A New Year, A New Album, A Timeless Voice

From the start of her career, Fikeraddis Nekatibeb has captivated audiences with a voice as commanding as her stage presence.

Raised in Dembia Koladeba, Gondar, she began singing as a child, even as her parents urged her to pursue medicine instead. “They wanted a doctor,” she recalls, “but I only wanted music.” That determination has carried her through more than three decades at the forefront of Ethiopian music. Her albums — including Misikir and YekoloTemari — have cemented her reputation as one of the country’s most celebrated performers.

Her latest project, Dehna Sew, released on August 27, 2025, marks a new chapter. The 14-track album blends tradition with modernity, produced in collaboration with her husband, Abebe Birehane, and acclaimed arranger Abegaz Kibrework. Fikeraddis is quick to credit them — and her childhood idol, Aster Aweke — for shaping her sound.

In a wide-ranging conversation with Abraham Tekle of The Reporter, Fikeraddis discussed the making of Dehna Sew, the creative journey behind it, and what lies ahead as Ethiopia enters the 2018 New Year.Excerpts:

The Reporter: You started performing at a very young age, including your early stint with a military band — in what ways did those experiences shape your vocal style and influence how you interpret songs today?

Fikradded with katheb: My involvement in Ethiopian music has significantly contributed to my personal and professional growth. However, as individuals, we all have the freedom to choose what is best for us. Our line of work requires constant attention, unwavering support, and ongoing training, including maintaining physical fitness. These are essential requirements for my stage presence, and I’ve always made sure to meet them throughout my career.

Over the course of your long career, you’ve witnessed the Ethiopian music scene evolve dramatically. Which of those changes have had the greatest impact on you, and how have you adapted to them?

Truthfully, I’ve poured my heart into this profession. From a young age, I cultivated a deep appreciation for music by listening to a wide range of global artists. My belief is that significant change requires a total commitment, similar to how one dedicates themselves to education to acquire knowledge. My journey to where I am today has been shaped by rigorous training, studying various musical styles, and actively observing stage performances. I continue to listen to music from all corners of the world to better prepare and equip myself. My willingness to learn and evolve is unwavering as long as I am a performer, and I’ve gained invaluable knowledge from those around me.

Looking back on your childhood, who had the biggest influence on you musically — the artist or figure who inspired you most?

I’ve often spoken about it: Aster Aweke has been my inspiration since I was a child. She played a key role in shaping me into the artist I am today. Her talent as a singer and her character as a person are both amazing. I’m always in awe of her stage presence, and everything about her serves as a model for me.

Your new album “Dehna Sew” spans styles from blues to modern hip-hop and features a variety of arrangements. Could you walk us through your creative process — how you chose the songs, collaborated with arrangers, and made key recording decisions?

This new album, which follows “Misiker,” took two years to complete, a length of time that still surprises me. The delay was due to juggling family and personal responsibilities with my professional life. As an artist, I have to perform in clubs, on stages, and travel abroad to earn a living, which made it impossible to dedicate all my time to a single recording.

As the album’s creation was a collaborative effort involving various challenges and changes, we worked with many different people, which sometimes required making difficult decisions to either continue or part ways with collaborators. There were also moments that demanded significant corrections and improvements. Despite the obstacles, we persevered through every situation to finish the album.

The album features arrangements by five professional arrangers, including seasoned experts like Abegaz, Maru, and Surafel Yeshitila, as well as other young talents. Abegaz was responsible for coordinating these diverse talents, arranging and mixing eight of the songs. Additionally, Abe [her husband] wrote the lyrics and melodies for two songs, while Anteneh and Tesfabirhan contributed melodies to other tracks. The mastering process took place in the US with a professional mastering studio and sound engineer named Charli, a Grammy Award winner. So, for the recording, Abegaz and I travelled to the US for his studio work, and I can’t praise his work enough.

The final result is a wonderful album that blends different music styles and arrangements, making it a truly “colourful” project that also preserved my authentic sound. Releasing 14 songs in one album is a significant achievement in today’s music industry, and the positive public reaction just 12 days after its release confirms its success. I want to express my deep appreciation for everyone who contributed to this album. Their talent and hard work deserve equal credit. I am especially grateful for the amazing involvement of the younger artists, and I’d like to thank Bisrat Surafel for introducing me to these new talents and for his incredible song writing contributions, particularly the Afro-beat and hip-hop tracks including others.

From your latest album, which track do you feel has resonated most strongly with listeners so far?

I’m truly happy that the album has received so many views just 12 days after its official release. My songs, particularly “Selam Leki” and the one in the Gojjam style, have received the most views, although the others have also been met with a great response. I want to thank everyone for their appreciation; it’s a wonderful reward for our hard work. The positive feedback from the public inspires me to keep working and improving.

You’re married to the renowned musician and producer Abebe Birhane. In what ways has that partnership influenced your growth as an artist — and how have you balanced being collaborators in music with being partners in life?

Working with Abe is a seamless experience because we have an incredible understanding of each other. It’s hard to explain the connection we share, but we are both in tune with each other’s professional needs and intentions. I find it easy to understand his direction, and he knows exactly how I will respond to his instructions. This shared rapport stems from our parallel journeys in life and our experience working in the same field. My skills and training naturally align with what he offers and teaches me. Our successful partnership proves that when interests align, the result is a powerful creative connection.

Artists who’ve collaborated with you often describe you as cheerful, easy to work with, and quick to understand new ideas — yet also very determined when it comes to work. Do you see yourself that way?

To tell you the truth, most artists who’ve collaborated with me can attest to my work ethic. While many people only know me by my voice and stage presence, they might not see the behind-the-scenes reality. It’s a common misconception that performing is easy and free of conflict. In truth, I am extremely disciplined and organized. For instance, even if I’m the last person to perform, I always make sure to be the first one at the venue. This is a reflection of my upbringing and my deep sense of responsibility toward my work.

I pour everything into my craft and take my work very seriously. That said, I am also easy-going and can connect with people easily, even in new environments. Ultimately, I live for my soul and for my deep love of music.

During the recording of your latest album there was a moment, before a rehearsal, when Abebe considered leaving the studio for personal reasons, but you urged him to stay. How did that situation resolve, and do you see that moment as reflecting your natural approach to work and collaboration?

As I’ve said, I take my work very seriously. When Abe and I are in the studio rehearsing, our disagreements can become so intense that an outsider might think our journey is over at that spot. We debate and challenge each other a great deal. However, these disagreements are strictly professional; we leave all disagreements in the studio and resolve them there. Our relationship remains strong outside of it.

Those close to you mention that after performances, you split your earnings with the band members and never accept tips for yourself. Is that accurate, and what philosophy guides this approach to sharing and collaboration?

When our band performs in a major concert alongside other renowned groups, we often receive attractive gifts. We split these gifts among ourselves a week later during a gathering we affectionately call “Hoya Hoye.” This occasion is a beautiful expression of sharing, and I believe it brings an added benefit to each of us. While we [musicians]earn a higher income than most, I typically don’t share any tips we receive during a performance, except for those given to me personally during an international tour.

How do you plan to celebrate the upcoming New Year, and what kind of atmosphere do you usually enjoy for such celebrations?

Following the release of my new album, I’m busy preparing for a major concert to celebrate the New Year and the album’s launch. As a result, I’ve temporarily stopped my regular performances at the Sheraton Hotel. While my international tour is scheduled to begin after the Meskel celebration, I’m happy to be staying home for the upcoming new year.

As Ethiopians welcome the New Year, what personal reflections would you like to share, and what can your fans look forward to from you in the year ahead?

I’m excited about the release of my new album and the upcoming tour, which will kick off here in Addis Ababa. As we welcome the new year, I pray for peace, a return to harmony, and an end to the tears and challenges facing our country. Finally, I wish all my fellow Ethiopians a Happy New Year.