IN FASHION, ON PURPOSE: LION BABE Owns the Moment and the Next Era
For more than a decade, LION BABE has treated music like a world—not a lane.
Since Jillian Hervey and Lucas Goodman first connected in New York, the duo has moved freely between soul, hip-hop, electronic music, funk, fashion and visual art without ever sounding like they were chasing a category. That instinct was there from the beginning. “Treat Me Like Fire,” the first song Hervey ever wrote, introduced a group already thinking beyond genre, and the years that followed only widened the frame.
Begin brought Pharrell Williams and Childish Gambino into the picture. Disclosure championed them early. Mark Ronson, Busta Rhymes, Ghostface Killah, Bilal, Leikeli47 and others became part of an expanding creative universe. Festival stages from Coachella to Glastonbury proved the sound could travel, while fashion campaigns, museum performances, film and television placements made it clear that LION BABE was never meant to exist in music alone.
Then came independence.
Rather than shrink the vision, it sharpened it.
Projects like Cosmic Wind, Rainbow Child and House of LION BABE gave Hervey and Goodman greater control over how, when and why they released music. The duo built its own rhythm, its own visual language and, perhaps most importantly, the freedom to pivot without waiting for permission.
That makes “Fashion Week” feel less like a left turn than a natural next step.
Arriving September 4, the single pulls directly from a world LION BABE has inhabited for years—runways, parties, designers, models, movement and self-expression—but the record is about more than clothes. At its core is confidence: the decision to reinvent yourself, own the room and trust the version of yourself you choose to present.
For Hervey, that confidence traces back to dance, vintage fashion imagery, the supermodel era and women who understood the power of mystique. For Goodman, it comes down to finding the musical motif that sparks something—the hook, rhythm or texture that turns an idea into a LION BABE record.
After more than 300 million streams, 45 million YouTube views and a decade-plus of collaborations, tours and cultural crossovers, the duo has reached a place where success looks different. Less about outside validation. More about peace of mind, sustainability, creative ownership and making work that still feels alive.
That may be the real story behind this new chapter.
LION BABE has never survived by standing still.
They’ve survived by staying curious.
And with “Fashion Week,” they’re not simply dressing up the next era.
They’re stepping into it on their own terms.
Q. Before LION BABE became this collision of soul, hip-hop, electronic music, fashion, and visual art, what did Jillian Hervey and Lucas Goodman first recognize in each other creatively that made you believe this could become something bigger than a collaboration?
Overall, we genuinely enjoyed spending time with each other. We seemed to have chemistry when it came to our musical tastes and how we worked together. It was a nonjudgmental zone, and we were coming from two different worlds of creating that fit together like a puzzle.
Q. “Treat Me Like Fire” was the first song Jillian ever wrote, yet it became the spark that introduced LION BABE to the world. When you hear that record now, can you still recognize the two young artists who made it—or does it feel like listening to another lifetime?
There are elements that have remained with us. My voice has grown and evolved, but the “character” has remained. It is still one of our favorite moments when we perform it. The root of who we are as artists still remains, though.
Q. Those early years moved quickly—from Disclosure championing your music to working with Pharrell Williams, Childish Gambino, and Mark Ronson, and eventually releasing Begin. What did that first run teach you about yourselves that success alone couldn’t?
Our “beginning” taught us a lot and still continues to provide wisdom in hindsight. Being surrounded by artists at the top of their game exposed us to how everyone works in the studio, but more importantly, how they build their world in a business sense stuck with us.
In truth, how we handle our business and system of operations has taken over our day-to-day. It is so important to learn the ins and outs of the industry and to cultivate a strong team that is aligned with how you work and what you want to achieve.
We were young and going through the motions when we first started and probably would have done things differently, but we are forever grateful for being thrown into the deep end and forging some amazing connections and experiences early on.
Q. Your sound has always carried pieces of different eras—’70s soul and funk, ’90s R&B and hip-hop, house, and electronic music—without feeling like nostalgia. How do you honor the music that raised you without becoming trapped by it?
Although we are always referencing and aiming to emulate the styles of yesterday, to us, it’s inevitable that our music will sound modern because of the technical elements, the context, and the life experience that we are using.
We have always been driven by juxtaposition and mixing things together that we are curious about or that haven’t been heard or seen as much. Those combinations of ideas are what keep us excited and the sound evolving.
Q. Leaving the traditional major-label system and betting on yourselves became an important turning point. Looking back, what did independence give LION BABE creatively that you didn’t realize you were missing?
Being independent is a beautiful challenge. You’re able to navigate at your own speed and time, but you are also responsible for executing roles that extend far beyond the traditional artist role.
As the industry continues to change, we have been at the forefront of working with companies and concepts that have continuously reshaped how music is distributed and consumed.
Having the freedom to set our pacing has been fundamental to our longevity. In a major-label agreement, at times, you’re at the mercy of a rollout plan or waiting on a green light from an overhead boss, which can stunt growth and reroute a moment. Being independent gives us leverage and the ability to seize the moment when there is something worth expanding on our plates. We’re free to pivot when needed and double down on something by following our own moral compass now.
Q. From Begin to Cosmic Wind, Rainbow Child, and House of LION BABE, each project seems to reveal a different version of the duo. What has remained sacred between the two of you even as the music—and your lives—have evolved?
We have always remained very respectful of each other’s dreams and personalities and do our best to complement and expand each other’s personal goals and aspirations. The trust that we are always there for each other remains the most sacred quality as our lives continue to become more involved and intertwined.
Q. Jillian, fashion has never felt like an accessory to LION BABE; it’s part of the language. Growing up inspired by the supermodel era, what did women like those icons teach you about presence, individuality, and owning a room before you ever stepped onto these stages yourself?
I have always loved being a performer. I truly credit being a dancer as the true Pandora’s box of my confidence, style, and grace. But as I grew up and started to collect and archive things that inspired me and aligned with the world I was trying to create, I was often drawn to the dynamic, fashion-forward images from the ’90s and before, like vintage Mugler fashion shows, Richard Avedon photography, and the overall femininity and power that women from the past provided, like Sophia Loren and Marilyn Monroe.
Nowadays, everything is all out in the open—mind, body, and soul—and I truly believe that mystique can provide power and make a connection more memorable.
Q. Lucas, underneath all that visual electricity has always been the production. When Jillian brings an idea or energy into the room, what are you listening for that tells you, “That’s a LION BABE record”?
I really just try to listen for anything that catches my attention, makes me feel some type of way, and gets me excited. Whether we are writing or freestyling, or perhaps Jillian brings an idea, a melody, a lyric, or something, I just try to think about it like a producer or DJ digging through records or picking samples, trying to find that “magic motif” that feels like something significant and good to build a song and record off of.
Whether it’s a strong theme or melody to further expand into a full record, it’s really just finding that core foundational idea and building and shaping on top of it. Typically, that’s some sort of vocal hook, chorus, or concept, and then from there, taking it further and developing the idea into a full record.
Q. “Fashion Week” feels almost inevitable for a duo that has lived at the intersection of music and style for so long. Beyond the outfits and parties, what did you want the record to say about confidence, self-expression, and owning your power?
“Don’t you love me” rings true as the hook moment of the song because it is more of a statement instead of a question. It’s a reminder that you can always give yourself permission to reinvent yourself, and true confidence comes from belief in your own self.
Fashion Week has been a very fun time for us for many years. It has been a culture connector and a moment in time to celebrate our friends who are artists, models, and designers. We are reminded that life is meant to be fun, expressive, and exciting. Fashion invites world-building, and we always want to feel that we are limitless in our expressions.
Q. You’ve shared stages with everyone from Erykah Badu, Nas, and The Roots to Alicia Keys and Khalid, while playing everywhere from Coachella and Glastonbury to Pride celebrations around the world. What have all those different crowds taught you about just how far the LION BABE language can travel?
We are a universal concept and are not defined by one genre or performance. We are inspired by so many different styles of music and performance that we believe LION BABE’s reach is limitless.
Q. More than a decade in, you’ve accumulated hundreds of millions of streams and worked with legends, yet you’ve also built an independent ecosystem on your own terms. At this stage, what does success look like when you no longer need somebody else to define it for you?
Success is truly peace of mind, having a sustainable quality of life, health, and longevity.
Being able to afford the aspects we need to create our strongest vision and also aligning ourselves with opportunities that excite us and don’t feel like they are out of obligation. The idea of “If you make it, they will come” feels like true success. The right people, the ideal opportunities, and the magical experiences can only come if you are making space and setting intentions for them.
Q. From two New Yorkers making “Treat Me Like Fire” to House of LION BABE, “ZaZaZa,” “Fashion Week,” and whatever comes next—when you look at everything you’ve built together, what are you proudest that LION BABE never had to compromise to become?
After all these years, we are proud that we still call the shots on the type of music we’re making and what we choose to share. What works in the world and what works internally can sometimes conflict, but we’ve always made sure that we never compromise our true feelings about the music we make. When the joy is gone, we know something is wrong.
Q. If “Fashion Week” is the first look at this next era, what are Jillian Hervey and Lucas Goodman ready to show us about LION BABE that we haven’t seen yet?
We have an array of music under our belts, and we feel at our sharpest when it comes to making records. We are going to show our world in all its multiplicities, which hopefully births many more lanes for LION BABE. We aim to expand in many ways so we can continue to make our mark and inspire others who will find their way through art.
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