It’s 10am in Los Angeles and Victoria Monét is in full glam. At least, she says she is. All I can see is an ominous black screen and two words in bold: THE JAGUAR. Contradicting her fearsome alter ego, Monét’s voice is a purr not a growl – the alias a reference to her debut studio album, Jaguar II.
When we speak, the 35-year-old’s name is trending on social media. Less than 24-hours prior, a little known singer by the name of Beyoncé credited Monét as one of her favourite artists right now.
“I woke up to texts from people sending me that screenshot because they know that she’s my absolute favourite. It was really just an honour to have her mention me and to have her listening to my music,” she recalls excitedly. “It actually makes me want to be better knowing that she’s listening. I just want to continue to make her proud.”
In 2018, Monét posted on X (Twitter at the time) that she had written a song for Beyoncé. And though that particular track is yet to emerge, the roster of artists she has written for is undeniably impressive. A longtime friend and collaborator of Ariana Grande, Monét was the magician behind hit singles Thank U, Next, 7 Rings, and 34+35, but has also crafted hits for the likes of Dirty Money, Chloe x Halle, Nas, Travis Scott, Blackpink, Fifth Harmony and Brandy.
Last night was my first attempt to write for Beyoncé ever! I’ve always been too nervous and hesitant because of how much I love and idolize her and it simply seemed too big for my lil heart...I guess I’m in savage mode now✨
— Victoria Monét (@VictoriaMonet) October 25, 2018
Surprisingly, falling in second place on her list of dream collabs, is the original smooth operator, Sade. Who happens to have new music on the way – could it finally be on the cards? “I haven’t spoken to anyone about it to be honest,” she admits. “But I was excited to hear that she’s putting out a new song in honour of her transgender son. It’s for such a good cause, I know it’s gonna mean a lot to her which means it will mean a lot to us.”
Born in Atlanta, Georgia, but raised in Sacramento, California, Monét began writing poetry in her teenage years. At 17, that poetry found a microphone and a beat. She began recording her own demos and uploading them to Myspace, which, after catching the right attention, landed her a spot in promising new girl group, Purple Reign.
She headed to LA, signed a record deal, was shown her dreams, but in a flash had them ripped away again. The band was dropped from the label before even having the chance to release music.
“There were times where I felt defeated and I would throw little fits. I’d say, ‘Man, I don’t wanna do this anymore’, but even when I said it it was a lie,” she admits. “You’re allowed to have those moments when things get hard as long as you pick back up. It’s about how you get up.”
Her method for getting back up was slow and steady. 15 years later, in February this year, she likened herself to a plant spreading its roots underground, out of sight, in order to flourish later. Notably, she drew this comparison whilst collecting her Grammy for Best New Artist. “Accolades are obviously a result of hard work, but whether I received it or not I would still be doing this,” she says, determined as ever.
It makes me want to be better knowing that [Beyoncé’s] listening
While her mental endurance is notable, her physical stamina clearly matches it. Inspired by the powerhouse performers of the Eighties and Nineties, Monét knows how to put on a show.
Her gigs are explosive – 90 minutes of pure cardio, tight choreography, and crisp vocals. It’s no wonder then, that Janet Jackson decided to pop into her London show at the Roundhouse last year. “I was near death, probably. I wasn’t supposed to know that she was there before I went on stage, but my security kind of spilled the beans. He was showing me around where the VIP people would sit and he said ‘And Janet will sit right there.’ I said, ‘Janet who!?’ She waited and saw me after the show as well, it was amazing.”
Similarly to Jackson, Monét embraces her sensuality in her lyricism. She sings unapologetically about sex, redistributing power and putting women in control of their own sexual narratives. “It’s probably coming out now because I’m a bit of a late bloomer. I was super rigid growing up, anything sensual I was a goody-two-shoes. Maybe at one point it won’t be the subject at the top of my mind, but right now, I feel liberated to talk about however I feel sensually,” she says.
“A lot of the time, when we’re talking about male versus female, there is a certain power dynamic. There’s a cliché that the male gets all of the power – he gets to initiate it and we have to be vulnerable. So I like to flip the concept on its head, especially being that I have sensual relationships with both men and women. You get to explore more when you’re with women and as far as power dynamics go, feminine versus masculine energy, it feels more fluid, So bringing that to music has been really fun.”
Monét came out as bisexual in 2018 and has since written songs about her relationships with women, including ex-girlfriend, fellow popstar Kehlani. This year in particular, we’re witnessing more queer women being vocal about their sexuality than ever before. From Billie Eilish to Renée Rapp, Chappell Roan and Doechii. How does this feel to be part of this celebratory moment in music’s history? ‘It feels amazing,” she says. Though, she also wishes it didn’t have to be a focus point.
“I wish it were more normal. I’m excited to get to a place where it is what it is and doesn’t necessarily have to be a headline or a subject. We can just exist and be accepted as what we are. So the question alone kind of shines a light on the perspective that it’s still not completely normalised. In the next few years, I’m hoping it can just be what it is. And I hope that’s the case for a lot of other people too – to be able to be themselves without that being a highlight of their personality or a clickbait type of thing. But for now I think I’m in a class that is coming into their own and closer to that being the case. Until that day, I’m definitely willing to put my business out there and make it known, so people feel like there is representation for them.”
Not only is she a beacon for the LGBTQ+ community, she’s also a role model to her three-year-old daughter, Hazel. Holding the record for being the youngest Grammy nominee of all time after featuring on her mother’s song, Hollywood, Hazel seemingly also has her sights set on a career in performing. “She’s making her own songs, she’s choreographing things now,” says Monét, proudly. But she’s also keen to make sure her daughter puts in the work required.
“I want to make sure she doesn’t feel like she’s getting certain opportunities because of me. Like a nepo-baby. So making sure she feels her independence as well. It feels good when you earn it. It feels good when you’re able to say you worked for it, versus it was handed to you. For anyone to be able to say that to her would be a difficult thing to process.”
As well as raising her daughter, Monét is busy as ever in the studio. She may have a Grammy under her belt for her debut album, Jaguar II, but, she says, it’s time to close that chapter.
“It kind of feels like graduation. You’re excited to see what’s beyond where you’re at, but also reminiscing on all the memories that happened. I’m very excited, but there is a sadness to let go of what I’ve built. But that comes with a new album cycle.”
I wonder, does this new chapter mean a new alias and therefore a new title for camera-off conversations? “No. I will always be The Jaguar.”
