Created in partnership with Mentos
Yasmina Sadiki is carving out a space as one of Australia’s most compelling new voices in neo-soul.
Drawing from old-school R&B, jazz, hip hop and the unpredictable energy of live improvisation, the Sydney singer-songwriter creates music that feels intimate, visceral and deeply personal. Her work moves freely between tenderness and power, turning some of life’s darkest experiences into richly textured songs.
Sadiki has already performed at the Sydney Opera House, including a recent support slot for acclaimed UK musician Alfa Mist. Her debut EP, Made for the past, captures the same creative spirit as her live shows, with each track unfolding as a living fragment of the world she has created. At its centre is latest single “Lotus”, a soulful celebration of rebirth, self-worth, and letting go of what no longer serves you.
The Mentos Fresh Sounds Class of ’26, curated by Rolling Stone AU/NZ, has officially been unveiled — and now we’re turning the spotlight to even more artists making serious noise. As part of our Up-And-Coming Australian Artist series, we caught up with Yasmina Sadiki to talk about her debut EP, the power of reinvention, and why Australia should think globally when it comes to supporting local artists.
Rolling Stone AU/NZ: Where are you from?
I am from beautiful Sydney, Australia and live in a funny little suburb called Canterbury. There is not much happening over here but that’s just the way I like it.
Describe your ‘Fresh Sound’ in three words.
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Intimate, visceral & unpredictable
Name three of your biggest musical influences.
My personal life experiences are a huge influence when it comes to my lyrics and storytelling. It’s where I draw my ideas from and allows me to make music that feels authentic to me. At least the original demo of my most recent release “Lotus” was influenced heavily by old school R&B and hip hop. Missy Elliot project Supa Dupa Fly with Timbaland’s production was something I was rinsing and repeating constantly.
The Internet’s Ego Death was another album that was heavily influencing me at the time. A crossroads between ’90s soul, jazz, and hip hop that was very intriguing and a discovery that really led me into a more nuanced understanding of modern neo-soul. Lucky last I can’t not mention Erykah Badu, specifically the vocal stacks and cheeky ad libs and BVs that really give a song personality and character.
Tell us about your latest release.
My latest release “Lotus” is the feature single off of my debut EP Made for the past that has just come out. The lotus is symbolic of rebirth, growth and re-emergence. It’s a celebration of letting go of what no longer serves you, and how change, death, endings, are the seeds of new beginnings. The song itself is much like a lotus. A younger version of myself speaking on things that are still very relevant today, and how even years later the song can develop and grow in its own ways. Made for the past encapsulates this. The past gifting us lessons, and experiences and how the past and present can still talk to each other.
This song is utterly feminine, but still has a clear tone of power. It is a song that celebrates new beginnings, and showing love to yourself. Knowing your worth is powerful. This song has been a personal favourite, the band’s favourite, a crowd favourite when played live. The track is the lightest and most uplifting song on the EP, soulful and has a lot of personality.
If you could collaborate with any artist, who would it be?
Hardest question ever, but right now I would prefer to collaborate with visual artists like Petra Collins. She is one of my most favourite creative directors and I think we would get along. But if I really have to choose, Massive Attack is coming to Australia this year… That would be legendary.
What’s your dream venue to play?
I had the honour of playing my Australian dream venue Sydney Opera House last year, and again this year when I supported Alfa Mist. In saying that manifestation is clearly real, so I gotta go with the Red Rocks Amphitheatre but specifically when it’s golden hour.
What one thing do you think the Australian music industry needs right now and why?
Just one?! I think we should be cultivating stronger relationships and partnerships with music industries globally so we have more opportunities to export our sounds and get our artists into more spaces around the world. I also think that the trajectory of Australia’s emerging and underground artists partially depends on the efforts, enthusiasm and support of people within our communities here. So buy your local band’s merchandise, buy tickets, and come to our performances. If our own community isn’t investing in this industry, how can we expect the rest of the world to?
What’s coming up for you in 2026 and beyond?
I will be exporting my sound to the UK this August, including a headline performance at the legendary Ronnie Scott’s Jazz Club in London and a coveted slot at Gilles Peterson’s tastemaking We Out Here Festival, before returning home for more chaotic improvised sets in Sydney and our first Strawberry Fields Festival appearance.
But I urge you readers to please take the time to listen to my 8-track debut EP, Made for the past. Each song exists as a living, breathing fragment of my world, tackling poetic windows into womanhood, grief, and empowerment. Rather than a traditional collection of tracks, the music behaves like a creature — alive, unpredictable, and shifting through its own unique narratives and textures.
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A Rolling Stone AU/NZ-backed music launchpad, the inaugural Mentos Fresh Sounds Class of ’26 was created to support the next generation of talent. Head to the Mentos Fresh Sounds Hub to learn more about our official Class of ’26.
