In 2026, Fridays still belong to new releases, but rarely to the people who make them. The writers. The producers. The architects of feeling. Last week I got the chance to sit with one of them: Nija Charles.
Grammy-winning songwriter and producer, Nija has worked with DJ Mustard, Diplo, Murda Beatz, Boi-1da, and more. She landed writing credits on Cardi B’s Invasion of Privacy for “I Do” and “Ring,” helped pen Jason Derulo’s FIFA ’18 anthem “Colors,” and most recently wrote “Shower Tears,” a collaboration between Cardi B and Summer Walker. Sixteen Grammy nominations, two No. 1 Billboard Hot 100 records, and a spot on Forbes’ 30 Under 30 underscore her impact.
To sum it up, Nija’s pen shaped the emotional vocabulary of contemporary R&B and pop of today, and you’ve probably sung along to something she’s written once or twice.
I met her at the Ace Hotel in Downtown Brooklyn during a crowded, bustling lunch hour on a rainy Friday.
Upon greeting, she arrives five feet tall, Prada puffer zipped to the chin, Jersey through and through. Back on the East Coast, she says she’s been enjoying time with family — the longest stretch here in years — and it has her feeling “grounded.” But she’s not here for long, she’s leaving before the next storm hits.
With credits for Cardi B, Kehlani, Beyoncé, and Rihanna, she could easily be “your favorite artist’s favorite pen.” But today we’re talking about her own project, four years after her debut. Released last month, What I Didn’t Say is a full-bodied R&B record, packed with Jersey beats, sticky melodies, love songs, and sleek, intentional arrangements. Tracks like “32nd Floor,” “Heaven,” “Back Outside,” “I Just Called” featuring Blxst, and “In Between” featuring Jordan Adetunji map the shift from behind-the-scenes hitmaker to front-facing artist.
Now she’s recalibrating the power dynamic that so often puts people who pen music in a box. In 2026, “artist” is elastic: writers perform. Producers step out from the boards. Managers build creative worlds. And if we’re being honest, in the ever-evolving and volatile landscape music continues to exist in, those strict lanes collapsed a long time ago.
She’s done being either/or. I talk to her about the tension between being the creator and the subject: what it means to own your narrative in an industry that prefers you compartmentalized: pen or face, architect or muse.
The era for “What I Didn’t Say” feels different — not just in the music, but in how you’re showing up online. It’s like we’re seeing more of you in real time. What changed?
Nija : My career — especially as a songwriter — took off really fast. And I realized a lot of people only knew me for that one thing, when it’s actually just a small part of who I am and what I want to do in life.
And then also, going viral on TikTok — I didn’t mean to go viral on TikTok. I was just like, you know, that was my outlet to laugh. Then one day I just blew up and I was like, “Oh.” And seeing how people were tapped into me, I was like, wait a minute.
In the beginning of my career, I would always go on live and just talk to the people who were following me and hear some of their records if they made music. I built like a small community before live streaming was big.
I’m such a private person, but I feel like the people that have been with me and following me — I owe more to them. So I’m just like, you know what? This era I’m gonna show a little bit more of myself. I’m gonna be a little bit more vulnerable. I’m gonna show a little bit more of the other things that I like to do or just what my day in and day out is like — especially when it comes to work.
I like showing people the process of my work. Seeing other people’s processes is what inspired me. I feel like knowledge should be free. I know there are little girls that look like me who want representation. They wanna see that. So I just want to lay it all out there.
You’ve spoken about longevity a lot. Even starting your own publishing company. What made you start thinking about the business vs. just the art?
Nija: Even though I’m young, I’ve already had a long career. I’ve always been intrigued by my inspirations and studying the longevity of a person’s career. After you do everything you want to do in one lane, what happens after that? You just keep doing that for the rest of your life? It gets boring — and I’m an artist. I like to create.
If I’m creating in just one way, I don’t know if my passion will burn as much when I’m 60. At some point you have to pass the baton. If I can pass that baton to 15 people who are going to make stuff I’m gonna put on my playlist — that’s great for me and great for the world. That’s my impact.
I was that same person who wanted an opportunity. Thankfully somebody lent that to me. And because I’ve lived through it — the ups and downs, starting from scratch, making something out of nothing — if I can help someone speed up the process and avoid the mistakes I made, everything will just come back
It’s been four years since your last solo project. Why was now the right time?
Nija: I wanted to drop earlier, but leaving my first situation and getting everything right — and making sure the music and vision were right — took time.
My first project outdid what I thought it was gonna do. That made me realize, no, you’re not a songwriter trying to be an artist. You are an artist. So I wanted to give this project the same level of quality.
This new music is sexy, less heartbroken than the prequel. Why that direction?
Nija: I didn’t want to be put in a box as someone you only listen to when your heart’s broken. That was just the situation I was in during the first project.
And it’s been four years. I’ve been in different relationships and situationships. I’m growing. Adulting. You can have ups and downs in healthy love. You can make a fun song about having fun with somebody.
You’ve been in the game 10 years. What’s the biggest difference in the music industry now versus when you started?
Nija: I would say radio and streaming. When I first got in the game, radio was the engine. That’s how you got ears on your music. It still is, but because streaming has gotten so big, that’s the main discovery platform now.
When I first got in, radio was my money maker. Especially as a songwriter, that’s one of the only ways you get paid. You can have a billion streams on Spotify and that probably equates to… I don’t know, maybe 10 grand at the end of the day. Don’t quote me on that — the numbers are probably wrong — but it’s not what you think it is. It’s not the same.
Labels don’t care as much about radio in the same way anymore. They’re not sending new artists straight to radio like they used to.
You’ve described writing for other artists as stepping into a character. What happens when it’s your own record?
Nija: For me, it’s no character. That’s when I take the mask off. Writing for other people, I get to hide behind them. It’s not my story. I’m just doing what I think they should say.
For myself, it’s like this is my diary. I’m naked. It’s like you’re going out in the middle of Broadway like, “Here I am.” That can be scary.
Is that harder?
Nija: Oh yeah. I’m a private person. Now I feel like I’m telling everybody my secrets. I’m showing everybody who I am. When it comes to being vulnerable about love, getting hurt, my vices — now people have the keys to me.
It definitely is harder. But that’s what people connect to. Even though it’s my life, we’re all human. So many people relate to it. So I always remember that — just bear it all and put it out there.
How did you decide on collaborators for this project?
Nija: It was a few different things. For example, with Blxst — I was working with him on his project and we already had the collab with Babyface Ray. I love his voice. Hearing how he approached different sounds made me want him on “I Just Called.” And he’s my brother — we’ve been rocking for years.
With Jordan Adetunji, it came from how our record came about. He sampled my record and it went crazy. Seeing him blow up from TikTok to being a global artist — and seeing how he flipped a sexy drill song into something that went number one on radio — I was like, I need you on my project.
You’ve written tons of hit records. What are the three ingredients of a hit song?
Nija: Stickiness. Hooks on hooks on hooks. If a baby can remember it and sing it back to you, that’s it. Conversational lyrics. It should sound like you’re talking to somebody so the listener relates and uses it as their Instagram caption. Ad-libs and harmonies. That’s the seasoning. It’s what gives the song flavor. Without it, it’s bland.
What’s a studio session no-no? And what’s a must-have?
Nija: Studio no-no — please do not bring no za. I don’t like smelling like weed. Smoke outside. Don’t hotbox my session. (Laughs) What if I I don’t get my hair done till next week, and I’m going to be smelling like this for the rest of the week? No.
Must-have? Sour candy. Sugar is my pick-me-up.
How are you grown — and how are you growing?
Nija: Grown? I love me a Biscoff cookie and some coffee. Growing? Just adulting. I’m learning new lessons in music, listening differently. One of my favorite songs right now is “Hotel California” by Joji. It’s mellow, peaceful, minimal — but still catchy. I can play it in the car, on a jog. It just sits with you.
Lastly, what advice would you give to an artist who does everything — writes, engineers, produces — but is scared to step out as an artist?
Nija: When it comes to stepping out as an artist, you just gotta do it. You’re not gonna learn to swim unless you get in the water. The only thing holding you back is your fear of what could happen. Don’t let what could happen stop you from what might happen.
Stream “What I Didn’t Say” on all platforms.