Part of a new generation of female musicians forging self‑authored careers across genres and platforms, Iman Fandi enters a defining new chapter with her first independent single, “Tip Toes”, and forthcoming EP, Afterglow—reclaiming creative control, embracing quiet confidence and setting her sights firmly on the global stage
Release day begins quietly for Iman Fandi: a team meeting, a radio interview, then a brief retreat to a café to prepare the small but exacting details now squarely under her control. Social media assets are edited, captions checked, teasers lined up. As midnight approaches, she steadies her nerves before going live on Instagram, speaking directly to fans who have stayed up with her.
When Tip Toes finally dropped this February 6, she refreshed Spotify repeatedly, absorbing the reality of what this moment represented. “This is the first single I’ve put out as an independent artiste; one I’ve worked so hard on and cared so much about since last year,” she says. “This is what is going to lead me through the rest of the year.” Tip Toes marks a clear turning point. It is her first independent release after five years with a major label and the opening statement of an EP titled Afterglow, due later in 2026. The song itself is deliberately restrained—playful, sensual, quietly assured—exploring attraction through mutual desire. It captures what she describes as quiet confidence, where presence and restraint do the work.
For Iman, independence is not simply contractual; it is emotional and practical. “Being an independent artiste, I feel like I have more control and also freedom to experiment,” she says. “A lot of the back-end work—such as the editing of images, making sure captions are right—also comes from me. These are things I’m learning along the way.” That autonomy extends to how she presents herself visually, drawing together music, dance and fashion into a cohesive identity she believes has been underexplored in Singapore. Her intention is not merely to release songs but to build a complete artistic language—one that feels international yet rooted in personal experience. Confidence, she adds, sits at the centre of that vision. “Especially as a woman, you can do as much as anyone else out there. And especially being a Singaporean, we can sound international too,” she expounds.
Music, for Iman, has become the truest expression of self rather than an extension of public persona. Her earlier releases traced the contours of teenage love and self-discovery; this new chapter is defined by clarity. “Now, after almost six years in the industry, I’ve realised who I am and who I want to present to people as an artiste. Leaving the label, I could have quit and walked away, but I knew I wasn’t done with the music industry—I didn’t want to move on without feeling I’d made my mark,” she reflects. “I’ve gained the confidence to ignore the noise— ‘Why are you doing this?’ ‘You shouldn’t wear that’.” That resolve underpins Afterglow, a project born from what she describes as multiple breakups across life, career and relationships, and the quiet assurance that followed. Each track is shaped by a renewed sense of self‐worth and intention, reflecting the confidence to choose what deserves space in her life and what she is ready to release.
Linying, Weish and Iman Fandi on the cover of the March 2026 issue of Tatler Singapore
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That sense of assurance has been hard-won, particularly given the scrutiny that comes with her family name. Growing up within one of Singapore’s most recognisable sporting families—as the only daughter of local football icon Fandi Ahmad and former model Wendy Jacobs—she learnt early that public opinion is unavoidable. “No matter what I do, there will always be noise,” she says. “So why not do something that I love and will look back on and be proud of ?” The advice from her parents—to stay humble, to respect others and to surround herself with the right people—has become a grounding principle as she navigates visibility on her own terms.
