"Thrilling and terrifying all at once." That's how you could describe Chloe Qisha's rise to fame. So it's only natural that her latest single, "Sex, Drugs, & Existential Dread" is a raw extension of herself. Despite the whirlwind-paced industry, the Malaysian-born pop artist has declared to be "the biggest homebody", happiest lounging on the couch with her cats. Sure there's a little anxiety in the mix, but what's the excitement without a touch of existential dread?
Her latest single, "Sex, Drugs, & Existential Dread", might sound heavy but the upbeat melodies and subtle hints of funk-disco (a Chloe Qisha signature) say otherwise. Fresh off the success of a sensational debut EP in 2024, and recent sold-out shows in Manchester and London, Chloe's turning her late-night overthinking into a dream for all. It may just be the beginning for Chloe but it's already clear she's a force in the making.
We dig deep into Chloe's creative process and the inspiration behind her latest single "Sex, Drugs, & Existential Dread". From her playful yet introspective approach to songwriting, to what it's really like navigating the highs and lows of the music industry.
ESQUIRE SINGAPORE: You’ve described "Sex, Drugs, & Existential Dread" as what would be life without a bit of existential dread. Was there a particular moment or experience that sparked the idea for this track?
CHLOE QISHA: Yes! Me, Rob Milton (my producer) and Mary Weitz were listening to "Sex & Drugs & Rock & Roll" by Ian Dury and one of us said “what would be the modern version of that title today?” And we joked around saying things like "Sex, Drugs and Pilates", "Sex, Drugs and Green Juice" and then someone or other said "Existential Dread". That had one hell of a ring to it, so we decided to roll with it.
ESQ: What headspace were you in when you composed "Sex, Drugs, & Existential Dread"?
CQ: I was definitely in a silly, jokey mood. Just over the moon to be working with two of my favourite people to write songs with.
ESQ: What was your process in writing this single or in general?
CQ: We usually start listening to reference songs in the studio (it can be anything we’ve been inspired by, or something we’ve been listening to a lot recently), and then Rob will usually start playing something and we’ll start top lining from there.
ESQ: Your debut EP was well-received; how was making "Sex, Drugs, & Existential Dread" compared to your previous work?
CQ: Writing "Sex, Drugs, & Existential Dread" felt no different to writing the songs that we released in the last EP. They were all written within a similar time frame last year, so really it was just about picking which batch of tracks were going to be released first.
ESQ: With "Sex, Drugs, & Existential Dread", do you feel like you’re stepping into a new era of your artistry, or does this feel more of a natural evolution from your debut EP?
CQ: Definitely the latter, most of the songs you’ve heard were written within the same time frame, so it definitely felt like the songs we released this year are a nice progression from the EP last year.
ESQ: With your previous single, what does being a "21st Century Cool Girl" mean to you?
CQ: A "21st Century Cool Girl" is definitely a way of being! A quiet confidence, and a journey of learning to love and appreciate all versions of themselves.
ESQ: Do you think you embody the "cool girl" archetype?
CQ: Yes! At least I try! She’s definitely more evident when I’m doing things like performing live.
ESQ: Who are the women in music—past or present—that define "cool" for you?
CQ: Right now? Charli, Chappell, Sabrina, Tate... all the girlies!
ESQ: What are you listening to at the moment?
CQ: Djo, ABBA, Tate McRae and me.
ESQ: Is there a line in the song that listeners might not immediately catch but carries a deeper meaning for you?
CQ: "Till all the silly boys in filthy cars they left their scars, that cut me deep" is about all the super average boys I was hopelessly in love with in High School whom I'd placed on a pedestal. I blame it on the hormones.
ESQ: Listening to "21st Century Cool Girl" for the first time, it felt like a love letter to your younger self. What's something your teenage self would think about the artist you’ve become today?
CQ: I would like to think she’d be in awe of what we’ve achieved in such a short space of time. I also hope she’d feel empowered that we took the time to grow and feel settled and confident in ourselves before releasing music into the world.
ESQ: What’s a song of yours that means something different to you now than when you first wrote it?
CQ: "Scary Movie" was the first song I wrote with my collaborator Rob. We initially wrote it about my apprehension about doing music full-time, and my anxiety about putting songs out in the world. Now I look at the song and it fills me with such joy, mainly because it marks the inception of our friendship and this incredible journey so far—it's the song that started it all.
ESQ: As an up-and-coming artist in the industry, do you feel pressured to be perceived in a certain way?
CQ: In some ways yes, and in some ways no. I count myself really lucky that I took the time to develop behind the scenes for a long time before I started releasing music, so I think I know myself really well—my frontal lobe is fully developed (all those good things)—so everything I put out into the world is very authentic to me. I rarely second-guess myself these days. So as long as I keep creating things and doing things that resonate with the person I am right now I don’t think you can go wrong with how that influences other's perceptions of you.
ESQ: You mentioned that you treated each day like you were in some 90s rom-com; what's your favourite rom-com?
CQ: Gosh, there are so many. My go-tos are You’ve Got Mail with Tom Hanks and Meg Ryan. I also love Under The Tuscan Sun with Diane Lane.
ESQ: What’s something about being a musician that no one has prepared you for?
CQ: The feeling when you leave a stage after a great show. It’s an immeasurable happiness that leaves you wanting more.
"Sex, Drugs, & Existential Dread" is available to stream
