The Glasshouse

On Saturday, 27 July, Grammy-nominated Jordan Rakei will debut at The Glasshouse in a contemporary collaboration with Royal Northern Sinfonia and conductor/arranger Robert Ames. This performance is part of the BBC Proms festival weekend, fulfilling a dream for Jordan. Here, he discusses the Proms, working with an orchestra for the first time, and his latest album, The Loop.

What excites you about collaborating with Royal Northern Sinfonia for this Proms performance?

It’s a dream come true to have the opportunity to perform and collaborate with Royal Northern Sinfonia. That aspect alone fills me with excitement. What particularly thrills me is the prospect of adapting my own songs to fit within this orchestral environment. I’ve attended numerous Proms shows where contemporary artists collaborated with orchestras, reimagining their songs and evoking different emotions. The use of different instrumentation can completely transform the essence of one of my songs. For instance, a track of mine featuring an organ and a mellotron may be reinterpreted with real woodwind instruments, lending it a different dynamic quality.

What I find appealing about this opportunity is the fluidity of working with an orchestra. When you collaborate with an orchestra, you follow the tempo set by the conductor, creating a unique experience for the audience.

How does performing with a chamber orchestra like Royal Northern Sinfonia differ from your usual performances?

To be honest, it’s quite a departure from my usual setup. Typically, I perform with a traditional band, comprising a drummer, percussionist, guitarist, bassist and keyboard player. However, working with a chamber orchestra offers something different. It allows for versatility in shaping the performance, ranging from intimate moments with just vocals and a single instrument to grand, orchestral arrangements. I’m genuinely excited about the prospect of crafting arrangements that explore the full spectrum of instrumentation and dynamics.

Could you tell us about the music you’ll be presenting at the Proms and how you’ve approached interpreting these pieces?

Much of my music leans heavily on rhythm and percussion, with a strong groove. However, this time around, I’m keen on emphasising the harmonic aspects of the songs. We aim to explore tracks from my new album and other pieces that evoke a similar vibe but in a less rhythmic manner. It’s an exciting prospect for me—finding ways to generate the same energy in these songs without relying on drums or percussion.

Most of these songs were initially written on piano before being produced so it’s an exciting process of reimagining my songs from the ground up and collaborating with conductor and arranger, Robert Ames, and the orchestra to bring them to life.

I’ve been a fan of Robert for quite some time. Being able to collaborate with him was just another fantastic aspect of this experience. I’m incredibly excited to learn from him during the lead-up to the performance and on the day of the event, observing how he guides the show.

We’ve already started discussions on selecting songs and determining the best instrumentation for each piece. Once we’ve agreed on the instrumentation, we’ll proceed to work on a demo. Robert will then compose parts for each instrument, and it all comes together during rehearsals.

One remarkable aspect of working with classical instrumentalists is their ability to play sheet music flawlessly from the get-go. It’s a straightforward process because everyone reads so well, and they seamlessly fit into their roles.

This experience is unlike anything I’ve done before, but I’m genuinely excited to embark on this journey and learn from Robert as we build this show together.

How does the dynamic of performing at an event like the Proms influence your preparation and mindset compared to other concerts?

The big thing for me is not leaning on my band as a safety blanket. While I’ve always viewed myself as part of the ensemble, what I’m truly looking forward to is standing up there without an instrument, sharing stories, singing songs, and genuinely presenting myself as a singer. People know me as a producer, instrumentalist, and singer, so it’s nice to just focus on singing this time, to utilise the extensive ensemble behind me in a different capacity. But we’ll have to think about how we arrange things differently. If I’m not playing certain instruments, how do we make the music still work? It’s those little details that will shape how we set everything up.

Your upcoming album, The Loop, draws inspiration from musical legends like Stevie Wonder, Bill Withers, and Curtis Mayfield. How did their influence shape the creative direction of this album?

Many of my favourite albums from those artists have a grand and ambitious sound, relying heavily on acoustic instruments rather than synthesisers. My vision for The Loop was to capture the essence of musicians playing together in a room, emphasising the human element and grand arrangements reminiscent of the records I grew up listening to in the 70s and 80s. I aimed to avoid a computer-made sound and instead create a rich, organic feel akin to the music of my heroes.

What excites me most about my new album is the interaction between the choirs and the orchestra. For example, on the track Learning, there’s a beautiful arrangement by my friend Mike Lesirge that gradually builds to a powerful climax over three minutes. The strings add so much value, increasing the drama throughout the album, while the addition of choirs brings a grandiosity that I haven’t explored much in my previous work.

You’ve worked with a wide range of artists. How has this influenced your work?

What I’ve mostly learned from working with others is that we all face similar creative struggles. When I used to work on my own projects, I’d often get caught up worrying about what others might think or overthinking the creative process. But collaborating with others made me realise that everyone deals with these issues. It made me look at myself and say the same things I’d tell them: don’t overthink it, just let the ideas flow. That approach really shaped this new album. It feels more free, almost childlike, with no boundaries or rules.

What do you hope audiences will take away from this collaboration at the Proms?

What I’d like to convey is the variety of songs I have. This is something I’m currently considering as I select the setlist. I aim to show the various paths I’ve explored throughout my career, both in terms of songwriting and style. The unifying element throughout the entire show is my voice. There are darker songs, alongside ambitious, optimistic tunes, funky tracks, and slow ballads. The opportunity to highlight this breadth of styles is truly exciting, especially with just my voice and an orchestra. It’s a thrilling prospect because it’s so different.

 And what does it mean to be part of the Proms?

Being part of the Proms is a massive dream come true for me. Ten years ago, when I moved to London, I attended a Prom at the Royal Albert Hall. It was otherworldly; I remember thinking, “Wow, look at how many people are on stage.” The entire spectacle was mind-blowing. Being a part of it has always been a life goal of mine, and I can’t believe I’m about to achieve it.

I’m incredibly excited to work with Robert Ames and Royal Northern Sinfonia, and I’m looking forward to learning from their expertise throughout the process. Collaborating with such talented musicians is a unique opportunity, and I’m eager to see how our collective vision comes to life on stage.