Scott’s sonic shift: from aladdin to ‘f.i.g.’ – a musician’s unfolding journey
Naomi Scott, the face of Disney’s Aladdin, is proving to be far more than a Hollywood star. A lifelong musician, she’s finally unleashing her own debut album, F.I.G., a vibrant exploration of identity and the relentless pursuit of artistic expression.
The unlikely soundtrack of a rising star
Growing up in East London, Scott’s afternoons were spent singing in church, while her evenings were dedicated to diving into the catalogues of Janet Jackson and Kate Bush. A chance encounter with Kéllé Bryan, formerly of Eternal, at 14 ignited a songwriting fire, leading her to collaborate with Xenomania – a move that briefly sidelined her acting ambitions. But the allure of the screen proved too strong, landing her roles in Aladdin and Smile 2.
Yet, a ‘quarter-life identity crisis’ prompted a return to her roots, leading her to retreat to London and immerse herself in music once more. “I really felt like a girl in process – I feel like one still,” she explains, “which ended up becoming my motto for the project; philosophically, practically, all of it.”
A genre-bending debut
F.I.G. is a testament to this journey. The album, released in March, seamlessly blends R&B, alternative pop, soul, funk, and a healthy dose of ’80s nostalgia. Scott’s impeccable taste shines through, with subtle nods to Janet Jackson's groove in “Rhythm,” Prince’s punchy guitars on “Losing You,” and Solange’s ethereal vocals in “Bliss.” The album's production, helmed by Dev Hynes, adds another layer of complexity.
Despite a relatively quiet initial reception, F.I.G. has gained momentum through organic fan enthusiasm. Scott’s independent label strategy—a conscious decision to prioritize music over aggressive marketing—has allowed the album to resonate with a dedicated audience. “It’s just a wonderful feeling,” Scott says. “Transparently, I’m signed to an independent label, so there’s not a massive cash injection or loads of marketing dollars. But I think I just felt so confident that the music would speak for itself and that the right people would find it, that I wasn’t too worried about front-loading anything, or trying to capitalize on this one big moment.”
Visual storytelling and diy spirit
Beyond the music, Scott’s visual presentation is equally compelling. Music videos, crafted with creative director Katharina Korbjuhn, capture a raw, unpolished energy. “There’s something beautiful about working with limited resources,” Scott notes. “I don’t think money equates to creativity. It just doesn’t.” The video for “Cherry,” filmed in a soccer field, exemplifies this ethos – a celebration of British eccentricity with Vivienne Westwood hoodies and strategically placed crystals.
Looking ahead, Scott’s tour promises a blend of live performance and visual surprises. “A girl in process,” she playfully reiterates, hinting at unexpected moments and a commitment to retaining the album’s core identity. With a cover of New Edition’s “Can You Stand the Rain” and a mash-up of “Bound” and Anita Baker’s “Sweet Love” planned, Scott demonstrates an unwavering dedication to her craft – a journey that proves she was always destined to be a musician, and now, finally, a complete one.