J’mymah (Jemimah George Mathew) is a versatile singer who made a big-bang debut with the rap portion in Ashubha Mangalakari in the film Super Saranya. She later got noted with offbeat renderings such as Her Dominance in Purushapretham and the Tibetan folk segment of Vanara Lokam in Kishkindha Kandam.
Adapting to the mood of each song, J’mymah seamlessly navigates different genres with ease. She primarily sings and writes in English for Malayalam films. Unbound by labels such as ‘rapper’ or ‘jazz singer’, she stands out as a distinct female voice in the industry.
Currently, J’mymah is focusing on her independent music, eagerly awaiting the release of her upcoming single, Let’s Watch the Sky.
Excerpts from a quick chat:
How did your musical journey lead you into the film industry?
My sister used to sing, and I suppose I had a taste for it too — perhaps it was in my genes. Music was always a part of me as a child, but I hadn’t learnt it through traditional methods early on. In fact, no one at my school even knew I could sing, as I kept it a secret. Later, while studying law at Cusat, I became actively involved in music. We had a small A Cappella team in college, which helped me grow. It was only after my university days that actually started learning music.
I first trained under Aleesha Wilson and later with other teachers. Over time, I became fully immersed in music, leaving law behind. And then, Covid-19 arrived.
During that time, I casually tried making a rap song and uploaded it as a reel. Music director Justin Varghese loved it, and said, “Let’s do something.” That led to my first major project — Ashubha Mangalakari’in Super Saranya. I penned and performed the rap portion of the song. From there, things took off. More opportunities came my way, especially after people heard the now-iconic “Listen, listen, hold your tongue.”
You have worked on songs across various genres. How has that experience been?
With each new project, I am constantly exploring and discovering my true voice. I can perform rap, folk, gospel… my vocal range has become flexible enough to adapt to different tones and styles. In films, music directors set the mood for a song — they are the creators, and I tweak my voice to fit their vision.
For Ashubha Mangalakari, Justin chettan asked me to try a completely different vocal style. That quirky tone was new even to me. Hearing that song, [dirtector] Krishand chettan called me up for Her Dominance in Purushapretham. He wanted the same tone. I knew his film would be an interesting one. The lyrics for that song were intentionally written from a ‘girl boss’ perspective.
Mujeeb Majeed, the music director of Kishkinda Kandam, is a close friend of mine. He wanted to bring a northeastern flavour to his music. I have always loved the oriental style of singing, so when he approached me for a track, I experimented with different vocal techniques, even incorporating Nordic influences into Vanara Lokam. Originally, the track was just meant for background music, but once the film was completed, it was released as a standalone song.
Beyond films, what independent projects are you working on?
When I create independent music, I have complete freedom. One of my singles, Nerame, was composed and produced by my boyfriend (Gichu Joy), who collaborates with me on most of my tracks. I co-wrote the lyrics with my friend Anoop. Another track, It Will Be Born, is done in a ‘light language’ style. I have also created several other songs that will be released in time. Seed of Life, an upcoming album, is in the works.
Performing live with my own original songs gives me immense joy — much more than singing covers, which I used to do. We are currently preparing for a show at The Grill Lab, Palarivattom, which will be a mix of ecstatic singing and dancing. I also teach music, both online and in one-to-one sessions.
Many of your songs focus on themes of female empowerment…
It just happens! The songs and films that come my way often seem to align with that theme. Aside from 1744 White Alto, most of my work revolves around women’s power.
For Ashubha Mangalakari, I suggested that my rap section should serve as a response to the Malayalam lyrics, rather than echoing the same sentiments. However, for Jhalakraani in Jaya Jaya Jaya Jaya He, the theme was already set. Likewise, the background score during Kalyani Priyadarshan’s fight scene in Antony naturally fits into that same narrative. I didn’t have to force it—it just made sense, given the context.
How do you view the rise of rap music and multilingual tracks in Mollywood?
Everything has its season, and right now, it’s the season for this kind of music. It’s driving change in our industry and our generation. Malayalam rap is gaining traction. Some songs also have an international appeal. Things are expanding in their own way.
With Big Dawgs and similar tracks making waves, a huge door has opened. We now have a clearer path to follow, and it’s exciting to see where it leads. In the end, it’s all becoming a global musical community.