METTE Enters a New Chapter on ‘METTENARRATIVE’

METTE. M-E-T-T-E. Pronounced like Meta, she wastes no time telling us before jumping into the first track on her newly released EP METTENARRATIVE. A theme continued throughout, getting straight to the point is a reflection of her confidence in the seven track debut project, and her directness serves her well, packing a hard gut punch of pop in its short run time. 

Besides being a dancer and actress, METTE has been building up to this moment for years now, writing and honing her craft until it was just right. But for Mette, music is where she currently feels most at home, where she finds comfort and control as an artist. 

Integrating pop, R&B and dance music into her production has accumulated into the METTENARRATIVE EP, a body of work that METTE has had in the works for some time now. She intersects her influences both seamlessly and directly (‘You got your edges laid down like queen Janet Jackson’ on the single Van Gogh) but still finds room for experimentation such as on tracks like ACID RAIN and PSYCHO. It seems unnecessary for METTE to choose a genre and stick with it given that her career has taken her in multiple directions already. It feels only right that her music highlights that journey, becoming a representation of all she is influenced by.


Her past creative endeavours have led her to many places before guiding her to release music. You may recognise Mette through dance, having appeared in Nerd’s Lemon music video, letting Rihanna shave her head onscreen and being a member of Pharrell’s dance group The Baes. 

METTE’s emergence has been pointed in an upright position for a long time coming, having most recently made appearances in the new Barbie movie this year and the widely successful Hustlers in 2019. METTE has lived many lives in a short amount of time and it’s hard to believe that she has spent more time on other endeavours than solely music and writing. This new era is from her own point of view, with both tender and confident statements being made at once. 

MAMA’S EYES feels like a fresh take on a traditional power ballad, lyrically representing the story of her own mother and their closeness but visually taking viewers on a journey of creation as a whole. METTE dreams big and lands on her feet each time. 

Dance sits at the centre of the project whilst some tracks are injected with elements of hyperpop which creates balance against the bass of tracks such as FOR THE PEOPLE.  It modernises the more traditional tracks, creating a tapestry of dance music that showcases her skills and what directs her musical vision. 

If you’ve seen the VAN GOGH music video (and you should if you want to understand METTE’s artistry more) you’ll catch the glimpses of all the sides to her as both an artist and as a person. What may seem like characters is an extension of her many selves. METTE has gotten good at balancing these multiple sides of herself; the acting, the dancing and the music. Even the androgyny and the feminine work in tandem in both her lyrics and music videos. 

She has the charisma of an artist who has been doing this for years and it’s hard to believe that this is her first complete body of work. Its succinct delivery packs a lot of punch in its 17 minute run time, and it makes me even more ready for a full length album.  And by the sounds of it, METTE is ready too. Taking her time has worked in her favour. Having her first headline performances in London and New York sold out, those who are listening are eagerly awaiting her next move. 

A sonically and visually intoxicating EP as fully developed as a full length album, it is a debut worth the countless repeats I’ve already put it through. A celebration of who she is as an artist and everything it took to get here. METTE knows how to make pop music that intersects her influences seamlessly and without having to grapple or struggle with the many aspects that form her identity. 

METTENARRATIVE is out now, which includes her latest single FOR THE PEOPLE.

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Words and Listening Party Photography: Janita Purcell
Editorial Photography: Pascale Arnaud