The artist Meresha, born in the land and time of “The Witcher” 1990’s book series, magically creates alien landscapes in music by warping old and new.  “Allmusic” describes her tunes as bringing “old style into contemporary production” and “forward thinking.”  The Aquarian was born after the birth of dance, and grew up under the rising cusp of the electronic dance music as a legitimate genre.  Once it was a sound heard only by underground rave goers, EDM can thank the likes of Donna Summers for its recording origins in the 1980’s and the rise of DJ club entertainers. Popular in Europe, spurned in the US, it is due to artists like Meresha and those that have come before her that allows EDM’s continuous survival some 20 years later.  Meresha has successfully transformed a mix of rock, jazz, reggae, swing, pop, and EDM into her Alien Pop.  As a young student, she arrived on the shores of Florida at a young age in 2011, a rising performer.  A self-proclaimed “alien luver,” Meresha is determined, rising star, following her childhood dream.  a multi-instrument musician and producing her own works.  All this talent combined is a rare find in an ocean filled with similar artists who are also trying to find their place in the entertainment industry.

Meresha Cute

Meresha is floating above the other artists using her natural ability in combination with her beloved “Moog”.  She has a degree in music production and uses it to best effect.  She has created her own genre, alien-pop, to stand out from the crowd. Gary Wright’s “Dreamweaver” and Billy Thorpe’s “Children of the Sun” of the 1970’s are two examples where musicians have attempted to reproduce a spacey sound composition.  Meresha successfully achieves a spacey composition with her special effects.  Today’s artists have access to technology that was barely developed then, computers were not household standards, and recording studios of the past are museums.

Using a Kickstarter as a first step to remaining an independent artist, remaining visible and socially active through TikTok, Facebook, Twitter and more, COVID-19 will not be a hindrance in cultivating a following for Meresha.  Her posts and images express her love of art.

Florida’s attractions are too numerous to mention.  The nearest and dearest locations include Burt Reynolds Theater, NASA’s Space X launch site, Disney World and Disney Studio productions, not to mention the 365 days of beautiful sunshine in the land of spring break and SunFest.   New on the scene is the Okeechobee Music and Arts Festival that featured a multitude of Pop/EDM entertainers and where every kind of artistic craft and expression on earth can be found.



Interview with Meresha

When you were 15 or so, you and your family traveled to the US and settled in Florida to start your musical career. Why did you choose Florida and not say New York or LA?


I actually wrote my first song “Fool Don’t Be” while on on holiday in Florida one summer when I was 12.  I took my handwritten scribble of lyrics and recorded an a cappella version in a CD booth in a mall.

It later became my first music video.  You can see it here

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We had family in Florida and it seemed like a great place to be. I recorded a bunch of music in Florida in different studios, worked with David Rousseau (Pitbull, etc.) who is a great videographer, and played my first festivals including SunFest where I opened for Marshmello.

I’ve played concerts in New York (Gov Ball) and recorded videos in LA (Enter the Dreamland), but never decided to move to either.


Covid-19 has changed the way everyone lives and works these days. Many artists are doing live music streams on Facebook and other platforms to help keep their fans engaged. How has the Covid-19 pandemic changed the way you are living and working your musical life and what are you doing to keep fans engaged? 


I have done 2 live concerts online with Live Nation and BYG Music.  May do some more.  Besides the live shows, I also did watch parties afterwards, where I would watch  the shows with fans while hanging out in the chat with them.

Was hoping to do more in-person live shows this year, but the situation has given me an opportunity to finish some songs I had been working on for a while.  Will be sharing one of those soon.

You can hear a snippet in the middle of this video if you would like:

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I’ve also been engaging directly with fans on social media a lot, which has helped us keep connected.  Fans helped me make a video for my song “Hold” by sending tweets about the song which I linked up with my audio.

For the launch my upcoming song, I have a bunch of new ideas on how to grow that collaboration with fans even further.  Stay tuned.


You have said that some say your music can be defined as “Alien Pop”. We read that you would like to have an Alien Pop Festival someday. Do you have any plans to actually try to do that? Are there many other music creators embracing this sub-genre?


Alien Pop is sort of like pop, but it also seems like it is from out of this world.  There are some artists creating music that would fit an Alien Pop Fesitval, even if they don’t (yet) call their music that.  I’ve included some on my Alien Pop Party playlist on Spotify.

You can listen here if you would like:



Found in another interview you mentioned you have training from a couple vocal coaches and one being Ron Anderson (Alicia Keys, Axl Rose (Guns nRoses), Pink, Adam Levine (Maroon 5), Brandon Boyd (Incubus), Paula Abdul, Janet Jackson, Kelly Clarkson, Bjork, Hanson, Selena Gomez). Are you still being coached remotely from home? Do you plan to have more coaching in the future? What do you feel are the most important things you have learned from their teachings?


Ron is a trained opera singer.   He is the go to guy for the big stars who have hurt their voices and need to nurse them back into shape.  He’s like a trainer for athletes who makes sure they have the right techniques.  He even managed to teach Tom Cruise how to sing for the Rock of Ages movie.

I don’t work with Ron directly right now, but I still use his warm-up exercise approach every day before I practice singing.

One of my lessons with Ron at his home was right after he had worked with Alicia Keys for a week to help her prepare to sing the National Anthem at the Super Bowl.

If Alicia Keys uses a singing coach, you sort of know everyone should.  Just like an Olympic athlete uses a coach to get better, singers need outside help too to work on things they might not hear or see.

I’ve worked with coaches to help on other aspects of music besides singing too, from stage performance to music production, and expect to continue to seek out people to learn from.



As a pop artist you are unique in several ways and one of the things that stand out is your visual art style! You travel to places for video and photo opportunities wearing colorful clothing. You seem to look for symbiotic environments to do the video and photos shoots. Where are some of your favorite spots for your photo opps?


My looks reflects the type of clothes I normally wear.  I guess one luxury of being a musician is that you don’t have to dress to fit in.  It’s even better when you don’t.

Meresha at DelrayOne of my favorite photo sessions was near you guys.  I spent a few hours in Morikami, the Japanese gardens in Delray while my hair was still purple. The grounds there are beautiful and extensive with rock gardens, amazing plants everywhere and some authentic Japanese buildings and decorations.  I’ve since been studying Japanese and even sang a song in Japanese in concert.


Your bio mentions that you contribute to the music of others as a producer, songwriter, instrumentalist, and vocalist. Who are some of the artists you have worked with to date? How are the collaborations done? How does it differ from working on your own material?


So far, my contributions to the music of others has been done confidentially.   People send me their music as is and ask they help in specific ways.  During Covid, this is mainly remotely, but it works fine, though it does usually take a few iterations of sending files back and forth until everyone is happy with the result.

Some of this music starts at a different place than my own sound, though I would guess that the contributions I make would be recognizable to core fans.

I do collaborate sometimes on my own material, and that is a bit different.  Since I put it out under my name, I typically set the tone on the sound.


Did the music your parents listened to influence you or were you more influenced by your own listening choices? What music did your parents listen to the most?


My parents had pretty extensive CD, cassette and even vinyl collections.   When they decided to get rid of them after everything went digital, I quickly went through and grabbed some of the gems.  I’ve got some Led Zeppelin vinyl, a Jim Hendrix CD collection, Parliament Funkadelic CDs that I had on all the time in my car, and a bunch of other recordings.

My dad took me to see my favorite acts when I was young like Paramore and The Black Eyed Peas, so I got first hand exposure to some of my idols and saw what they did live.  It made me want to do the same.


You do everything on the creation of your songs it seems. Do you also record your own vocals and master your own tracks for the final product? If you do have some of the final work done at a studio, how difficult is it to find the right fit? Do you have to visit many studios to decide? 


Usually I prepare the first demo for my songs by myself in my home studio.  In the past, I rerecorded some of the vocals in “official” studios, but now I have a full set up myself.  Sometimes I work with people on taking my demos to another level.  For example, on parts of “Enter the Dreamland”, I worked with Joe Chiccarelli, who won various Grammys.  I found Joe by thinking about which music I love the best.  He was the Producer on one of those albums, so I reached out to him and was thrilled that he had the time to help.

Typically I ask someone else to master my songs.  Most people still think its best that a fresh set of expert ears.  For example, “Enter the Dreamland” was mastered by Emily Lazar who since became the first women to win a Grammy as mastering engineer.




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