CREATORS CONNECT – FAYE DONNA FRANCIS

When and how did you get involved in LIMF Academy Orchestrated with the Liverpool Philharmonic Youth Session Orchestra?

I first became aware of LIMF Orchestrated when I applied to LIMF back in 2022. It was one of the main reasons I wanted to be part of the programme, alongside the opportunity to connect with other artists across the city.

What attracted you to the idea of an orchestral collaboration in the first place?

Growing up, we often went on school trips to the Philharmonic. Most of the time, as primary school kids, we were impossible to keep quiet – but the moment the orchestra began to play, everything changed. We’d fall completely silent, totally absorbed. I remember being amazed by how grand and powerful it felt, bigger than anything I’d ever experienced live before. Those early experiences stayed with me and quietly shaped the way I listened to, felt, and imagined music.

When I applied to LIMF, those memories were very much part of my motivation. I was drawn to the idea of stepping into a creative community in my own city and, in some way, reconnecting with those formative moments in a more intentional, professional setting. LIMF Orchestrated felt like the clearest bridge between then and now – a chance to bring my own songwriting into dialogue with the same orchestral world that had once left me speechless in the audience.

What was it like working with Katie & the orchestra?

Working with Katie and the orchestra felt like stepping straight back into that moment, except this time I was inside it. The room was full of encouragement, energy, and a genuine desire to create something meaningful. By the second rehearsal, the weight of what we were part of really hit me. Katie even pointed out how moved I looked – and she was right. I was.

The instrumentation unlocked emotions in my music that I hadn’t accessed before. There’s something about working with an orchestra that feels almost otherworldly.

What surprised you most about working with orchestral musicians compared to a band or solo setup?

As a woman, this experience felt incredibly empowering. In band setups, I’ve sometimes felt out of my depth technically, and because of that, I’ve felt judged or not fully encouraged even when I had ideas I believed in. But this was completely different. I felt comfortable, heard, and confident. The musicians really took on the intention and storytelling behind each song, and you could feel that in the way they played. It made me trust my voice and my instincts in a way I hadn’t before.

How did it feel stepping on stage knowing your songs would be performed with a full orchestra?

On the day of the show, I surprised myself. I’m usually an overthinker, but this time I felt ready, grounded, but buzzing. Clear in what I wanted to say. My set centred around celebrating my life, my experiences, and the lessons I’ve learnt along the way.

Better Place was about embracing growth, even when it feels uncomfortable or unfamiliar.

This House No Home explored the unhealthy ways I’d tried to cope with feeling like an outsider in the city.

And Flaws and All was a thank you, to my friends and family, for supporting me through all the sensitivity and drama that comes with being me.

The whole experience felt like something I’d been building towards for a long time. It’s genuinely the best I’ve ever felt on stage. I put so much into preparing for that performance, and it’s shown me how much further I can go pushing the emotion, committing to the moment, and using both the instrumentation and performance to really connect with an audience.

Has this experience changed how you think about your own music?

I definitely want more instruments in my band now. No question.

Faye is going full Raye just without the budget (for now). One day though.

Words by Faye Donna Francis | @faye.donna.francis