Emerging British singer, songwriter and producer lottie has recently released her latest single Nervous, an upbeat and catchy follow-up to her debut single Chloe. Signed to Flipside Productions, lottie’s lyrics are personal and related to her experiences as an LGBT artist, her smooth and feminine vocals are seamlessly combined with the producing expertise of renowned Iranian producer Hangi Tavakoli. 

lottie has written melodies and lyrics for as long as she can remember, but recently realized her potential in the last year and focused on building her career in music. She is a proud member of the LGBTQ+ community and all of her songs are voiced from a lesbian perspective. "When I came out, I was desperately searching for music that I could relate to - it’s my goal to make music that normalizes women singing about women." Said lottie. She continued "Combining my love of music with my pride for my identity has been an amazing experience and I can’t wait to make more!"

​One of the big questions I get over and over is whether writing commercial music requires you to sell your soul, abandon creativity, and forsake all that is good in this world. The answer is an emphatic “NO.” Basically this discussion of “art for art, or art for public” had always been going on and I never been solved, but here is my opinion about it. Any time this debate arises, there are those that say “Well, Jackson Browne did it his own way. He was poetic and commercial” or “Bob Dylan didn’t sell out; he wrote whatever he wanted”. It’s curious to me that every example that is ever thrown out to “prove” that you shouldn’t try to be commercial is a person that was commercially successful. No one ever says “I want to be like my neighbor Bob Smith. He writes crazy stuff that no one understands and plays it alone in his garage.” 
The people from the past that we try to model our work after were almost without exception successful commercial writers. They wrote what worked in their time. Those that are successful today are doing the same.