When did you decide you wanted to be a vocalist?
Pretty young. I’d say about eight. I was pretty sure.
Well, we used to watch X Factor each week – but I was brought up in the church. My dad used to lead devotion and my mum would sing in the choir, so there was always music going on.
Did they school you to play, too?
My dad used to sit me at the piano as a little child. I’d on sit his lap and thrust his hands out of the style, like, “I can do it! “
When did you first perform on theatre?
There was a expertise show in primary school and I recollect extending at it every year. In the second year, I wrote my own song – I would have been about 10 – and I acted it to the whole school.
What was it about?
I kid you not, I improvised the whole happening! I called it Sometimes, based off the Ella[ Fitzgerald] tune, but I was just improvising messages.
Media captionRaye plays Shhh in her old-fashioned secondary school, Woodcote High
You’re a Brit School drop-out…
I am! I did two years and learned an extensive amount … but none there liked pop music. It’s all cool, subterranean, indie artists. I did a sung called
Hotbox, and I was scared to play it to parties because I was like, “Oh, your best friend might think this is moist[ humiliating ]. ”
I experienced detained. I was ready to get out.
And of course Hotbox turned out to be hugely important…
Yeah, Olly from Years and Years heard it, and that got me my record deal.
How did you write that ballad?
When I firstly went to the Brit School, everyone would have these wild parties. I recollect going to a friend’s house and someone started rolling a massive seam. I was like, “Oh my God: medications! ”
I was just 14 and I told “no thanks” but I became stoned regardless because the room became a big cloud, do you know what I represent? I felt really scared but safe but worried – and I expressed that in the anthem. It’s extremely anecdotal.
Image copyright Polydor Image caption Raye has worked with Nas, Stormzy and Charli XCX
Your firstly EP, Welcome to the Winter, sounds like a soul register but your brand-new music is more pa. Why is that?
Welcome to the Winter was influenced by Jhene Aiko and Drake. On the second EP, I wasn’t trying to print anyone else. We did six key changes in one ballad! It pushes borders and it’s exactly where I want to top with my music.
In a 1Xtra interview, you said you “had to evolve and settlement in order to find an audience”. What did you necessitate by that?
With Welcome to the Winter, I realised nobody actually cared other than the cool teenagers in London. Annie Mac wouldn’t performance it, other beings wouldn’t play it. It was genuinely discouraging.
So I had to find a way to do what I crave, in such a way that beings would hear it. It took a very long time of thwarting and publication, but I experienced music that has that kind of supremacy.
Image copyright Polydor Image caption “I’d only learned to skate the week before, ” remarks Raye of the video to I, U, Us – which Charli XCX led
How did you end up writing I, U, Us with Charli XCX?
I was in a scrawl camp where Charli came into the room. We had meat in the studio, we were run for it, having a wicked occasion, and we did three or four vibes.
I, U, Us was one of those. We knew when we played it back to everyone at the end that it had something special.
When you talk about writing camps, I have a vision of you, out in the wilderness, sitting in a tent while someone strums a ukulele. Please tell me that’s true.
Haha! Some writing camps are very weird and factory-like, but often it’s just a couple of chambers. You rotate across the period of a few weeks to work with loads of different parties.
Sometimes, it’s a concentrated thing for one specific master. I recollect going to the Rihanna writing camp: they booked out a massive studio, and they’d have a novelist in each area, trying to churn out as many psalms as we are able to. There’s a lot of pressure, but you do get songs.
What happens to the discarded ones. Can you nab them for yourself?
Yes, if the other writers agree. But if you exclusively lend a couple of positions, it’s not really your chant to take.
Image copyright Polydor Image caption The vocalist says her dream provides support to The Weeknd on tour
How did you end up singing on Jonas Blue’s single,
By Your Side?
So my friend’s dad is an Uber driver, and he happened to pick up Jonas Blue. And he supposes: “You have to hear this girl called Raye. She’s so good.” He was banging on about it for the entire jaunt, so Jonas didn’t have any option but to listen to it and then he loved it and contacted out to my name articulating, “I’d love to get Raye on this song”.
But it virtually ended in tragedy…
Yeah, I was driving to his studio and some imbecile came and knocked me off the road and I disintegrated my automobile into a lamp post.
How saw you able to sing after that?
I was in tears. It has indeed shaken me up. But I had to draw it together, because it’s a very beautiful and upbeat and joyous sung.
You’ve just substantiated Jess Glynne on her UK arena tour. What went through your intelligence the first time you played to 10, 000 people?
I was really lucky it was a whole tour because I was able to become more confident every night. Clearly it’s a backing slot, so you’ve is working triple as hard, but I culminated up bloody loving it. If you’d experienced the last demonstrate compared to the last picture, the difference was simply wicked.
Is the goal to do your own arena tour some date?
My goal is to be the most difficult singer I can be. I want to be as big as the biggest artists out there – a Katy Perry or a Taylor Swift.
That’s going to involve a lot of costume changes.
OK , not the costumes – but an master on that international level. I can’t think of a similarity, but maybe that’s a good act. I simply want to be someone new.
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