite know what it’s about to do next. And that’s how my songwriting works too, it invites you in gently, but there’s always something deeper, a little haunting, just beneath the surface.
Looking ahead, what do you hope listeners take away from “Beauty That Lies”? Is there an emotional journey you want your fans to embark on?
With “Beauty That Lies,” I really want listeners to understand that the darkness has a purpose. It’s not for nothing. it’s something you move through. A lot of the emotional journey in the project is about sitting with those heavier moments.the confusion, the pain, the illusions and allowing them to shape you rather than break you. Because on the other side of that, there’s clarity… there’s growth… there’s light.
Finally, outside of music, what are the key non-musical influences or passions that feed your art? (e.g. literature, film, travel, personal memories.) How do they show up in your songs and lyrics?
Outside of music, I’m really inspired by anything that helps me understand myself and the human experience more deeply. A lot of that comes from personal growth— things like journaling, meditation, and just spending time reflecting. I’m influenced by the great thought leaders of our time whose wisdom lingers like Myah Angelou and Oprah. I pull a lot from my own memories and emotional experiences, and those tend to become the foundation of my lyrics. I’m also really influenced by film and visual storytelling. I’m drawn to cinematic worlds—how a feeling can be built through atmosphere, pacing, and subtle detail. That definitely shows up in my music in the way I think about sound, space, and mood.
