Beyond the Surface: An Interview with Girl Ultra

With her unique mix of R&B, club beats, and garage rock, Mariana de Miguel, also known as Girl Ultra, has created a style that’s as eclectic as it is personal. Fresh off a collaborative tour with Canadian electrofunk outfit Chromeo, and now on her own headline tour across the U.S., Girl Ultra brings the full range of her influences to her live shows. From genre-blending tracks like “Blu” to creative collaborations with friends like Foudeqush and Sanje, she’s carving a niche that bridges cultures, eras, and sounds. In this interview, Girl Ultra opens up about the journey behind her music, her cinematic inspirations, and the resilient spirit of Latin American artists.

You’re performing in El Paso tonight, right? Is this still part of your tour with Chromeo?

Well that tour ended last week—we played around 17 shows on the East Coast with them, promoting their album Adult Contemporary. Now this is my own headline tour. We’ve already done places like Tucson and Phoenix in Arizona, now Texas, California, and we’re off to Europe after that.

Tell us about the tour experience with Chromeo. It sounds like a unique blend of styles.

Yes, my current show is super dynamic. We go from rock to club vibes seamlessly, which actually meshed really well with Chromeo’s audience. David and I have been friends for years; we even started collaborating musically a while back, so touring with them felt like the perfect opportunity to showcase that energy.

And now you’re gearing up for the heavier portion of the solo tour?

Yes, exactly. We’re wrapping up Texas, then California, and heading to the U.K. to play at Pitchfork Festival in London, and other more specific events in England, France and Spain.

Amazing. It’s fascinating to see your versatility as an artist. One of the first songs I heard was your collab with Little Jesus, and the project’s sonic evolution is striking. Can you tell us about the influences that shape Girl Ultra’s music?

Girl Ultra has always been a sort of playground for me, a space to explore and blend genres. I started with alternative R&B but eventually found a sweet spot between club music, garage, and rock. Think of it as an early 2000s vibe creeping into pop, with influences like Moby’s Play from 1999, producers such as Armand Van Helden, and others —I think it’s all been about pushing the boundaries and finding dirtier textures in those R&B sounds I’ve been exploring since the beginning.

Great! Any other influences you’re currently drawn to? You direct your own videos, and I understand there was that French film with Bruce Willis, which was an inspiration for this EP, correct?

Yes, definitely. I direct my videos as well, and I was also inspired by cinematic aesthetics, like the vibe from Luc Besson’s The Fifth Element. I visualized all of it while creating the album, so it naturally spills over into the music videos too. For this album, I looked at the energy of many different places. Besides the ones I mentioned previously, there are projects like Fantastic Plastic Machine and the whole vintage Japanese vibe that was also big in that era.

Do you bring these themes to your live shows?

Totally. Besides the club vibe, my live performances have a raw edge, inspired by early 2000s rock shows from artists such as Fugazi. It’s gritty but dynamic—I want the audience to feel immersed in the intensity.

Tell us more about “rimel”, the more commercially appealing track on the EP.

“rimel” captures that club scene energy with a playful twist. It’s a track designed to be a little provocative, tapping into the feeling of losing yourself on the dance floor.

Besides singing, do you play any instruments, and why do you think you’ve opted for a more electronic approach?

I play around with the guitar as a way to aid the performance of certain tracks. I love combining the electronic with traditional band elements. It’s about finding that sweet spot where the club meets rock—an unlikely but surprisingly harmonious crossover.

Given the challenges artists face, especially in Latin America, do you think it’s possible to sustain a musical career as an independent artist?

It’s tough, no question. The number of artists who can truly live off their music here and pay a decent rent with it is small. But Latin American and Mexican artists are resilient. We know it’s a grind, but if you’re committed and have a solid team, it can definitely be done.

What’s your take on Mexico’s music scene right now? From the outside, it has always felt like a major cultural hub for Latin American artists.

The Mexican audience is incredibly passionate—they’re like super fans. Artists from across Latin America know they have to pass through Mexico, so it’s this vibrant melting pot for emerging and established acts alike. Right now, the rise of Mexican regional music has been putting us on the map in a new way, showing off our unique sound. I’m curious to see where it takes us next.

Any artists, either local or international, who you think are worth watching right now?

Honestly, my friends from the band inspire me the most. They’re family to me, and I spend so much time with them on tour. For example Foudeqush is a friend from the studio who has been doing some great work. Also SAO, and Sanje who have been touring with me. It’s really cool because we push each other and thrive off that energy.

So you’re always touring with the same crew?

It has evolved. My project is multi-format, and while I love having a full band, lately, I’ve leaned toward a power trio, plug-and-play kind of setup. It just feels right. The energy is so aligned when I step onto the stage, and everything flows.

Your music has reached major platforms like NPR’s Tiny Desk Concert and KEXP. How was that?

Those were great experiences of growth. Each platform tests you to dig deeper into your sound, your arrangements, and how you convey it. It’s also helped build a following of fans who aren’t just listeners but people who connect with my music in a way that goes beyond the beat. I’m deeply grateful for that, and these are definitely very important platforms for modern artists and music fans.

You’ve been touring non-stop with your latest EP, living each day in the moment, but do you have anything on the horizon for 2025?

Yes, I’m working on a new studio album, produced by Chromeo. It’s been over a year in the making. That’s going to be my focus for next year.

Nice! You’ve toured both in Europe and the U.S. Have you noticed any difference between the audiences?

Definitely. In Europe, audiences are more open to experimental sounds. They’re receptive to different music styles and club culture, which makes it easier to explore creatively. In the U.S., there is a big scene, but it’s more about a sense of belonging. Especially within the Latino and Spanish-speaking communities, people connect to my music as a way to feel closer to their roots. It’s a social bridge—a way to hear songs they love in Spanish, to sing along and feel represented.

Fascinating perspective. Thank you so much for your time, Mariana. Also, good luck with the European leg of the tour. I know you’re bringing something special!

Thank you! Yes, that will be another milestone, and I can’t wait. It’s been a pleasure.

Girl Ultra will be performing with just lil at London’s Corsica Studios on Thursday, Nov 7, and EartH Hall on Nov. 8 alongside Cobrah and Big Wett, as part of the Pitchfork Music Festival. You can find tickets for the events here and here.

Check out Girl Ultra’s latest EP Blush, out now on Big Dada Recordings:

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