Michael Kiwanuka on Why His New Album, Produced by Sault & Danger Mouse, Is His Most Authentic Yet

In November 2019, Michael Kiwanuka released his third album Kiwanuka at what felt like the edge of the world; the decade was coming to a close, and the pandemic that sent the globe into lockdown was just months away. He sings of such a place on the LP’s highlight “Solid Ground,” ruminating on how “it feels to be on your own” away from all the noise and bluster, imagining himself standing at the precipice of “where there’ll be no one around.” It was a moment and message that proved prescient.

Kiwanuka was, by design, the singer-songwriter’s magnum opus. The record charted at No. 2 on the U.K.’s Official Album Charts and The Guardian named it “one of the greatest albums of the decade” right at the buzzer. It soon landed a Grammy nomination for best rock album, and won the prestigious Mercury Prize in the U.K.. How does one follow up an album with such acclaim?

You don’t, Kiwanuka tells Billboard in the offices of Universal Music in London, where he is signed to Polydor Records: “All I knew is that I wanted to do something different, so that it was harder to compare. It was a good impetus to choose another direction creatively without losing who I am.”

That switch-up is his fourth album Small Changes, released Nov. 22. The London-born, Southampton-based artist retains his signature sound, blending sweet soulful grooves and melodies with elements of psych music and funk, but pares things back a touch. 

He deliberately focused on making his vocals more of a presence, something he had been reluctant to do over his decade-long career. Hear it on “Rest of Me,” where his rich voice sits atop a lolling bassline and shuffling beats; in the past, additional production flushes would have guided the listener’s ears elsewhere, but here his voice stands central to the success of the song.

“I’ve got this obsession now with the idea that if a busker can play the song, and it sounds good going through a really sh-tty amp and their voice is through a bad mic,” he says. “If the song and the lyrics still move you, you’ve done the hardest thing.”

Kiwanuka signed to Polydor in 2011 and a year later won BBC’s Sound of… poll, a new music-focused list which has also been won by Adele, Haim, Sam Smith and PinkPantheress. He released his debut Home Again in 2012, and then topped the U.K. Albums Chart with 2016’s sophomore LP Love & Hate. His song “Cold Little Heart” appeared on the latter, and was selected by HBO to be the opening theme to hit TV drama Big Little Lies, starring Reese Witherspoon and Nicole Kidman. The song now sits at over 307 million streams on Spotify.

It was at this time that Kiwanuka formed a formidable relationship. It came with super-producer Danger Mouse, one half of pop group Gnarls Barkley, and London-based producer Inflo, the mastermind behind mysterious project Sault, which Kiwanuka has briefly performed as part of. The triumvirate have since worked together on what Kiwanuka is calling a “trilogy” of records, across Love & Hate, Kiwanuka and Small Changes.

“In 20 years time, this will still be the most poignant creative relationship that I’ll ever have,” Kiwanuka says. He feels that the trio all met each other “right at the time when we needed it.” Danger Mouse – whose production credits include Adele’s 25, Gorillaz’ Demon Days and U2’s Songs of Innocence – found a “passion for producing records again,” and was drawn to Kiwanuka and Inflo as “two young Black guys trying to prove ourselves” in the music industry. “I had this double-whammy of my mind being opened by two different people at the same time, in different ways.”

The comfortability and confidence in that relationship has enabled Kiwanuka to make his most authentic record, and usher in a stylish new era. Small Changes’ accompanying visuals are arresting in their simplicity: the video for single “Lowdown” makes six minutes out of a lone bike rider at dusk. During his performance at Glastonbury Festival in June, Kiwanuka paid homage to his upbringing by wearing a Kanzu robe, a traditional outfit in Uganda where his parents emigrated from prior to his birth.

Kiwanuka has spoken before about his feeling of “imposter syndrome,” but that the shifting sands that the music industry is built upon now provide artists with opportunities. “They’re [major labels] nowhere near as powerful as they once were when I was starting out, running the shop and telling people what to do. It felt like everything they said was gospel. It affected how you made music, or at least affected your confidence.”

Kiwanuka points to Irish rock band Fontaines D.C. and rising U.S. guitarist and producer Mk.gee as examples of artists who have pushed past the noise to release strikingly original LPs in recent months.

“The volatile relationship of the industry has actually made it artist-friendly, because no-one knows what to do,” he says. “So they let you create and let you make records and experiment because they don’t know what to say… which is fantastic!”

Building confidence in his creative output and vocals has been a journey that has been hard-won. He credits the move away from London as giving him additional conviction in his capabilities: “You hear your own voice a bit louder, but you have to have a bit more conviction because you have no choice. You don’t have as much to compare it to.”

What would he tell his younger self, the one eager to please the public, his label and to meet his own personal standards? “There’s strength in your voice. People always try to tell you but you don’t hear it,” he says. “You’re always accepting advice from other people so you always think the validation is going to come from outside, and then one day you realize it’s not.”

He adds, “I was always trying to sound like my favorite singers, or [thinking] that [my vocals] weren’t good enough. But now I think I just want to sound like me.”