“CTRL” AND CONFIDENCE: A CONVERSATION WITH MERRY-LYNN ON SPIRITUAL STRENGTH, VERSATILITY, AND OWNING HER VOICE
Merry-Lynn has always carried soul in her sound, but her new single, CTRL, reveals another dimension of her artistry. With its Afro-pop flavor and deep emotional resonance, CTRL is a bold statement on self-worth, spiritual protection, and refusing to be boxed in. We caught up with the neo-soul singer to talk about the song, her journey, and how she’s embracing change without losing herself.
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Let’s start with CTRL. How are you feeling now that it’s out in the world?
Honestly, I’m very proud of myself. I used to box myself in, like I had to stick to one type of music just so people wouldn’t think I was unsure of who I am. But now I’ve gotten to this point where I’m like, “Who cares?” I know the kind of music I love making, and I’m not afraid to experiment. CTRL was one of those moments where I showed that versatility, and I’m really proud of how it turned out.
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What inspired the song?
It came from a tough period in my life. A lot of people I trusted were turning on me. You know when you expect your friends to defend you in rooms you’re not in and they don’t? It felt like a smear campaign. But in that moment, I chose not to shrink. I leaned into the fact that I’m locked in with God. No matter what people try to say or do, they can’t move me. They can’t change the course of my life.
The song is about standing firm in who you are. I don’t want shallow connections around me. If you can’t be real when I’m not there, I don’t need you close.
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That message of self-protection really comes through. Was that also reflected in the second verse?
Definitely. The second verse talks about the darker side of the music industry how some people expect certain things from you, like sexual favours and when they don’t get it, they try to sabotage you. That almost made me quit music last year. But my manager had to sit me down and talk to me. It reminded me why I was doing this, making music. I’m not going anywhere, I’m here to stay.
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You’ve described CTRL as your first Afro-pop track. What made you step into that sound?
It was actually spontaneous! I was in Lagos at the same time as Veen, who produced the track. He played me a beat that had been passed over by another artist. I vibed with it immediately. I even went live on Instagram, freestyled to it, and the chorus just stuck. That’s not my usual process, I’m usually more structured, but this was a moment of letting go, and it felt right.
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Can we expect more Afro-pop from you?
Maybe an EP? or something [laughs] We’ll see how people receive this one. I genuinely enjoyed the process, so I’d love to explore that space more.
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Your lyrics always feel deeply personal and spiritual. How does your journey influence your music?
My life is my music. It’s how I vent when I don’t have a partner to talk to, it’s just me and the mic. I always try to be honest and pass on the lessons I’ve learned.
Spiritually, I’ve been shaped by my family. My great-grandfather was a traditionalist, and even though I’ve taken my own path, I’m not religious, but I believe in God, in kindness, in love. I’m very spiritually aware. I think religion is something people in power often use to control the masses, so I focus more on connection. I believe in treating people the way you’d want to be treated. That’s the essence of my spirituality.
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You incorporate Pidgin, Igbo, and Edo in your songs. How does your heritage shape your sound?
I’m becoming more intentional about expressing my culture. I’m more fluent in Igbo than Esan, which I’m still learning with help from my dad. Growing up, everything was in English, we didn’t really speak our native languages and it wasn’t really spoken to us. But when I moved to the East in my teens, I had to learn Igbo because people around me, especially my neighbours wouldn’t speak to me in English, just Igbo. So I took classes to learn Igbo.
Culturally, I was raised mostly around my mother’s side of the family, they’re a very outspoken, no-nonsense people. That definitely shaped how emotionally expressive I am. And with language, I do my best to include it even though Igbo is a tonal language. Sometimes the melody can change the tone of the words, amd that changes the meaning. It’s a process.
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There’s a beautiful Igbo prayer at the beginning of CTRL. Was that your mom?
Yes, that’s my mom praying in Igbo.
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And the line “Me sabo khokho ‘le”—is that Esan?
It is! It means I can’t thank Him enough. I actually wanted to say “I can’t thank Her enough” because I see God as a woman, since I’m a woman and made in God’s image but that didn’t quite translate properly, so we went with the masculine version.
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Let’s talk process. What does songwriting look like for you?
It usually starts with a melody in my head usually after I wake up. Then I try to figure out what instrument could recreate that sound. That’s why I love working with Brum3h; he just gets me. I’ll hum something, and it’s like he can pull it right out of my brain. I always say he’s very malleable, like he can adjust himself to whatever you need at the moment.
I’m not yet great with music theory, but I’m learning. I work with different keys, build a melody, and then the lyrics come. Sometimes I write lyrics in journals first. There was a breakup song I wrote in my journal about my ex, but I haven’t released it yet. It was too shady. [laughs]
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What’s coming after CTRL? Any projects fans should look out for?
I’ve been experimenting a lot lately. The next song will likely be different again, it has Amapiano and House elements. I’ve shared a few snippets on TikTok already.
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Where can the people find you?
You can find me on Instagram, Tiktok and Twitter @merrylynnmusic, and on all streaming platforms as well.
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Any last words for your fans?
Don’t shrink yourself. Don’t explain yourself to people who’ve already decided to misunderstand you. Keep standing out. Your people will find you and when they do, you’ll be glad you stayed true to yourself. Just keep shining. Don’t let anyone control you.
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Thank you so much, Merry-Lynn. It’s been a pleasure.
Thank you! Have a great evening.
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