Avia Shoshani, artistically known as AŸA, grew up on the border between deserts in a tiny town called Arad, not too far away from the Dead Sea. “A good place to miss”, she says, “Growing up there was simple, easy. One hairdresser, one pizza place”. Very different from the eclectic and vibrant Berlin, where she has lived now for eight years. Sitting down in her cozy living room, we take a look at her life and career, following the silver lining that took her to that stage in Kesselhaus almost two years ago.
Musical Beginnings
Giulia Leonarduzzi: How did you first get into music?
AŸA: Music was always around. I’m half Yemeni and half Moroccan, both are very rhythmical cultures where music is part of celebration, daily expression, and even resistance. Maybe it came more from my father’s side: he is a taxi driver and a very good singer. We used to drive around, picking up people and listening to music, Arabic traditional arrangements like Fairuz and Israeli folk music like Arik Einstein. My mother listened to the big divas like Emma Chaplin. The idea was for my sisters to become singers and they were in the small-town choir. I had to go with them because there was no one at home during the day. The teacher, Patricia, saw some potential in me and taught me how to breathe and sing. At some point, she started taking me to competitions. I won first place when I was 10 singing Whitney Houston’s “I Will Always Love You”.
Wow. At 10 years old?
Yes, that was the first time. Then I started singing in different kinds of choirs, I just followed the rhythm. But one day it all stopped when my mom packed everything in a rush and we started a whole new life in the center of Tel Aviv. There, my relationship to music developed.
How did you then end up in Berlin?
I had signed a contract with a major label in Israel-Palestine for five albums, but I was only 20 years old and slowly started feeling like it was not the place for me. I felt like no matter what I did, I sacrificed something. When Netanyahu was elected again, I had to leave the country. It was the right decision and I am happy I trusted my gut. The reason I ended up in Berlin was because I had a gig here and met some people. It was the first time singing my songs in Hebrew to people who did not understand the language. They connected with the music so much that I realized it was not about the language, but something more… and I eventually decided to move here.
Going Independent
You write your own songs, but you also write for other artists. How is it different to write for yourself compared to writing for others?
It depends, sometimes I write something and I feel like it’s not mine, so then I’ll go looking for the person the song belongs to. Other times, I know from the beginning that I will be writing for another artist. The less I think about what I’m doing, the more I enjoy it. I’m learning a lot while working with other songwriters. Songwriting really is a profession. You need to learn it.
Were you thinking of songwriting as a career?
Photo by Alina Gross
No, I actually wanted to become a vet or a brain surgeon. I remember my mom was always telling me, “You’re young, you can try to do music and if you feel like at some point it’s not working, you can always study medicine”. The complete opposite of most parents’ reactions. She is amazing, she always had this you-can-do-everything energy about her. According to her, everything you do, you’re blessed.
You have built a lot as an independent artist after leaving your major label deal. It takes a lot of consistency and hard work to stay afloat in this industry independently – how was it for you? Has it become easier now?
Still not. It’s a decision you have to make every day again. Doing things independently means you only have yourself. If I decide not to make music, if I don’t send that email and the follow-up, do not pay on time, or do not stick to my word, no system behind me is going to make it happen for me. It’s challenging, but I am happy to be free.
There is a constant debate on the power and influence of major labels and the exploitation of artists and their music, as well as the common idea that it is impossible to make it without the support of a big label. What is your take on this, as someone who has experienced both sides of the coin?
The music industry is just as in every other industry built on exploiting people – the clothing industry, the food industry. It’s in everything, it’s not personal. It’s just… how the world works. You have to decide whether you want to be a part of such a system or not.
I never felt comfortable or welcomed in the system being myself and always needed to adjust to fit in. So, I rather create my own industry and do whatever I want.
Moments of Deep Connection
Let’s talk about your creative team for the “Live in Berlin” project: you worked with 34 musicians from 14 different nationalities. How did the diversity influence the show? How would it have been different without it?
It would have been boring! I need different energies, I need different colors, that’s my aesthetics, my brand. I really feel that the people I work with believe in better days. And they’re willing to work their ass off for it. The more professional the artist is, the more creativity they bring to the table, and the more you can just trust and let go.
Do you have any other big plans for the future, after the release of the album?
Well, the album drops on February 25th. It’s made with love and great energy and I wanna make sure the art I put out is being seen and heard. So, the focus is to lay the groundwork for the next project I release to reach even more people. And… hey baby! I’m 32. I’m still thinking about what I want to do in 2025 besides grieving and crying about the world situation. Over the past year, I have been feeling like I’m working on air. Doing a big project like this independently requires a lot of resources and I don’t have the same capacity I had a year ago.
Everything changed since October 7, I have to think twice before committing to something new or dreaming big. Right now it is more important to secure myself, my community, my staying in Germany or not staying in Germany, all these kinds of things.
Do you ever use songwriting as therapy?
100%, but after doing therapy for more than 300 hours I learned that songwriting is not a replacement. I have found out things about myself in therapy that I had never really seen. Not long ago I had a breakdown, realizing I was definitely not like what I thought I was. Like, whoa? It completely broke off my identity. But it comes down to understanding that we are all just human and this is what it is. We are not that great. We all have different sides. I used to let it out in my songs, but I don’t want to write angry songs anymore.
I’m more interested in creating peace than creating war and division. When I imagine people listening to my music, I imagine them touching and hugging each other. This is it for me, creating moments of deep connections.
AŸA (Live in Berlin) is out now via Yalla She Said. Stay up to date with AŸA via her Instagram and website.