Why Was Freya Ridings Treated Like A Naughty Schoolchild In Her Own Music Career?

In 2017, Freya Ridings exploded onto the music scene with her debut album. Hits like Lost Without You and Castles earned her a Brit Award nomination and dominated the UK Top 40 for 6 months.

For her second album Blood Orange, she was pushed into masculine-dominated studios with producers she didn’t choose. Her label downsized during the pandemic, key supporters left, and the entire situation turned toxic.

Blood Orange hit the Top 10 in early 2023 but vanished after just 1 week. Her label dropped her, she broke down on Instagram — but fans rallied, and she sold out a 32-date European tour.

Ridings wanted to work with US producer Jen Decilveo, but her manager blocked it and hid Decilveo’s mutual interest. Defying control, she paid for her own ticket to Los Angeles — feeling like a naughty schoolchild.

Energised by rebellion, Ridings spent a year in LA writing powerful anthems like Euphoria and Wild Horse, plus heartfelt ballads like RUOK. She road-tested tracks at small café shows, rebuilding herself piece by piece.

With new producers, a new label BMG, and a fresh team behind her, the third album Mother of Pearl arrives 29 May. The songs already conquered crowds on her Australian tour with OneRepublic.



