Fraser T Smith is the producer you need on pace dial to make a success. His CV of collaborators reads like a who’s who of chart-toppers, award-winners and A-listers, from Adele, Sam Smith and Drake, to Britney Spears, Kylie Minogue and Idris Elba, whereas his work with Stormzy, Kano and Dave has helped push the sound of UK rap and dirt.

We communicate on Zoom, chatting about this yr’s Glastonbury competition and the electrical headline units from each Dua Lipa and Coldplay. He labored with each throughout lockdown, once they had been amongst 24 acts he introduced collectively, together with Dave Grohl, to fundraise by way of a canopy of Foo Fighters‘ Instances Like These.

Taking a look at different British acts which have topped the invoice up to now few years – Ed Sheeran, Florence And The Machine, Kasabian, in addition to Stormzy and Adele, and you may see a Smith-shaped sample.

He laughs slightly on the suggestion. “I really feel extremely grateful to know so many of those nice artists I’ve been working with,” he replies. Music’s most in-demand producer is softly spoken and unassuming, fast to credit score others for his or her successes.

He describes the second throughout Stormzy’s 2019 set, when the star was joined by Coldplay’s Chris Martin for Blinded By Your Grace, Pt 1, as one in all many “pinch me” moments of his profession.

“You by no means actually write a music going, let’s envisage this doing this, or successful awards or going to primary. While you then fast-forward to moments like that… hold on a minute, we wrote this round like a easy keyboard and acoustic guitar, and now Chris Martin’s taking part in the chords to it and Stormzy’s singing it in entrance of, nicely, 100,000 individuals, but in addition thousands and thousands all over the world. It’s simply mind-blowing.”

For years, Smith has been the genius behind the scenes, quietly lending his skills as a producer and songwriter for the trade’s greatest stars, by no means hungry for the highlight himself.

He has co-written, combined and produced seven UK primary singles, two Billboard quantity ones within the US, and contributed to 18 chart-topping albums. He’s additionally a Grammy winner due to his work on Adele’s second album, 21, and a three-time Ivor Novello winner by way of collaborations with Dave.

In 2020, he ventured out of the shadows as Future Utopia, releasing an idea album of collaborations titled 12 Questions, that includes the likes of Stormzy, Dave, Kano and Elba. For that one, he felt like “conductor of the orchestra”. Now, the follow-up, Django’s Excessive, places him entrance and centre stage as lead vocalist for the primary time.

“As a lot as individuals know me for collaboration and know I’ve collaborated with loads of nice individuals up to now, I actually felt like I needed to this album to have the stamp, the id on it, which was very a lot ours,” he says.

It took some time for Smith to consider in himself as a singer and frontman. The report, which he describes as “a psychedelic Spaghetti Western”, was executive-produced by Kasabian’s Serge Pizzorno, who gave Smith “confidence and recommendations on my vocals”.

“I began sketching vocal melody concepts, possibly for another person to sing,” he says. “I’ve labored with so many nice singers, like Adele and Sam Smith, I discover it onerous to consider myself as a singer at this level.” He checks himself rapidly. “I do not wish to put individuals off as a result of I am actually pleased with my vocals on there and I undoubtedly have gotten good melody concepts. However I additionally love this sort of multi-layered sound of harmonies and I labored with an incredible artist known as Molly J, who sings backing vocals.”

The result’s a “mesh of harmonies”, he says. “I am not professing to be Lewis Capaldi, however… I am very pleased with this report and I actually hope individuals get pleasure from it.”

After performing a 12 Questions present on stage with collaborators together with Kojey Radical and Simon Armitage, Smith found a style for being on stage in entrance of a crowd. He is a fan of the immersive expertise, performers speaking “with the viewers as one, slightly than it being the everyday form of icon on the stage and everybody else beneath”.

Crowd-surfing could be a step too far, although. “I do not learn about crowd-surfing essentially,” he laughs, “however I might like to really feel that we might do a gig that was within the spherical, , the way in which Taylor Swift does these gigs and it simply incorporates everybody into the entire journey. You by no means know, I’d crowd surf… I dunno, it all the time appears a bit harmful. What if individuals drop you?”

As somebody who has labored within the background for therefore lengthy, Smith is vocal about among the greatest points affecting the trade. On streaming and artists being paid sufficient for his or her work, he says that is a good larger downside for songwriters and producers behind the scenes.

“Songwriters are sometimes not going out and touring, not getting the branding offers and never doing the company reveals,” he says. “I really feel very passionately that the songwriters of those superb songs, the co-writers and the groups of writers, are taken care of, or else this can grow to be one thing of a dying artwork – or an artwork which is, equally as harmful, excluding the working courses and it simply turns into a privilege for the higher courses”.

Streaming has levelled the taking part in discipline and brought away trade “gatekeepers”, he says, which is “implausible… I like the actual fact creativity is open and anyone can create”. Nonetheless, if artists are being paid “pennies” it turns into “an untenable state of affairs… we wish to make certain new proficient younger bands can really preserve going and so they’re not having to essentially be at the back of a transit van [touring] for, like, 10 years earlier than they’re even making minimal wage”.

On synthetic intelligence, which has led to artists together with Billie Eilish, Nicki Minaj and Jon Bon Jovi demanding extra safety in latest months, Smith describes it as “a very large wake-up name”, however believes it has led to many performers working tougher to shift away from music that sounds artificial.

“If we do not begin getting again to music which sounds extra acutely aware and extra natural, ie performed by actual individuals, then I believe we’re at risk of… it is nearly like pop will eat itself,” he says. “Sure strategies within the studio make it very simple so that you can give you music in a short time, however that simply seems like AI music.

“We are able to see by way of the recognition of artists like Taylor Swift – and Dua Lipa’s new album to me sounds far more natural and far more heartfelt than the albums earlier than, which have been implausible however have sounded fairly airbrushed. I believe there is a rawness to this new report which individuals appear to be actually resonating with, and individuals are nonetheless dashing out and shopping for vinyl, individuals are nonetheless into bands – not simply bands which have had success up to now, new bands like Fontaines DC or Final Dinner Get together, there is a reputation inside a rawer sort of extra human sound.”

So AI may very well be factor, he says. “As a result of within the long-term, we’re all going to be making music which hopefully faucets deeper into the nicely of human emotion, which is one thing AI won’t ever have the ability to replicate.”

In addition to Future Utopia, Smith remains to be producing. Present tasks embrace “an unimaginable report” by spoken phrase performer and poet Kae Tempest – “which I do not wish to say an excessive amount of about, however I believe one of many unimaginable issues for a producer is with the ability to be part of forces with an artist the place it seems like that artist is simply going to completely have their second” – and music with Bridgerton star and “superb” artist Simone Ashley.

“I believe you might be what you eat in a manner and I believe I grew up listening to so many various genres,” he says. “I really like this melting pot of various influences and style.”

Django’s Excessive, by Future Utopia, is out now