On a warm Sunday afternoon at a festival in London, the Womack Sisters are gathered backstage on a sofa, still dressed in their stylish black dresses, tights, and high heels from their recent performance. Despite the heat, they appear unfazed. “On stage, you don’t feel anything,” remarks Zeimani with a casual shrug. “It’s an incredible sensation, almost like you’re floating.”
“And we are dedicated to this,” adds her sister BG, nodding in agreement. “We’ve been trained by professionals.”
Their background is indeed impressive. BG, Zeimani, and Kucha Womack are the daughters of Cecil Womack, a renowned songwriter who penned the classic “Love TKO,” and created hits for various iconic artists including the O’Jays and Patti LaBelle. Their mother, Linda Womack, is the daughter of the legendary Sam Cooke, while their uncle, Bobby Womack, was a notable figure in soul music history, known for classics like “Across 110th Street.” Their half-brother’s mother was Mary Wells, famous for her hit “My Guy.”
Given this musical lineage, Zeimani recalls that her father believed pursuing any career outside of music was a waste. When she suggested the idea of attending medical school, he reacted with disbelief. “He said, ‘Just go into the studio and make music.’ I insisted I needed a backup plan, and he was adamant: ‘Forget a Plan B; focus on Plan A and go for it.’”
The sisters had been immersed in the world of music from a young age, traveling the globe with their parents. They visited iconic places like Compass Point Studios in the Bahamas and Bob Marley’s studio in Jamaica, while living in cities such as Bangkok, Johannesburg, and London. “We grew up between London, Thailand, Paris, and Amsterdam, but mostly in London,” Kucha reflects. Their parents included them in all aspects of their work, ensuring they understood the industry. “They wanted us to be aware of what they were doing, so they involved us in everything,” she explains.
BG mentions that if their parents had done interviews back then, they would have participated alongside them. “If they were on a TV show, we were right there on the couch.”
Zeimani’s first public appearance was as an infant on the cover of Womack and Womack’s 1988 album “Conscience,” which featured the hit “Teardrops.” The sisters recorded their debut alongside their four siblings on the 1993 album “Transformation to the House of Zekkariyas.” “We opened their shows,” Zeimani recalls, noting that it sparked the realization that they could form a group. “Before that, we simply thought of ourselves as sisters. But then we felt, ‘Hey, this is a great feeling; I could do this forever.’”
However, she admits that they did not fully heed their father’s advice. They felt the need for a Plan B. “We were a bit stubborn and wanted to explore other options.”
The three sisters relocated to Los Angeles, where they juggled traditional jobs while trying to establish their music career. They ventured into various jobs, including running a cleaning service and, as Zeimani humorously puts it, “selling drugs,” which actually meant operating a marijuana dispensary. Yet, their efforts were challenging. “We kept getting fired,” BG says. “I was let go from Zara for taking time off for shows.” They even worked as Uber drivers, with BG joking, “Uber was a lifesaver! Without it, I might have been in a lot of trouble.”
Compounding their struggles was the music industry’s reluctance to embrace their sound. Although they aspired to create soulful music inspired by artists like Amy Winehouse, record labels pushed them toward mainstream pop. “We would present our demos and explain our vision, wanting to incorporate a live band and orchestral elements. But the response was always dismissive—‘Soul music isn’t in demand right now, especially for artists of color in the U.S.’” They experimented with various genres, even dabbling in R&B and rap.
When asked if they were explicitly told that Black artists shouldn’t pursue soul music, BG confirms with a roll of her eyes, “Yes, that’s exactly what happened. Our manager was too embarrassed to tell us.” Eventually, they decided to take a stand, insisting, “We’re not doing anything else.” Unable to secure support from labels, they funded their own projects.
Fortunately, their independent efforts caught the eye of Daptone Records, a label known for working with artists like Jalen Ngonda and the late Sharon Jones. “It was an instant connection!” BG exclaims, recalling their meeting with co-founder Bosco Mann, who now plays bass in their band. “We spent a year just hanging out and listening to music before we recorded anything. When we finally did, everything just flowed naturally.”
This collaboration led to a series of well-received singles, including “Chauffeur,” which humorously reflects on their experiences as Uber drivers, and “If I Let You,” which gained significant attention on social media after being endorsed by notable figures such as SZA, Timbaland, Ghostface Killah, and Pharrell.
