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"Creating with the right people really shapes the atmosphere" - Inside Misha & cocabona's World of JOMO

A deep dive into JOMO, collaboration, and the mindset shaping their most personal work yet.

By Eugenia RoditisMusicngear Editor

Finnish producers Misha & cocabona have spent over a decade building a world where soul, R&B, hip-hop, jazz, and soft-glow electronics blend into something distinctly their own. Their EP JOMO, crafted between London, Helsinki, Amsterdam, and New York, reflects the philosophy shaping both their music and their lives: presence over pressure, depth over noise, intuition over speed.

Across our conversation, they opened up about the mindset behind JOMO, the role of collaboration in shaping its atmosphere, the spaces and cities that left their imprint on the music, the trust that fuels their long-standing partnership, and the gear choices that bring their ideas to life. They spoke about experimentation, creative freedom, remote collaboration, stepping into new roles, and the personal shifts that shaped the project behind the scenes.

Eugenia Roditis, Musicngear: JOMO feels like a beautifully unhurried project full of warmth, subtle textures, and freedom. When you started working on it, what kind of space did you want to create for yourselves in the studio, both musically and mentally?

We started working on JOMO in the summer of 2024 in London, during a session with Kadeem Tyrell. Once that first track came together, we realized the theme we’d touched on could actually form the foundation for a whole project.

The next day, we met with Derrick McKenzie and started working on a few song ideas, one of which became “The Present”, featuring the Dutch singer Joya Mooi. Creating with the right people really shapes the atmosphere; when everyone’s energy aligns, the space naturally becomes relaxed and open, and that’s when the most beautiful music tends to happen.

Musicngear: The EP moves between continents - London, Helsinki, Amsterdam, and New York. Did changing environments influence your sound choices or workflow noticeably?

cocabona: Definitely. One clear example is “The Present”. We had access to a real Fender Rhodes, drums, and a bass amp, which allowed us to jam together live. That setup shaped the whole feel of the track.

I think it would’ve been a completely different song if we’d built it the way we usually do, by writing each part separately.

Misha: Across the EP, you’ll sense the texture of the places where it was made. Tracks like ‘JOMO’ and ‘The Present’ took shape in London, while ‘All Day Long’ began its journey in New York.

For me, being in a new location always changes my outlook artistically – each city brings its own distinct energy.

Creating with the right people really shapes the atmosphere; when everyone’s energy aligns, the space naturally becomes relaxed and open, and that’s when the most beautiful music tends to happen

Musicngear: You've been working together for over a decade. How has your creative chemistry evolved, and how do you balance experimentation with knowing when a track feels finished?

After working together for so many years, our chemistry and workflow have really become their own language. We don’t have to talk much about where an idea should go; it just happens naturally. There’s a lot of trust in the process now, which makes it easier to take risks and experiment without overthinking.

I don’t really second-guess things anymore, like whether a sound is “right” or not. If it feels honest and serves the song, then it’s right.

Musicngear: Let’s talk gear. What instruments, hardware, or plugins shaped the core sound of JOMO? Were there any particular synths, pedals, or even recording setups that defined its atmosphere?

cocabona: The sound of JOMO feels quite organic to me; there’s a lot of Rhodes, bass, guitars, and a mix of live drums and programmed drums that have that live, human feel. We really wanted the textures to breathe.

One of my favorite plugins lately has been Arturia Tape Mello-Fi; it’s so versatile and adds this beautiful analog warmth to any instrument. It became a bit of a secret ingredient throughout the project.

Misha: When it comes to instrument plugins, my go-tos are Spectrasonics Keyscape, Spectrasonics Omnisphere and u-he Diva. We aimed to create a timeless sound by blending organic and electronic elements.

Musicngear: The EP brings together such a wide palette of collaborators, from Kadeem Tyrell to Derrick McKenzie, Amelia Rose, Monma, Latrell James, and more. When working with artists from different backgrounds and countries, what’s your process for preserving each artist’s individuality while keeping the project cohesive?

cocabona: These were just a bunch of people we happened to be working with at the time and I was kind of surprised how well it worked, to be honest.

Misha: I approach collaboration as a cultural conversation: it’s about creating space for each artist’s individuality but also sharing an emotional core.

From the start, I wanted every collaborator to bring their own essence into the songs rather than fit into a predefined mold. Many of the tracks came together remotely, with production in Helsinki and vocals recorded in different cities. Each artist brought something personal, and our job was to weave those energies together into a cohesive whole.

Slowing down, being more present, and finding inspiration in that stillness

Musicngear: The title JOMO - “Joy of Missing Out” - suggests slowing down and being present. Was there a particular moment during the making of the EP when that philosophy became real for you?

cocabona: For me, this was the first project where I worked with singers and rappers, so there were definitely moments when I felt stressed and a bit overwhelmed by everything.

But as the process went on, I found a sense of peace with those feelings. Having a great team around us, especially people handling the visual side and marketing, made a huge difference. It allowed me and Misha to focus fully on the music and make it the best it could be.

Misha: Becoming a father three years ago completely changed my rhythm. In many ways, the past few years have been about embracing the ‘joy of missing out’.

Slowing down, being more present, and finding inspiration in that stillness. That shift has influenced how I approach both life and music.

Musicngear: Collaboration today often happens remotely. How do you maintain emotional connection and creative spontaneity when you’re not in the same room as the other artist?

That’s true, a lot of this project came together remotely. But since we were in the same place, we could still be spontaneous with ideas and arrangements. That made a big difference. We didn’t have to rush anything, so we had the time to really explore and let things develop naturally until they felt right.

Musicngear: Both of you are producers with deep roots in soul, R&B, and hip-hop, yet your sound keeps expanding. What’s something new you tried on this record, sonically or technically, that surprised you?

cocabona: Playing guitar was something new for me on this record. I’m a bassist originally, so it took a while to really get comfortable with it, especially since so many of my friends are incredible guitar players.

But recently it’s become a big part of my sound, and it opened up new textures and ways of writing that I didn’t have before. I’m definitely planning to keep developing it.

Misha: For me, recording a full track while playing the Fender Rhodes as Derrick McKenzie played drums was a completely new experience.

And honestly, I was surprised I didn’t mess up too much, haha.

It was also the first time I mixed live drums as the main rhythmic element instead of layering them with something else in my productions.

I was surprised that I was able to make this song sound cohesive together with the other tracks that had programmed drums.

Musicngear: To end on a lighter note, if you could form a supergroup with any musicians - alive or dead, or even fictional characters from books, comics, or movies - who would you choose, and what would you call the band?

D’Angelo and Bobby Caldwell on vocals and keys, J Dilla on the production, Mk.gee on guitar, Quincy Jones arrangement, Pino Palladino on Bass, Yussef Dayes on Drums.

Connect with Misha
YouTube / Instagram / Spotify

Connect with cocabona
Facebook / Instagram / Spotify

About Eugenia Roditis

Eugenia's passion for music was ignited from an early age as she grew up in a family of musicians. She loves attending concerts and festivals, while constantly seeking fresh and exciting new artists across diverse genres. Eugenia joined the MusicnGear team in 2012.

Contact Eugenia Roditis at eugenia.roditis@kinkl.com

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