He's Here To Stay: How Ragz Originale Is Elevating The Sound of R&B [Interview]

In 2016, Ragz Originale decided to step in front of the mic, proclaiming to the world his position as an R&B vocalist. This followed an array of success - including being the mastermind behind the production of Skepta’s Shutdown, which many argue was the catalyst in Grime’s resurgence that has led its way to the current flourishment of the UK’s rap scene. Two years after taking the plunge, he released his debut EP as a solo artist, Nature.

In 2020, Originale released txt ur ex followed by Woah, with both tapes having received critical and cultural acclaim. The multifaceted artist “out of necessity” has paved his own lane within the scope of the UK's music scene, through his woozy synths, sultry ambiance and candid lyricism. “And the closer I get to gold, all my problems multiply, and the closer I get to gold, get stung with the evil eye,” he declares on OG Lullaby, gracing context to his increased involvement within other aspects of his artistry such as directing his videos, and hosting bowling nights for his fans, alongside fellow MiniKingz members Oscar #Worldpeace and BenjiFlow. The drive to take more creative control, not only as a means to get things done properly, but to also protect his peace.

NW: You recently had your first headline show, how was that?

RO: It was good you know, it was blessed. I am happy I finally got it out the way because there were so many pushbacks with Covid and stuff. It was good to see how people resonate with the music and how they feel about it. Also playing with how it feels live, and finally understanding what these songs are doing to people now, because I’ve seen it.

NW: Was the response a shock?

RO: Nah not at all you know, you can kind of gauge it from online. I see how people react to my music because fans send over videos to me often, which tells me how much they're kinda vibing to it already. I anticipated what it would be like, so at the show, it was what I expected to be honest - we had a good time, and I guess I know my fans.

NW: How was the trip home after being soaked? (This clip shared on instagram shows Ragz' friends pouring multiple bottles over him)

RO: *laughs* I had to take off my shirt, and was running around cold and topless, but the adrenaline meant I couldn't feel it. Normally it would be my worst nightmare, because I don't like being cold, but Benji gave me his coat, which was alright. It was cool though, I was kinda numb after the show so didn't feel much but it was crazy. I hope no one does that again.

NW: Yeah, when I saw the video I was like that's ridiculous, I would have been vex, but I guess it was the mandem literally pouring their love and pride over you.

RO: Yeah I was so overwhelmed, it just kept pouring, like it wasn't one shower, and I was trying to walk and everyone was trying to finish their whole bottle on me. It felt like water really, but again, never allowing that to happen.

NW: What was the music of your childhood?

RO: Strange to think about, a lot of Disney soundtracks, a lot of country music, Dolly Parton, 90’s R&B from my older sisters, Jazz from my dad. A mix of stuff, not particularly one person you know, but a real mesh of everything.

NW: What would you say was key to you not imitating what you listened to and forming a sound that's so uniquely Ragz?

RO: What? You think I don't imitate anyone? That's a bold statement. I don't know, you know. I think it was out of necessity and just trying to find an idea. I am not a crazy musician, I don't play anything fluently, so it's always just been trying to put an idea together in the roughest way possible. It’s like a child that wants to draw, they don't know what they’re drawing, they just try their best and I've always just kinda done that with music. In terms of sound, and how I feel about music, I’m always making sure that I feel connected to it, like it feels like me. And I don’t know how that orchestrates, to having my own sound, but I guess it does, I guess it just comes from myself.

NW: Is there a significant reason as to why your songs are so short?

RO: You know what, there's no significance at all. I feel like a song gets to a place where it's like sugar and you’ve had enough. It gets to a place where, like the body’s had enough, it can eat more, but what it has consumed will definitely do. That's where I get to with songs. It's like I can go on but this is enough and it leaves you wanting more of that feeling. I'm trying to work on making longer songs, but I have always felt like that, just give the song what it needs and if you can get in and out in two minutes, then that's amazing. If you can give someone that kinda feeling of wanting more in under two minutes that’s an amazing trick. They’ll play it again anyway. Despite the complaints, people will keep playing it. And as long as I can make you play the song again, I am happy. I am gonna work on longer songs though, but there’s no significance, it's just about giving a song what it needs.

NW: How do you know when it's done, and if enough is enough?

RO: You just feel it. When I hear it back and I am satisfied, then that’s enough. That's such a weird question. But, I just feel it, I dont over do it, I try to be one with the music. There's no stars in my music, it's just everyone doing their own thing, everything existing in its own right. Every melody and bassline in my music, I feel like I give it all space to breathe and so knowing that it all feels like it has that space, gives me satisfaction and tells me it is enough.

NW: What's the biggest lesson you’ve learnt from making music and exploring your emotions through it?

RO: There's not really any lessons, just experiences, you gain new experiences every day. With music, you can kinda see a little clearer how people relate to you or don't. You can see if people care, or how culture feels about something you’ve made. Music lets you do a lot of things and get away with it in a way that you probably couldn’t do in real life, and it's fun to exercise that. You can't do much wrong to fans while making music, so long as you stick to that. So there’s not really many lessons just experiences.

NW: I read you want people to heal through your music. Why is it important that that's something people take away from listening to you?

RO: I listen to a lot of music that does that for me. Music answers loads of questions for me, and I just want to be able to do that for someone else, because someone did for me at some point. If I can do it for people, that’s what matters. I get messages saying that my music got people through tougher times, and that is powerful and honestly all that matters.

NW: Are there other marks you want to make with your art?

RO: I don't know. I guess the marks will make themself. I don't have any expectations, I just want to see how it goes. As time keeps going, I change and grow so I channel that in my music and see how it changes and shifts people. There is no ultimate goal, which is not a good thing to say. I should come up with a better answer for that.

NW: It sounds like you just do you, whatever comes will come, whatever happens will happen, you don't overthink it?

RO: Nah, I do overthink, but my approach is to make it simple. Like people think I'm going to be crazy deep, like an intuitive person, maybe because of the music I make, which is a small part of me but it’s not my day to day. I'm just trying to get music to people.

All I think about is music, every second of the day as soon as I rise, before I sleep and everywhere in between - if I'm not doing something else. It consumes 98.9% of my brain day to day, feelings and emotions. The creative process is sparse. I don't create that regularly. Most of my time is spent getting into the right headspace, and getting into a good space where I feel like I want to create magic. Half the time it's me gassing myself, spending time studying and inspiring myself.

NW: What sits in your pool of inspiration if you’re having a bad day?

RO: If I feel down, then I just pray. Nothing can change how I feel in a day, so I pray myself out of it. But outside of that - things I like are watching series, basketball and bowling.

NW: On the topic of bowling, I’ve noticed Mini Kingz has been doing a bunch of outings with fans and stuff, including bowling? Why is it important you host these events and have that connection with your fans?

RO: Mini Kingz, it's a collective, family, friends just everything. We do it for fun though you know. We have a lot of things happening, not just music, for the people and for the community, because they are central to what we do. We just want to make sure there are things to do and see what people are saying. We don’t just want to supply music, we want to supply other emotions and experiences too, which is why we do bowling. It's merging what we love, our fans and bowling, and making it like a wind down for everybody. Somewhere where you get to be with people. It's like trying to party but bowling. It's for the people.

NW: I feel that, expanding what you give the people is important.

Someone once said videos are just promotion tools, I’m curious to know if you believe that if not, why are visuals important?

RO: I don't think it's wrong. It's rude innit, but it's true, it's what you're doing, promoting your music innit. Videos are important though because people get to see how you, as the musician, once heard the music. You can create the world that sits in between the consumer and the artist and bring them in. They get to see how you envision yourself and how you see your world and get locked in, which is cool.

NW: You started directing your videos yourself more, why?

RO: Because I didn't want to look silly. Sometimes I've got videos back and the video feels like it doesn't belong to me. I just do the job right if I do it myself. I just know how to get the job done and if I'm the best person at the time then I'll do it - if someone else then they will. To be honest, my videos got better once I started directing them myself - I’ve had some good ones in the past, but they’re a lot better now.

NW: Being so involved and independent in your craft where you do it your own way, do you feel pushback from industry/outsiders to conform to the way things are usually done?

RO: How are things usually done?

NW: You know, musicians are sometimes pawns in other people's need to pay bills, so they don't have so much control, or have to sacrifice elements of what they want to do for the cheque, or come up.

RO: Everyone has a choice. If someone has to do something that isn't really them and it gets them to the top faster then I have no qualms with that. I believe you should do what makes you happy in the AM innit. Because then you can wake up and survive with it. And that's what I do - whatever makes me feel right the next day. I hate having others to blame. I don't wanna look at someone and be like rah you did this or that to me. I'd rather blame myself. I always put myself in that space where it's only me to blame, so I can improve and get better, but I can't do better for other people. So I am happy with that choice to do things my way.

NW: I know you said you’re not a deep person, but I wanted to ask lastly, do you feel that you belong to this world and time?

RO: Yeah. The time is always now. If I’m here now then I definitely belong to the world right now because to say no is like saying you wanna die. I don't wanna die. Wherever I am now, wherever I’m placed and what I’m doing is what I am supposed to be doing, I feel that. If you don't feel like you’re in the right time and place, then you need to change what you're doing and switch to fit the time and place you’re in today because you wanna live in the world and be present...unless you don't wanna be here, maybe you need to seek some new experiences, guidance and help.

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