We had a chat with Berlin based chamber-folk artist Roxy Rawson about her captivating new single ‘South Sudan’
A chamber-folk artist who’s sounds are typically packed full of depth, heart and a really resonating and memorable appeal, Roxy Rawson has earned a reputation for her captivating vocals and a uniquely artistic appeal that is packed full of sonic intricacy and ambitious ideas.
The artist’s latest single ‘South Sudan’ is a release that shines a light on everything that makes the artist feel special, with its grand, orchestral instrumentation and cinematic sense of scope making for a transformative listening experience that is bursting with life and appeal throughout. We love this new release and the character and unique flair that Roxy possesses, and had a chat with her to find out a bit more about it and the experiences that inspired the new release.
Hey! We love your new single ‘South Sudan’, what more can you tell us about it?
Thanks so much! The song is inspired by the time I spent in Sudan working for an NGO. Through that work I had the opportunity to meet incredible people who cared so much for each and other and their communities.
It was also harrowing to witness how little the Sudanese Government cared for its citizens and used its income to enrich itself rather than invest in the communities that matter so much. This is rife all over the earth, governments that extract from their people rather than act with responsibility and care. I wanted to give voice to this state of affairs through this song. I deeply feel the world would be a better place, if the communities that already care for each other and the earth so well were truly supported.
What was the process like putting it together?
It was the first time I had tried arranging for an orchestra. It was the first time I’d done that, so I remember feeling quite nervous as I looked at the empty score in front of me. But I just followed my intuition and listened back to see how it felt. I was very lucky to be able to collaborate with orchestrator Jherek Bischoff on this track. He is a gifted orchestrator and was able to elevate, augment and refine the arrangements I had started and take them to greater heights.
The vocals for this track took some time to prepare and it was quite a long process as I was in the process of rebuilding my voice after a decade long illness that prevented me from singing. I first of all learnt the building blocks of CVT ( Complete Vocal Technique) with my vocal trainer Gina Hudson and over time we crafted the phrasing and timbre that would best suit the meaning of this song. It included multiple revisions, but we got there in the end and I’m pleased with all the details we were able to add through that work.
What were your biggest influences when creating it?
When I wrote the song itself, I wasn’t thinking of any specific influences. Writing feels very instinctive to me and unfiltered. When it came to the arrangement, I remember having felt inspired by Jherek Bischoff’s orchestrations as I had recently heard his music on the radio for the first time. He released a beautifully orchestrated song called ‘Eyes’ for David Bryne.
I also remember that the drum part came from the part of my brain that felt inspired by hearing amazing Sudanese drumming on a song that totally gripped my attention while I was in Sudan.
On a bus in Khartoum, I heard one of the most beautiful pieces of music I’d ever heard. I knew I would feel bereft if I left Sudan without knowing what it was. So in my very broken Arabic, I asked people on the bus if they knew the artist. Luckily someone did and I was able to write down the name, I think they must have written it down for me in Arabic. I then went to the market the next day and found a Sudanese tape seller. I showed him the name and he took out all the cassettes he owned of that artist and let me listen to them all. So kind. And I found the song!! I couldn’t believe it.
I found the music fascinating. It had a haunting vocal above what seemed to be an incredibly complex drum pattern. I was brainstorming later to try to make sense of the drum beat with my friend Greg Rawson and he explained that the drum part was likely on 1- which allows the subdivision of the beat to constantly change, which it did- I’d never heard anything like it.
The drum part I wrote has a kind of tumbly weird quality. I think I was trying to capture how I felt hearing that drumming on the bus.
What should we expect from your upcoming new album Bright Star?
The styles of each of the songs on the album are quite diverse, but united by a similar aesthetic in terms of the orchestration. Some of the songs on the album are more intimate and personal, while others are more open and expansive.
What else do you have planned for the near future?
I am looking forward to performing at some festivals this summer. I’m also working on new material and releasing further singles this year. The Feral Folk Festival which I co-founded is also happening in Autumn which I’m looking forward to:). Then my album will be released in 2027 at some point:).
