Shape of Love

FEMME SCHMIDTs "Shape of Love" is the title song of the upcoming movie "SMS für dich" (In theatres now)

With a top-notch cast the romantic comedy is not only Karoline Herfurths directing debut, she also happens to be the main actor as well as the author of the script. The title song “Shape Of Love” is by FEMME SCHMIDT. After successful club tours and international support gigs for talents like Sir Elton John, Lionel Richie and Bryan Ferry FEMME SCHMIDT released her second album “RAW” this year. With this record the Berlin and London based artist took her pop sound to the next level increasing energy and edginess - a perfect match for big emotions of the movie. The lyrics could easily be from the movie script itself: „If I die tonight, at least I know that we found love“. 




incl. new single „Shape Of Love“


Femme Schmidt



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Femme Schmidt: a glamorous appearance with a tiny bit of grit beneath her fingernails.
With disarming nonchalance she’s merging contradictions – not only in her looks, but also in her highly branched musical scope: Tarantino meets Bond, jazz meets urban beats; and La Belle De Nuit is blending it all together with her warm, smoky voice, anthem-like hooks, edgy guitars and dark bass lines combined with orchestral strings. Femme Schmidt’s self-created Pop Noir is stylistic incongruity on principle – because that’s exactly what she wants and that’s exactly who she is. “There will probably never be an ultimate Femme Schmidt, because I have way too many facets. But I never had the feeling that this could be a bad thing. Quite the contrary is true: That’s me! And I love to let all my inconsistencies run free – dropping all of my insecurities and bondages and being nothing but myself: real and raw.”



The direct way would have been way too short. The linear distance between her debut and her second album – between London’s district Kensaltown and the former Sleeper Sounds Studios, in which Femme Schmidt wrote and produced her self-titled debut together with Guy Chambers in 2011 – only counts a few miles. But the road from one album to another is rarely leading only straight ahead. After the release of her first longplayer Femme Schmidt extensively toured Germany’s clubs, supported Sir Elton John on his stadium tour through Australia and visited Lionel Richie on-stage in Paris and Vienna. Most recently she accompanied pop icon Bryan Ferry at his concerts in Germany. But Femme Schmidt’s biggest challenge has been the quest of finding matching surroundings for innovative ideas and new songs. Totally aware of the necessity of her inner journey she states: “Every album is like travelling with an unknown destination. Guy and I have known each other for too long to create something excitingly new – at least this is what I believe is true. I needed to leave my comfort zone.”

Starting at her homebase Berlin, she once again travelled the world. Femme Schmidt worked and wrote with leading figures like John Ingoldsby, Peter Vettese and Eurythmics mastermind Dave Stewart, as well as promising newcomers yet only known by insiders. “A lot of awesome songs originated during this time – but what I tried to find for my new album, stayed undiscovered: a partner in crime. This partner turned out to be James Bryan, with whom I wrote the first song ‘To the Edge’ at Kensington studios. This song is precisely describing what you have to dare to create something new facing the unknown – hoping that there is someone to rescue you.”

Femme Schmidt let herself be rescued by James Bryan, with whom she created the biggest part of the songs for her album RAW; by Glen Scott, who became the leading producer in corporation with Andreas Herbig from Hamburg; and last but not least by her studio crew in Martin Terefe’s Kensaltown creative complex in central London. The RAW team only was completed by multi-Grammy-winner Michael Brauer, who conducted the final mixing process at the Electric Lady studios in New York.

Femme Schmidt took her time and freedom to create the new album and intensively delve into ideas, songs and sounds. And the result fits her perfectly: Schmidt’s voice is as distinctive as it’s never been before, but she arranged her Pop Noir much more direct, rough and loaded with energy. And in comparison to her debut, the main source of inspiration isn’t the heartbeat of a metropolis, it’s her own:

”The personal journey of the last two years had changed me a lot. By this time I’m rather focusing on me, than monitoring the world that surrounds me. At the time of my debut album I used to be the voyeur, looking at everything from the outside. Now I’m right in the middle of it all.”



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Deville Schober
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