genre rb

On Valentine’s Day 2025 (Feb. 14), a music video clip featuring an impossibly long and undeniably sensual makeout session instantly dominated social media. The video featured two artists: five-time Grammy-nominee Kehlani and one of R&B’s most arresting new voices — kwn.
Hailing from Walthamstow, East London, kwn (pronounced kay-one) grew up in a musical household soundtracked by selections from her mother, two older sisters and former-DJ father. While her parents introduced her to “old-school garage and house,” her sisters’ love for early-‘00s R&B heartthrobs ended up having an outsized impact on her current sound. “When I shared a room with my middle sister, she would have Chris Brown posters all over the wall, and my eldest sister was in love with Justin Timberlake,” the artist born K. Wilson reflects with a slight chuckle. “We had loads of R&B going throughout the house. A lot of Pharrell and stuff like that. I think it’s definitely following me now.”

Around 13 years old, kwn made a decision between football and music that would completely change her life. Building on her background on drums and keys, she began learning her way around at-home studio setups with some help from her sisters and their friends. She calls “So High,” one of the first songs she ever wrote, “terrible and really bad,” but she’s open to the idea of potentially sampling it in a brand-new record. By 16, she enrolled in East London Arts & Music, where she enjoyed a thorough music education, covering everything from music theory to reading contracts. Her time at East London gave her space to find her sonic pocket – a moody amalgam of trap, soulful vocal stacks and splashes of dark electronic music that both captures and reimagines the post-Bryson Tiller R&B landscape – with early tracks like “Tell Me” (with Natrell).

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In 2019, she connected with manager Carlyn Calder, who founded artist management company Vibeout Limited that same year, joining a roster that included Jvck Jones and Grammy-nominated producer Scribz Riley. “Nothing goes without Carlyn’s permission. We’re on the phone probably 50 times a day,” remarks kwn. “She’s my best friend; it’s a really good relationship that allows us to level up together without any pressure or ego.”

After taking some time to regain her motivation following COVID-19 lockdown, kwn launched her debut single, “Wn Way or Another,” in 2022. The song introduced her debut EP, Episode Wn, which arrived later that year. Kwn’s momentum continued in 2023 with “No Cinderella” and “Eyes Wide Open,” but the following year proved to be the tipping point for her burgeoning career. In 2024, she guested on “Clothes Off,” a cut from Kehlani’s While We Wait 2 mixtape, and later opened the European leg of the “After Hours” singer’s Crash world tour at the top of 2025.

“Worst Behavior,” the song that soundtracks that heated music video, arrived last November, instantly becoming kwn’s most-streamed song on Spotify – only to be surpassed by the Kehlani-assisted remix that landed three months later. According to Luminate, kwn’s breakthrough hit has amassed over 16 million official on-demand U.S. streams through March 6.

Billboard spoke with March’s R&B Rookie of the Month about what she learned from touring with Kehlani, how the steamy “Worst Behaviour” music video came together, collaborating with ROTM alum Jordan Adetunji, and how she views the U.K. R&B scene.

When did you decide to use a stage name, and how did you land on kwn?

It kind of came out of a nickname; it used to be K with a #1. My manager tried to make me change my name completely, but I liked the way it sounded — it just didn’t look cool on paper. So, I mushed all my initials together, since my last name is Wilson. If people don’t know how to pronounce it [yet], it’s fine. They’ll catch on soon.

How would you describe the evolution of the “kwn” sound?

I don’t really think I could pinpoint a sound; I just do whatever feels good. I love creating, and I don’t think there’s a limit to what we can do. I love the thought of waking up in the morning knowing that what I’m gonna come out with at the end of the day doesn’t exist in the morning. Even if it’s not something that eventually gets released, it’s still a beautiful process.

Do you find yourself getting drawn to certain chords or textures?

Yes, definitely. R&B influences are a consistency throughout my music, but I try to push the boundaries to see what I can do differently with it.

What elements from traditional R&B do you try to keep in your style?

I love traditional R&B background vocals and vocal production. I study that quite a lot and have been for the past year or so. Every time I go into the studio, I’m like, “Let’s make something that doesn’t sound like anything anybody’s heard.” Even if that means sitting there for the next 12 hours and we bang out 15-20 ideas. And if we don’t make anything, we don’t make anything. That’s what it’s all about.

What’s your favorite part of the music-making process?

The thing I find tedious is also the thing I love the most, and that’s doing background vocals. It takes so long, but I love it. The end product is always so amazing when you hear it. I’m always recording myself; I just prefer it.

Who were some of the producers or engineers that you find yourself drawn to?

Joel Compass is amazing – we work really well together. Scribz Riley is amazing. I’ve been working a lot with FaxOnly, too.

How did “Worst Behaviour” come together?

I was at home in my bedroom, and my mom was out that night. She never usually goes out, so I was like, “Alright, I’m gonna bump the music as loud as I can.” I made the song on Instagram Live in maybe 10 minutes. It was quick. I can’t remember what the inspiration was. I had the space and time to create, so I did. After I made the beat, I started coming up with melody ideas, and then I had the first verse and the chorus done.

I’m still on Instagram Live at this point, like, “Where’s my mum?” Somebody in the comments was like, “Oh, your mum commented that she’s already home!” I was like, “Huh?” I went into her room, and she was fast asleep. I said, “Oh my goodness. I’ve been blasting the music this whole time, and she’s been sleeping!” [Laughs.]

I wrote the second verse with Sasha Keable and finished it. Obviously, I worked hard on it, but it doesn’t feel like it was one of those ones where I had to take my time with it and revisit it a few times. It was super organic.

When did you start to realize that this was growing into a hit?

When I made it, I was like, “Oh, I think I got something here.” I always kind of know when I’m working on a song, whether it’s gonna be something that I keep. If I wake up the next morning and wanna listen to it straight away, it’s probably a good one.

Has your mom finally heard the full version of the song?

Oh yeah, she loves my music! She’s my biggest fan. I love my mum.

Did you always envision a remix?

No, I didn’t. Me and Kehlani have been friends for a minute now, so once I put out “Worst Behaviour,” she told me I should do a remix because it was kinda going off. I was like, “Why don’t you jump on the remix?” — I had to! — and then she jumped on it. She sent me the verse back within a day, she’s super fast.

What were some of the biggest takeaways you got from opening for Kehlani’s tour?

The biggest takeaway was that I can actually do this. Obviously, I know how to make music in my bedroom and do take after take until it’s perfect. But standing up there onstage and doing it without stopping… it’s a bit daunting. After the Crash [World] Tour, I now know I am ready to do this as a full-time career. I’m doing that already, but it taught me what kind of levels I can reach.

To perform at the O2 in my hometown – just my second hometown show after popping out for Destin Conrad at Koko, which was amazing – at this stage in my career is cool. I’ve only been putting out music for the last two or three years.

“Clothes Off” or “Worst Behaviour” remix?

I love both, but “Clothes Off.” It’s something about the sonics of it.

You know we need to talk about the “Worst Behaviour” video.

I knew you was gonna ask me about that. [Laughs.] We shot the video the day after the London show, which was crazy. Both me and Kehlani were sick; it was a tough one to get through, but we did it. We already had the idea of me being in front of the car, and one-take videos are a running theme for me, so we went from there. My director, Chris Chance, wanted it to be sexy and feel like you’re stuck in this moment with the eye contact and the Shibari model. We wanted you to be distracted, but not too distracted.

And then the kiss, man. We decided to shake the Internet a bit and get this song really popping off – and that’s what we did.

Where did the one-take video aesthetic come from?

I watched a lot of cool videos that were going around on TikTok, and they were like 10-second, one-shot things that were super cinematic and in slow motion. I also watched [the 2021 British drama] Boiling Point, which is a whole one-shot film. I think it’s a cool way to tell a story, and it worked straight away. I’m super involved in the editing process; it’s more me and my manager sitting down and coming up with an idea, then taking it to Chris, and he’ll elevate it. It’s a proper collaboration.

We did it for “Lord, I’ve Tried,” and that worked amazingly, so we did it for “Eyes Wide Open” and now “Worst Behaviour.” The hardest part about the “Worst Behaviour” video was the Shibari model because you can’t control how she spun on the rope.

You linked with Jordan Adetunji for his song “Too Many Women.” How did you two cross paths?

He was teasing it on TikTok, and then he hit me like, “Yo, we gotta get one.” I told him the song he was teasing was fire, and a few months later, he sent over an open verse. I did it for him, and that was that. Another bedroom banger that I did in my room. I think he did his parts in L.A.

How would you characterize the U.K. R&B scene?

There’s a lot of good talent coming out of the U.K. If I’m being totally honest, we should do more things to uplift U.K. R&B as a whole, rather than individually. There’s a lot of talent that I think is overlooked, but we’ll soon get our time.

Do I see myself as a part of U.K. R&B? I rep London heavy, but I’m also just here. My name is Kay, and I’m just doing my thing, going around this world, trying to live my life.

Who’s on your Mount Rushmore of producers you’d like to lock in with for a whole project?

Pharrell, Timbaland, Finneas and Anderson .Paak.

How are you handling how quickly things are moving?

I’m so overwhelmed right now. Somebody asked me the other day, if there was a theme track to your life right now, what would it be? I said it would be like 50 songs all at once — that’s how my brain feels. There’s a lot going on, but I’m so grateful. It’s a good problem to have, but a lot to adapt to. I’m just trying to remain grounded and keep myself focused.

What else do you have planned for 2025?

My project is dropping this year. I’ve been working on it for the last nine months to a year. I’m super proud of it. I’ve produced quite a few on there too, which is super exciting for me as a personal goal. I hope to do more shows as well. I want to travel more and make more music in different countries.

What does rest look like for you in this kind of moment?

Yeah, I do be resting; don’t worry about it. [Laughs.] I always wanna keep the love and passion I had for music from the start. The studio is my safe space. I love spending time with my family; that’s probably the most important thing for me. I got a niece and nephew whom I love spending time with, and they’re a big part of my life.