Matthew Rhys Daniel is a West London-based producer, keyboardist, and composer whose versatile discography bridges genres and collaborations.
Rooted in a rich musical upbringing spanning Motown, soul, and jazz, Matthew Rhys Daniel has both classical piano and jazz keyboard training. After graduating from UCA in 2010 and overcoming early career setbacks, including a cancelled debut album, he has crafted a distinctive sound that merges classic influences with contemporary innovation. Most recently, he released the Bittersweet EP and unveiled his first single distributed with MN2S, Let The Blues Come Out featuring Rachel Huggins, released August 8th.
Your music spans various genres and collaborations. How do you approach blending different styles while maintaining your own unique sound?
I’ve always been open minded when it comes to listening to different genres of music, I guess that helps me in my composing/making music.
Growing up in West London with such a diverse vinyl collection from your parents, which records or artists shaped your earliest musical memories?
My family has a variety of artists and musicians and it ranges from Coleman Hawkins, Joan Armatrading and Motown stuff to Amy Winehouse, Adele and Coldplay. My Sisters music was more Adele and boy bands, which I didn’t go to much but when I heard Amy’s music for the first time I was addicted, especially her debut deluxe album ‘Frank’. With all the jazz chords and jazz themed music she was a musical genius.
How has your classical piano training and jazz keyboard tutoring influenced your production and songwriting?
I’ve been really bad at taking lessons as of late, the classical side of my learning since I was little hasn’t really stuck and the jazz keyboard training didn’t really stay either, but it did inform my own style, which is helpful in some ways.
You were diagnosed with autism in 2010. How has this shaped your artistic perspective or creative process?
It was a rough time because there wasn’t as much awareness about it back then. I won’t go into too much detail but I also have a few other conditions like Bi Polar/PTSD and that does have more support. I’m dealing with everything much better now and I don’t care so much about what people think and just try to get on with life.
Can you share the story behind your collaboration with Lina Loi on her upcoming EP? What was the creative dynamic like?
It took many years and I’m not sure about the details of the EP yet other than my five tracks need to be mastered and label ready. The artwork was made by one of my collaborators Zulema Nakinda Cheek, I think it looks cool. My favourite songs from this EP are ‘Love Me’ and ‘Deserve’ with the nice piano intro.
Your debut album as Matthew Rhys Daniel was unfortunately canceled due to label issues. How did you overcome that setback, and what did you learn from it?
I didn’t realise that signing to that label in Europe would cause a bad start, which it did. I suppose we all learn from mistakes and just keep going. Luckily the label took it down and I’ve made better music since then. My music is simple and not to every DJ’s taste but I appreciate those who do play it.
Working with vocalists like Zulema Nakinda Cheek and Linda Muriel, how do you approach integrating vocals into your compositions?
Luckily Zulema Nakinda Cheek has her own unique way of recording vocals herself in her home studio in the United States, I’ve known Zulema the longest and she’s been currently working on her second album which I’m excited to hear soon. With Linda Muriel she re-recorded a demo idea of mine and wrote/composed ‘Soul Personified’ for me with her ‘at the time’ producer and band Afro Symphony. I’d like to re-do it.
How do you balance your roles as producer, keyboard player, and composer when creating a new track?
Chords usually come first. Then I lay down the rest of the tracks. It’s quite simple really.
What can fans expect from your upcoming music? Are there any new directions or sounds you’re exploring?
Actually yes! I’ve got a few trip-hop sounds I’m playing with, potential instrumental albums. I’ve always loved the idea of featuring U.K rappers on my beats but that has yet to happen.
Reflecting on your journey so far, what advice would you give to emerging artists facing challenges in the music industry?
Don’t take one door closed as a bad thing. The right thing will happen at the right time.