Q&A: Garrett Sparrow Reintroduces Himself With the Expansive, Emotional World of ‘RAMBO’
INTERVIEW
INTERVIEW
☆ BY NTHATILE MAVUSO ☆
Photo by Jade Ivy
AN EXPRESSIVE COMBINATION OF INFLUENCE, VULNERABILITY, COMPLEXITY, AND THE BEAUTY OF GENRE-BLENDING — these are all the best ways to describe a debut album as impressive as Garrett Sparrow’s RAMBO. Released on July 18, the 11-track album is one that is both colorful and focused. Navigating themes of love, grief, self-deprecation, and the complexity of relationships, there is a lovely texture and atmosphere to this project that makes it undoubtedly immersive.
Sparrow is not new to sonic world-building in the slightest. The Durham-based producer, recording artist, and songwriter is stepping into his own after years of being a part of the trio Biking with Francis, while infusing sounds of alternative hip-hop, R&B, and pop. In addition to his fearless experimentation, the producer is unabashedly vulnerable while delivering emotionally charged lyrics that are a true reflection of himself. The usual DIY approach he developed while in a group is even more amplified in RAMBO.
Collaboration is central to Sparrow’s work, and there are some interesting features in both production and as featured artists that stand out, but this is an album that confidently reintroduces Sparrow to the indie and alternative hip-hop scene.
Luna had a discussion with the Durham-based producer and artist about his creative process, what collaboration is to him, and the spirit of influence in RAMBO.
Photo by Chris Steelframe
LUNA: You wrote, recorded, and produced RAMBO yourself. What did that level of creative control unlock for you, and were there any unexpected challenges in going fully solo for this project?
GARRETT SPARROW: [Creative control is] a double-edged sword. It is very easy to get into your head about the sound. You absolutely need to have outside opinions once you've finished something. While that doesn't mean you need to implement every critique, it gives you a sense of how it's affecting an ear that's not your own. The positive side of it is that the relationship you have with the music is intimate, and thus, you can tap into personal and emotional textures. I believe that this is something you usually can't achieve with collaboration.
LUNA: What are some of your favourite parts about this project, and what were some key standout moments for you?
SPARROW: The outros of “ASK,” “EGO,” and “TAKE PICTURES.” There is something about the way the songs send themselves off that hits super close to home for me. I love “DEW” as a whole; it is simplistic, and you get everything you need from it.
LUNA: There’s a noticeable balance between raw vulnerability and swagger across the album. How did you approach shaping the emotional arc of RAMBO from track to track?
SPARROW: I tend to make slower songs without drums, and so I knew it needed some energy throughout. I could make a whole album without drums and be satisfied. I wanted the sound in the project to ebb and flow to keep things naturally progressing. I noticed the album also slowly degrades like a reel of tape as you listen through – starting off vibrant, and slowly stripping down into a warbly mess. I love that about this album; it almost reflects my creative process. I sprint fast in the beginning and have millions of ideas and roads to follow, but I eventually burn out, and the beauty surfaces in totally different places.
LUNA: Frank Ocean and Tyler, the Creator are big reference points here. What specifically about their artistry resonates with you, and how did you translate that inspiration into your own voice and sound?
SPARROW: The influence firstly stems from the time period in which I really fell in love with their art and the age I was. Their music has always been fresh and timeless. They always seem to prioritize the texture and feel of the music and how everything fits together. That’s what I try to do with my own sound, and sometimes I don't even care about the lyrics at all. I know they will make themselves make sense after the fact. I also always know that no matter how much you try to steal someone’s sound, you’ll never get it. You actually get something even better from the chase.
LUNA: The production on RAMBO feels genre-fluid — you dip into alternative hip-hop, R&B, and pop effortlessly. What does your production process look like when blending these influences? Do you start with lyrics, beats, or something else entirely?
SPARROW: It can start in multiple ways. More often than not, it will be piano or guitar. Chords are a big deal to me, and then the melodies shortly after. I try not to keep guardrails when I'm making things. I have more trouble keeping things in the same lane. I have like five different albums with conflicting genres because they really can't be seen next to one another.
LUNA: “ASK” and “BOYFRIEND” showcase very different emotional tones. How do you decide on those soundscapes, especially when the themes are layered?
SPARROW: Honestly, it just happens naturally and usually mirrors what kind of music I'm listening to at the time. What I'm saying isn't always gonna line up with the energy or emotion of the instrumental.
LUNA: You've already built momentum with Biking with Francis, but what felt different about releasing something under your own name?
SPARROW: I made music for a decade before Biking With Francis, so I have the most experience making art for myself. For RAMBO, it felt good to be able to showcase what I'm truly capable of individually and craft the story however I saw fit. I want to earn a reputation for my solo music as well, and this album was a perfect way to start that story. I am incredibly proud of it, and there is a level of satisfaction you get from creating your own sound that you just can’t get any other way.
LUNA: You’re known for being collaborative and open to genre-blending. Looking ahead, are there any dream collaborations or sounds you’re eager to experiment with following the release of RAMBO?
SPARROW: I have a lot of things I've had my hands in that are starting to surface, which is super cool. I want my name to be everywhere. Some dream collaborations would be Tyler, the Creator, Mk.gee, Ryan Beatty, and Kevin Abstract. I want to be able to contribute to a collaboration and not just be on it for the sake of it.
LUNA: The feature with detahjae on “SOFTIE” is a highlight. How did that collaboration come about, and what was that process like?
SPARROW: I had hit him up after he tweeted about Biking with Francis, and I thought his artistry was amazing. I randomly made the “SOFTIE” beat after getting a synth line melody idea in the car and decided detahjae could offer a lot to this track, so I sent it. All that was left was to get together and film this video idea I had.
LUNA: Now that RAMBO is out, what does the next chapter look like for you? Can we expect visuals, a tour, or maybe more concept-driven storytelling connected to this release?
SPARROW: I have some more visuals on the way. Touring would be amazing, but unless I can secure a good opening act for someone, it's not really in the cards right now. Shows in general are something I am dying to do. I want to play this album live so badly – I am not the biggest concert goer, weirdly enough. I enjoy playing shows, but unless it’s someone I am really obsessed with, I tend to stay back.
LUNA: The title RAMBO evokes intensity, fight, and vulnerability all at once. Why did you choose that name, and how does it tie into the emotional concept of the record?
SPARROW: I just thought it sounded sick and to the point. I love one-word albums. I didn't even care for the movie growing up or anything. I just really liked the way it sounded. Sometimes, there is no need to create an entire backstory for every little detail. I am a strong believer in creating art that feels right first, and the rest will figure itself out as you build it. Personally, when I’m listening to music, the first thing that I think of is never why they made it; it’s usually how it makes me feel. I think if you tackle that first, then everything else will fit in its way, uniquely for each listener.
