IN CONVERSATION WITH SAAM SULTAN
interview by JANA LETONJA
Rising UK artist Saam Sultan is stepping into a defining moment with the release of his highly anticipated debut EP Seraphim, arriving shortly after a completely sold-out headline show at The Lower Third in London. Blending vulnerability with quiet confidence, Seraphim channels the sounds and influences of 2000s and 2010s music through a fresh, genre-blurring lens, balancing introspective storytelling with atmospheric, dancefloor-ready production. Anchored by standout track Focus on Ya Self, the project fully embraces Saam’s signature cloud rap aesthetic, pairing textured beats with effortless, fashion-forward lyricism that has
Seraphim feels deeply personal while still sounding incredibly confident. What inspired the emotional core of this EP?
The concept of euphoria. I wanted the EP to briefly cover all ends of the spectrum. The moments with someone you love can feel euphoric, and so can wearing a nice outfit that makes you feel like yourself.
Why did Seraphim feel like the right title for your debut project?
Seraphim seemed closest to the source. I wanted to make something that could feel like an angel. It was also the core subject of one of the first songs I wrote.
The EP draws heavily from 2000s and 2010s influences. What artists or sounds shaped you growing up?
I personally didn’t draw so much from that era for the EP, but I guess I just drew from whatever the universe has given me with time. I’ve always loved film and soundtracks, from Claude Debussy to Ludwig Göransson, Hans Zimmer. Marvin Gaye I love because that 70s era and Motown were doing it. Making the music sound like it could be in a film helps people picture the scenes of their lives where the music fits best a little better. Across the board, I wanted to be able to capture something that could fit someone’s life. Ambitious, but I’d love to do it with the album too.
How do you approach recontextualising nostalgic sounds in a way that still feels modern?
To be honest, I don’t approach it in any particular way. My rule is humming and letting go. The universe has many consistencies, so I feel like if you naturally let it do its thing, it’ll do that work for you, so all you’ve got to do is jam, and the best will come.
What does vulnerability in music mean to you personally?
Music is inseparable from the soul. The two are together, therefore they shouldn’t be separated. With time and learning, I’ve learned that the best music comes from the heart and when it actually means something to you. A lot of people, when they sing or play the keys, focus on the notes rather than the emotion. That change of mindset changed a lot for me, so being vulnerable is something that is essential for my music to coexist with the rest of the world.
How has your relationship with songwriting evolved while creating this project?
Just letting go, as I previously said. I feel a lot of people are unwilling to do that. Music should be fun, real, whatever you want it to be. The fans should enjoy seeing your highs and lows. I feel like so much is expected of musicians nowadays. Da Vinci didn’t finish the Mona Lisa until two years before his death, it takes a lifetime of living. Life is to be lived and loved, so don’t expect the best out of me until my deathbed, but appreciate the rest of the stuff in the meantime.
You recently sold out The Lower Third. What did that moment mean to you?
It meant a lot to the fans, to me, and to my family. It was a moment for all of us, and I will forever remember it.
Do you think UK music audiences are becoming more open to genre-fluid artists?
No, I just think the UK bubble that’s been formed for the last 25-odd years is bursting. Most of the best and genre-pushing musicians ever, historically, have been from the UK. Billy Ocean, George Michael, Freddie Mercury, Dame Shirley Bassey, etc. I think people are at a point of overstimulation, close to breaking, and once it breaks completely, fast come-and-go music will be out of fashion.
How do you stay creatively authentic while navigating growing attention and industry expectations?
I simply don’t worry, I just know. You can give me all the expectations in the world, but I know my own are far greater than the low standards of this industry. If you don’t like it, then you can lump it.
Looking ahead, where do you see your sound evolving next?
To whatever the world provides. Honestly, I don’t think I can give a clear answer for this one. Life is so unpredictable and can affect someone in so many ways, but who knows, maybe I’ll start making reggae.
TEAM CREDITS:
photography STEVO
