Rising from Hackney’s lively music scene in London, Lola Wild captivates as an indie pop force who weaves ’60s pop grit and ’80s moody production into modern tracks that blend rebellion with soulful depth, earning vocal nods to legends like Roy Orbison, David Bowie, and Connie Francis. A former showgirl dancer turned producer and songwriter, she’s sold out intimate gigs at SJQ, Crazy Coq’s, and The Waiting Room, commanded stages like the O2 Academy in Islington, and recorded her debut single ‘Rendezvous’ live at Paul Weller’s Black Barn Studios with his bandmates, all while snagging spins on Radio X, BBC Radio 6, and BBC Introducing London since her 2023 launch. Her latest drop, the brooding indie pop single ‘Girls in Hollywood’—co-produced with multi-instrumentalist Jim Wallis at Strong Room Studios and featuring a visualizer by directors Jack Satchell and Mars Washington alongside showgirl Roxy Van Plume—strips back Hollywood’s myths with retro textures akin to ABBA, Weyes Blood, Suki Waterhouse, and Σtella, setting the stage for our chat where she dives deeper into her journey and this raw release.
With the release still buzzing, dive into our conversation with Lola Wild as she opens up about her path, inspirations, and the stories behind this gripping track.
Stream ‘Girls In Hollywood’:
What’s a typical day like for you in Hackney when you’re not working on music?
The truth’s not nearly as glamorous as I’d like it to be. I could say I spend my days lounging in Victoria Park, reading Hemingway and sipping on some obscure coffee with a twist of existentialism but really, I’m quite the introvert. Most of the time I’m at home with my bond-cat Salvador, listening to records and getting lost in my own little world, which really isn’t difficult being neurospicey. I’ll occasionally style a wig or two, which is a hobby I picked up when making my own costumes and wigs as a burlesque dancer.. Its oddly therapeutic.
How did your background as a showgirl dancer first influence your approach to songwriting and production?
It actually shaped a lot more than I realised at the time. Being a showgirl is all about telling a story without words, through movement, expression, costume, the whole vibe. That definitely fed into how I approach music now. When I’m writing or producing, I’m always thinking about scenes and moods first.. like, what would this song look like on stage or on film? What’s the lighting doing? What are the characters wearing? It’s that sense of drama and atmosphere that I love bringing into my songs.
Who are some of the key artists from the ’60s and ’80s that shaped your sound, and why do they resonate with you?
From the ’60s Nancy Sinatra has been a huge influence, there’s this effortless coolness in her voice, like she could kiss you or kill you and either would be iconic. Serge Gainsbourg too..his work is dripping in atmosphere, cinematic and a little sleazy in the best way. Roy Orbison is another one his voice is pure drama, like heartbreak wrapped in velvet. And of course, The Beatles – masters of melody and storytelling.
For 80’s artists it’s the theatrical ones that got me – David Bowie, obviously. He turned every song into a scene, always shapeshifting. Billy Idol had that punk sneer but with hooks you could dance to, which I love. Eurythmics brought that icy synth drama, and Blondie for this quite rebellious yet raw approach to music.
Can you walk us through the moment you decided to record your debut single ‘Rendezvous’ at Paul Weller’s Black Barn Studios?
Oh, the live acoustic version was recorded there. The original recording was recorded at Strong Room Studios with producer Jim Wallis, and co-written with Paul Wellers keyboard player Tom Heel. I basically reached out to Tom months after the track got released and asked if he’d be up for doing a filmed stripped back version, not expecting he would ask Paul to use his studio haha. Very grateful to Tom and for that opportunity!
What drew you to collaborate with Jim Wallis on ‘Girls in Hollywood’, and how did that partnership evolve during production?
I’ve been working with Jim Wallis since my debut Rendezvous dropped in 2023 so it’s been evolving for a few years. There’s this raw, unfiltered honesty in the way he approaches music..it’s never overthought, never forced. He brings this atmospheric depth that somehow makes everything feel timeless, like the songs live in that sweet spot between nostalgia and now, balancing that dream pop and retro without ever tipping too far in either direction. I’ve collaborated with a lot of producers over the years, and as a woman in the industry, that’s come with its fair share of problems.. People with big egos trying to mold me into their version of an “artist,” shutting down my ideas before they’ve even landed. But Jim’s completely opposite. Every demo I sent, every wild idea I brought into the room he welcomed it with genuine excitement. There was never any ego, just curiosity and respect.
In ‘Girls in Hollywood’, you explore the dark side of fame— what personal experiences or observations inspired those lyrics?
Probably from watching how the industry treats women, particularly in Hollywood from the Golden Era even to this day. There’s this weird mix of obsession and then just tossing ‘em to the side when they are done. It’s like that in the music industry too. I guess that’s where my own personal experiences come to play. Being underestimated, told how I should look or sound to “fit in.” or what reductive things I should do or say to get attention. It’s not consistent either .. One minute you’re being praised, the next you’re being picked apart.
The track paints a picture of exploitation and lost dreams in Tinseltown; how do you balance the retro pop charm with such gritty themes?
I’ve always been into music that sounds dreamy and nostalgic but has something a bit heavier going on underneath. With Girls in Hollywood, the dream pop vibe almost acts like a disguise – it pulls you in with this dreamy, golden-era feeling, but the lyrics are peeling that illusion apart. It’s a bit like the Hollywood dream itself.. All shiny on the outside but once you scratch the surface, it can get pretty dark. So mixing those two just felt like the right way to tell that story.
Looking back at your sold-out shows at venues like SJQ and the Crazy Coqs, how has performing live changed your perspective on your career?
I’ve been performing for about 15 years now live, and it’s always been the thing I look forward to the most when I finish a project. I always picture what it would be like to perform it live. I think the shows I’ve done over the last couple of years have helped me see my career less as a linear path and more like an evolving performance space, where the music, style, and storytelling all comes together in real time. That energy, that immersive exchange with the audience, it’s pretty incredible
If you could warn your younger self about the music industry, drawing from the realities in ‘Girls in Hollywood’, what would you say?
Don’t mistake attention for respect. Just because people are clapping doesn’t mean they see you clearly or have your best interests at heart. Protect your voice, trust your instincts, and don’t be afraid to walk away from anything that asks you to shrink yourself. The right people will never ask you to be less
What’s one fun, unexpected thing that’s happened since releasing ‘Girls in Hollywood’ that made you smile?
Well, since the track was released last week, I would probably say having Imelda May message me on Instagram supporting the track.. That was pretty cool and unexpected!
Watch the visualizer here:
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