Lead vocals
For songs that need a clear center. Lysette approaches a lead as a story carried in real time, with attention to phrasing, breath, and the moments where a lyric should feel close enough to touch.
Professional vocal work
Vocalist
for Hire
A vocal that knows where the song is trying to go, then gives it a human way to arrive.
The voice inside the record
Give the song a voice with a point of view.
Finding the right vocalist is not only about range. It is about finding someone who can hear the emotional work of a line, the shape of a hook, and the exact amount of space a production needs. A voice may need to hold the center of the record, soften a hard edge, answer the lead from the back of the room, or make one sentence stay after the track ends.
Lysette Titi is a Washington, D.C.-born, Los Angeles-based singer-songwriter and vocalist. Her work moves through R&B, pop, hip hop, and Go-Go, with a musical vocabulary built over more than two decades in studios, collaborative rooms, and live settings. She brings that listening to every part, whether the ask is a lead, a stack of harmonies, a hook, or a vocal arrangement that gives the record its final shape.
A flexible voice, not a fixed formula
Let the part serve the feeling.
The aim is never to put the same vocal stamp on every track. It is to find the color, movement, and restraint that let this song become itself.
Background vocals
For harmonies, doubles, ad-libs, and responses that add lift without crowding the song. The right layers can widen a chorus, sharpen a turn, or leave the lead with more room to mean what it says.
Hooks and arrangement
For a record that has the feeling but needs its vocal doorway. Melody, response, texture, and silence all shape how a listener finds their way in.
Built in collaboration
Hear what the track is asking for.
A vocal session is a conversation with the record before it is a performance. A producer may have a finished arrangement that needs one undeniable hook. An artist may need harmonies that deepen a chorus without taking over. A song may be close, but the lead has not yet found the rhythm that makes the lyric sound lived-in.
Lysette brings experience across songwriting, recording, background, and session work with David Guetta, Galantis, MNEK, Pheelz, Monica, 702, Chucky Thompson, Rodney Jerkins, and Dallas Austin. That history makes room for a practical kind of attention: listen to what is already true in the track, then make the next choice count.
The Washington Post, 2014A voice with rhythm in it
R&B, pop, hip hop, and Go-Go vocals with room to move.
In R&B, the smallest choice can change the temperature of a song. A phrase placed behind the beat can feel like hesitation. A clean note can carry certainty. A little grain at the edge of a word can make a polished production sound like a person standing inside it. Lysette works from those details, finding the choices that make a vocal feel present rather than simply correct.
Pop often needs a melodic invitation that arrives quickly and stays open enough for a listener to return to it. Hip hop can need a sung line that brings contrast without softening the track’s edge. Go-Go carries the logic of movement and response, a voice that understands when the room needs a call, an answer, or one more bar before the release. The genres are different, but the work is connected: serve the rhythm, make the lyric believable, and leave the record with a voice that belongs to it.
That is why vocal arrangement matters as much as a strong take. A lead does not need to be doubled everywhere. Harmonies do not need to appear only because a chorus is large. Sometimes the hook needs a response that enters late. Sometimes an ad-lib needs to disappear so the last word can land cleanly. Lysette listens for those decisions across the whole record, not just the space directly around a microphone.
That same care makes collaboration easier to enter. A project can arrive with a written melody, a rough guide vocal, a nearly complete production, or only a chorus that needs its final voice. Each starting point calls for a different kind of listening. The shared goal is clarity: a vocal contribution that respects the artist’s identity, meets the practical shape of the release, and gives the listener a reason to stay with the song after the first pass.
Her own music makes that relationship audible. Young, Sad, and Blue Reimagined returns to one original song through several versions, including a D.C. Go-Go interpretation. The production changes its body, but the vocal and writing keep the emotional center intact. It is a useful way to hear how a voice can travel through different arrangements without losing its truth.
For a project, the first step can be straightforward. Bring the song in the form it is in now, name the part you need, and share the references or feelings that are already guiding the record. From there, the right vocal conversation can become much more specific: what needs to lead, what needs to support, and what needs to be left alone.
A clear way in
Bring the track. Name the moment.
Share the song
Send a listening link or a clear description, plus the role you need the voice to play. References are welcome when they help name a feeling, texture, or energy.
Set the focus
Lead vocal, background layers, a hook, vocal arrangement, or a wider writing conversation. Begin with the job the song needs done now.
Start the exchange
Use the inquiry form to include the project details, schedule, and any practical needs. That gives the conversation a strong musical and working foundation.
Questions, answered
Before the first take.
What can I hire Lysette to sing?
Lysette is available for lead vocals, background vocals, hooks, vocal arrangement, and collaborative writing conversations. An inquiry can begin with one clear need or with a track that still needs its vocal direction.
What should I include in a vocalist inquiry?
Send a private listening link or a clear description of the song, the part you need, the reference points, the timeline, and where the song is headed. That gives the first conversation the musical context it needs.
Does Lysette work across styles?
Her work moves through R&B, pop, hip hop, and Go-Go. The common thread is a close relationship to rhythm, lyric, harmony, and emotional detail, rather than a one-size-fits-all vocal sound.
Can I listen before reaching out?
Yes. Start with Lysette’s current music and the Audio & Visual Vault. They offer the clearest introduction to her voice, writing, and range before you bring a project forward.
Hear the range
Begin with the song that needs a voice.
Listen to the current music, then bring the record and the right conversation forward.