This past summer, Sky Ferreira was getting ready to perform a sold-out show at the Sydney Opera House when she received an email from someone claiming to work at the indie film distributor A24.
“At first I assumed it wasn’t real,” Ferreira tells Vogue. “I’m always getting weird emails from people trying to steal my music by claiming to be someone important, so I just glossed over it at first.”
Eventually, however, Halina Reijn did manage to get in touch. The filmmaker was in the process of editing Babygirl, her second film with A24 after the sleeper hit Bodies, Bodies, Bodies, and thought Ferreira would be the perfect artist to contribute an original song to the soundtrack.
“Sky’s songs are so sensual and empowering,” Reijn says. “She perfectly embodies the duality of gracious femininity and the dark beast inside, which is the theme at the heart of Babygirl.”
In theaters this Christmas, Babygirl stars Nicole Kidman as a high-powered CEO who puts her career and family life at risk when she enters a sadomasochistic affair with an intern at her company played by Harris Dickinson. What may sound like a tawdry erotic thriller on the surface, however, is really a film about female sexual desire and power dynamics. It features the most exciting performance Kidman has given since Birth, playing a woman both enthralled and unsettled by her newfound desires and what it means for her to give up control—and, to cap things off, a new Sky Ferreira song plays as the credits begin to roll.
Out this Thursday, “Leash” was conceived specifically for Babygirl. Co-produced by Jorge Elbrecht, it stands as one of Ferreira’s most assertive pop tracks, building on the industrial synths and scuzzy guitars of her previous single, the ’80s pop-inspired “Don’t Forget.” “I tore apart this veil of shame, I fought so hard, just to be erased,” Ferreira belts on the track. “Wanna be caught, go down in flames, I know I’ll never get my way.”
It’s no wonder Reijn thought Ferreira would be the right person for the job; “Leash” sounds like it could have come directly from the mind of Kidman’s character. Yet for anyone who’s been paying attention to Ferreira’s career over the past decade, there are a few ways to interpret the song’s allusions to feeling trapped—and finally breaking free.
“That character is very self-destructive and destructive with other people’s lives, but she kinda has to go through this whole experience for the sake of growing as a person,” Ferreira says. “I think that’s why I connected to the material so much, even though my circumstances are so different from the world of the film.”
“Leash” marks Ferreira’s first release as an independent artist since being dropped from Capitol Records in late 2023. It marked the end of a rocky relationship that was already the stuff of legend within Ferreira’s fanbase before her debut album, Night Time, My Time, came out in 2013. Unhappy with the grungy, lo-fi material she kept delivering, Capitol eventually stopped funding the album’s recording sessions, leaving Ferreira to cover the costs herself with money from her modeling career. Her confidence paid off in spades when Night Time, My Time dropped to unanimous praise from critics and fans, becoming one of the most influential records of its era.
The album would mark Ferreira’s only major release with Capitol. The aforementioned “Don’t Forget” and 2019’s sinister “Downhill Lullaby” were each supposed to be singles on Masochism, her long-awaited follow-up to Night Time, originally scheduled for release in 2015. That album has yet to materialize, but Ferreira insists it’s not for lack of trying.
“They [Capitol Records] kept me from putting out new music for 10 years as a way of making me look like I’m incapable of it,” Ferreira says. “I’m able to do a song for an A24 film after all this time because that first album clearly meant something to people.”
“Sky and I share a lot of similar fascinations when it comes to control, freedom, surrender, power, submission,” Reijn says. “Both of us love to be creative in a space that is open to a wide audience—fun and sexy—but at the same time, we never shy away from the darkness that one can feel inside.”
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A self-proclaimed perfectionist who likes to make sure her music is perfect before sending it into the world, Ferreira says “Leash” represented one of the rare times a song just poured out of her. And while being free from the grips of Capitol has come with its own set of headaches—namely, trying to reclaim the rights to some of the music she recorded while under contract—Ferreira seems genuinely excited to enter a new phase of her career as an independent artist. After giving “Leash” some space to flourish, she plans to self-release another song in the new year and has other new music in the works. After touring for the anniversary of Night Time, she’s also planning more live performances for 2025.
In an exclusive chat with Vogue, Ferreira goes deep on how “Leash” came together, parting ways with Capitol, auditioning for the Madonna biopic, and more.
Note: Light Babygirl spoilers ahead.
Vogue: How does it feel to have a new song coming out, and to be talking about new music again?
Sky Ferreira: It feels good. It’s a little daunting because I haven’t put anything out by myself since I was, I don’t know, 17 years old? I’m putting it out with A24, so it’s not totally independent, but I’m very excited. It sorta feels like a fresh start for me in some capacity, at least compared to what I’ve been through for the past 10 years.
Was “Leash” a song that you had already been working on, or was it conceived specifically for Babygirl?
I wrote it for Babygirl. I was on tour in Australia playing the Sydney Opera House and got an email from Halina and the music coordinator Meghan [Currier] while they were still editing the film. The film had only wrapped a few months prior, so they showed me a very early cut. I’ve always wanted to make music for films, so I really went for it even though I wasn’t expecting to get the job. I assumed that there were probably a hundred artists submitting songs, so I tried not to get my hopes up.
How did you like the process of using the film as a jumping-off point compared to writing from scratch?
I’m a bit spoiled by this being the first film that I get to do. It’s rare to be able to watch the film beforehand and talk to the director so you really understand their perspective and don’t have to try and force it. It made it really easy for me. Before I even saw the film, I started making a song that was much poppier and fit in with the vibe of some of the songs Halina said were in the film, like “Father Figure” by George Michael and “Need You Tonight” by INXS. I was trying to figure out how to capture that vibe without just replicating it.
You’ve said before that you think visually when you make music, and “Leash” has such a bombastic, cinematic quality. Can you walk me through your initial reaction to the film and how the song was born from it?
That’s why I’ve always wanted to do more film work. I grew up with music videos and strongly associate music with visuals. It’s almost like I project the music video in my head as I’m writing it. I watched the film for a second time in the middle of the night because I couldn’t sleep, and watching it with that mindset, in the dark, really brought me into it. I wasn’t just thinking, What could a song for this movie sound like? I wasn’t ever going to be literal with the premise, but there were certain scenes that really inspired me as I began to write out lyrics. The crux of the film is that feeling of being a prisoner to yourself, and that’s what I wanted to embody. There’s something a bit emotionally nihilistic about it all.
Are there specific moments in the film that stayed with you as you put the song together?
The bar scene where she tries to cut things off with Harris Dickinson’s character but you still sense a bit of desperation from her was a big inspiration for me. It’s all about the power dynamic between them. I also just kept thinking about that final shot of the dog in the hotel room with Harris. That’s an image I kept coming back to as I was coming up with the track. It’s a fantasy that she keeps having despite getting her entire life back in order, so how is the movie really over if she’s still fixated on this relationship?
I was really struck by the lyrics in the final verse: “I’ve torn apart this veil of shame, fought so hard just to be erased…” Would you say the song is written from your perspective, or from the perspective of Nicole’s character?
It’s definitely a bit of both. I think that’s why I connected with the material so much, even though my circumstances are so different from the world of the film. That character is very self-destructive and destructive with other people’s lives, but she kinda has to do it for the sake of growing as a person. It’s that feeling when you know from the beginning that a situation isn’t going to end well, but you go right into it anyway. There were things I saw the characters do in the film that bothered me because I’ve also done that type of thing before, and I didn’t like that. I asked myself why I was having this reaction, and from there the song kinda just spilled out of me.
How long would you say it took for “Leash” to come together?
I only had two and a half weeks to make this song, which is fucking crazy because I take forever to do anything. I had to submit it in time for the film’s premiere at the Venice Film Festival. I’ve never worked so much in my life—I mean, I have worked so much in my life, but not in such a time crunch. I need time to write and make music, but “Leash” came together without me feeling that it got compromised in terms of lyrics or production.
Did you work closely with Halina as far as getting feedback and talking through your ideas for the song?
I had a lot of conversations with Halina. The thing I liked about this entire process is that she really trusted me. I really connected to her and the way she works. I feel like a lot of people would usually want me to do what I did 10 years ago or make a song that sounds like whatever’s popular right now. So I’m really glad that she trusted me and was willing to take a risk by just letting me do my thing. She knew I understood the subtext of the film. We’re both very interested in masochism as a theme, specifically emotional masochism. It’s been a point of interest for a bit now.
Is “Leash” indicative of the sonic direction of other music you’re working on?
I would say so, but it’s sorta hard to tell. I definitely don’t think anyone’s gonna be hearing anything super minimal from me anytime soon. I’ve never been much of a minimalist and I feel like we’re at a time when everything in pop is. I tend to lean upbeat without trying to be too obviously poppy. I’ve been writing some songs that are definitely way poppier than anything I’ve been putting out. “Don’t Forget” is pretty poppy, but it’s just a different kind of pop than what’s popular right now.
I wanted to ask about the state of your relationship with Capitol Records; you’ve been very public about your issues with the label, and last year some eagle-eyed fans noticed that you were no longer listed on their website. Are you officially no longer part of it?
They waited until the 10-year anniversary of Night Time, My Time to drop me via an automated message that got forwarded to me. And it was a weekend! After months of not hearing back from them! It was pretty—I’m still trying to figure out the words I can use to talk about it that won’t get me in trouble. But I also don’t really care about getting in trouble, because what else can they really do to me at this point? My relationship with them was obviously a bit fraught, and it’s never been very simple to explain. But to let me know I’ve been dropped from the label in such an impersonal way was clearly so personal.
They were trying to make a point.
It was their way of saying: “You can have fans write ‘Free Sky’ in the clouds with an airplane, but we still own you.” They kept me from putting out new music for 10 years as a way of making me look like I’m incapable of it, like it was my fault that I don’t technically own anything I record. I was already dreading the 10-year anniversary of my album because it’s sad. I should be able to celebrate something like that because as long as this album has been around, people still care about it. I’m able to do a song for an A24 film after all this time because that album clearly meant something to people, and I am proud of that. But it shouldn’t have to remind me of another year of being trapped in a mess that I didn’t create. They want me to look responsible by dragging it out and blocking me from releasing music even after already being blocked from so many other opportunities because of them.
How does it feel to be a free agent and able to make music on your own terms?
It feels liberating, but I’m honestly still angry about the situation. I was catatonic for a few weeks after that email. Not because I was dropped, but just the way it happened. It felt like their way of trying to break my spirit one last time. It’s kinda like when someone gets out of prison and they don’t know what to do with themselves. And it’s similar in that way where you still don’t have rights to everything that you did before.
Are you able to release any of the music you recorded while you were signed to Capitol?
I can’t right now, even though I was the one who paid for all of my studio sessions. I’m working to try and get some of those songs back, but I’m not getting every single one. It’s such a complicated process and I have to figure out how to do all this shit by myself now. People keep telling me I should just re-record the songs and it’s like, yeah, Taylor Swift can do that because she’s a billionaire, but I basically put all the money I’ve ever made as an artist back into making music. I think most musicians I know generally pay to work. But I am following up “Leash” with another song right afterwards—some time early next year—because I don’t want it to seem like some random one-off. Because that’s another thing, Capitol would’ve never let me do something like this Babygirl song.
Did they block the release of the “Don’t Forget” music video as well?
That was basically set up to fail. They tried to pull a lot of shit with that video that was so outrageously fucked up that I tried to work around. They wouldn’t even let me do interviews around that song. I had to sneak around them to do, like, two interviews, and I got in huge trouble for it. I wasn’t even allowed to take press photos, which is fucking crazy. It’s such blatant sabotage, but it’s also a way to make it look like I’m a lost cause so that by the time I was free, no one would want to work with me. And in some ways it’s worked. There’s a narrative around me that’s just not true. But I’m also not gonna just sit here and correct people. I’ve had to accept that I’m not getting those 10 years of my life back.
I know you said there’s obviously some baggage that comes with the Night Time, My Time album, but how was the experience touring for the anniversary of that album and being reminded that there is a core group of people out there who are still rooting for you?
The show I did in NYC at Knockdown Center [in July 2023] was the show that restored my confidence in performing. It was the first time in a while that everything felt the way it should be. I had my lighting that I usually like and a setlist I was really happy with. By that point I had felt very isolated and trapped in this label situation and I had forgotten what it felt like to not feel so restricted. Even though I was still technically on the label at that time, that tour gave me a sense of freedom again. It really reminded me that I’m not stuck and that I do have the option to try and work around these people, and that they couldn’t ruin everything in my life.
Do you still enjoy performing those songs?
I still love that album after all this time and weirdly, don’t get sick of singing it. I know a lot of people get sick of singing their old music, but I’m really not embarrassed by any of those songs. They still really mean a lot to me. I was dealing with this label stuff way before that album came out—I paid to make that album the way I wanted because Capitol didn’t think my sound was commercial enough. That wasn’t the album most people wanted me to make until after it came out. Obviously, I’ve grown as a musician in a lot of ways since Night Time, My Time, but I see that album as a different part of myself as opposed to who I used to be. Plus, I still feel a lot of those things I’m singing about, which probably makes me sound a little emotionally stunted.
I wanted to ask about you showing up at Kevin Abstract’s Coachella set earlier this year to sing a cover of “Need You Now” by Lady A. Are you gonna drop a studio version anytime soon, or at least upload it to your SoundCloud?
I love that song, so maybe. But I would need to get my SoundCloud password back from Capitol.
They took that too?
Yeah, they somehow got my password and locked me out of my account. It was a whole thing back in, like, 2018. It was maniacal, dude. People keep telling me I need to let go of the past, but the past is still very much my present.
Forgive me for asking, but do you think we’ll hear Masochism in the near future?
I sure hope so. It’s just a matter of getting all my stuff back, which is fucking crazy. I don’t even know who to talk to at the label anymore. For all I know, the people at Capital now could be really nice. I feel like they don’t even really know what’s going on, because I think most of the people at Capitol who threw me under the bus are long gone. They got dropped too, which is honestly a bit funny.
Is there going to be a “Leash” music video?
Yes, and it’s with a very close friend that I’ve collaborated with for other music videos and photoshoots.
Gaspar Noé?
No, but that would be amazing. Their name does begin with a G though. [Ed note: Ferreira’s close friend and collaborator Grant Singer has directed her in seven music videos.]
Does the video have a tentative release date?
Not yet. In terms of the timeline, everything around Babygirl couldn’t come out around the film’s release in December. That’s mostly so “Leash” doesn’t just disappear into the ether, but it’s not like it’s a Christmas song, either. I’m also gonna play it live somewhere. I can’t say too much, but it’s something I haven’t done in a very, very long time.
Like a late-night performance?
No comment [laughs]. But I’m really excited to play it live. That’s one thing I weirdly think about a lot now when I’m writing: “How am I gonna play this live?” There were a lot of things in the song I had to tone down—I originally had a lot more shoegaze guitars, but A24 really wanted my vocals on top. But I can do whatever I want live, so it’s gonna sound really big with a band.
Are you gonna tour more in 2025?
Definitely. I’m starting to line up some performances now that I’m figuring out how all this works again. I actually really enjoy playing live when I get to do it properly. I’m figuring out what works for me compared to what people tell me I’m supposed to do. Now my live shows are going to be presented the way I want them to be. It was nice to strip down with this last year of touring and not have to rely on so much stuff. It was just me and my band.
Are you interested in acting more?
Yeah, definitely. Capitol stopped me from doing a few things that I got offered right when I was gaining momentum as an actress. At most, I’ve only ever been able to do things where I shot for three days. But I would love to act more in the right projects, for the right people.
I read that you auditioned for the Madonna biopic that’s since been scrapped—what can you tell me about that?
It was a once-in-a-lifetime experience. I literally moved to New York because of her and would always think, What would Madonna do? as I was starting my career. It’s not like I was trying to replicate her work, but just her mindset and her confidence. So auditioning for her biopic was extremely surreal.
You’ve never been one to dance much in your videos or live performances—did you enjoy that process?
I am not a dancer, so I rehearsed with a choreographer for 11 hours a day before I even went in to audition. I felt like I was possessed, it was some real Black Swan shit. I did feel a little silly sometimes, like I was Ja’mie: Private School Girl when she tried modern dance. But I just really went for it because Madonna is so naturally confident and I wanted to project that.
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The audition process seemed quite extensive and was described as “Madonna boot camp"—is that a fair descriptor?
I certainly think so. I spent two months working on it, between the auditions and dance rehearsals. I don’t usually get starstruck, but it was just so surreal to be with Madonna at her house. I sat in one of her guest rooms to read the script, then she took me downstairs into her bedroom and did my makeup and put her clothes on me.
Do you remember what clothes?
It was the Boy Toy belt. I’ve literally been trying to be Madonna since I was five years old, rolling around my living room floor singing “Like a Virgin.” I was just sitting there watching her put blush on me, like, Is this really fucking happening right now? I kept getting called back to see her, so she seemed to like me for a bit. Even though I didn’t end up booking the part, it really was just an incredible experience getting to spend that time with her.
What excites you most about this next phase of your career, post-Capitol?
I’m just excited to put out new music and have full control over the process. It’s not like I’m going to have some crazy budget or something for whatever I put out next. But having the freedom to figure out what that means for me musically is really exciting.
Would you sign with another label down the line?
It’s hard to say. I don’t think I would immediately run into the arms of a major label again, at least not for the next few things I put out. I’m self-releasing the first song I put out after “Leash.” But if I was to go with a label again, there are a lot of terms I would never, ever agree to again in my life since now I understand that those contracts are written in blood. But an album is a lot for me to take on [alone], so who knows—maybe going with a label would be the right choice, just to make sure it’s presented properly. Those are the type of things I’ve been thinking about lately, but I’m also just trying to enjoy my freedom. It kinda feels like I get to start over.
This conversation has been edited and condensed for length.