From the release of ‘Scars and Glory’ to the release of his EP ‘Welcome To Brownsville’ Will chats about it and more in his Music Promotions Interview.
You grew up travelling across America singing gospel on church tours with your preacher father. How did those early experiences shape the way you approach music and performing today? How much have you changed musically?
That time shaped everything. I learned early on that music isn’t just something you perform, it’s something you give. Watching people connect, heal, or just feel seen through a song stayed with me. That hasn’t changed. What’s evolved is the sound. Back then it was rooted in gospel, now it’s grown into pop soul, but the intention is still the same. Every time I step on stage, I’m still chasing that feeling of connection I saw as a kid.
Your music now sits in the pop soul world, but you can still hear that gospel influence. How do you balance those two sides of your musical identity when writing and recording? Who influences you musically?
For me it’s not really a split, it’s all one language. Gospel gave me connection, emotion and honesty, pop gives me structure and reach. So when I’m writing, I’m always asking does this feel real before anything else. The balance comes naturally. Influence wise, it’s a mix. Artists like Rag’n’Bone Man, The Weeknd, Adele, Sam Smith, even going back to people like Jackie Wilson. It’s that blend of soul and modern storytelling that I’m drawn to.
Your upcoming EP Welcome To Brownsville arrives on April 17th. What kind of story does the project tell as a whole? How long did you spend working on the EP?
Welcome To Brownsville is really a journey. It’s a place shaped by heartbreak and hope. The EP moves through losing yourself, facing things you’ve been avoiding, and then finding a way back to who you are. I’ve been building this world for years without even realising it, but the actual EP came together over the last couple of years. It’s not just a collection of songs, it’s a space people can step into.
You worked on the EP with producer Ash Howes, who’s known for working with artists like Ellie Goulding and James Arthur. What did he bring to the sound of the record that helped elevate these songs? What was it like to be in the studio with him? What other writers or producers would you like to work with?
Ash has a way of making things feel big without losing the heart of the record. He really understood the emotional core of what I was trying to say and helped shape it into something that could live on a bigger stage. In the studio it was very honest, no ego, just chasing the best version of the song. Moving forward, I’d love to work with people who understand both storytelling and scale. Producers who can build worlds, not just tracks.
Your single Golden has been described as a real pop moment, even something that could sit comfortably on a Eurovision stage. Did you always see that song as a potential breakthrough track? How do you decide on which songs should be released and a good fit for the EP?
Yeah, Golden always felt special. From the first time we played it back, it had that lift to it. It carries a message that people connect with straight away, that idea of seeing value in yourself even when others don’t. When it comes to choosing songs, it’s always about the story. Every track on the EP has to feel like it belongs in Brownsville. If it doesn’t add to the journey, it doesn’t make the cut.
Golden caught the attention of Scott Mills and quickly landed on the BBC Radio 2 playlist. What did that recognition mean for you at this stage of your career?
That meant a lot. Radio 2 is such a respected space, and to have them support the record felt like confirmation that the music is connecting beyond just my immediate audience. It gives you belief that what you’re building is reaching people in a real way.
You performed at the French Euro Village during Eurovision 2025 and you’re set to appear on France’s iconic music show Taratata. How has the response from European audiences compared with what you experienced growing up performing in the US?
The energy is different but the feeling is the same. In Europe, especially in France, they really lean into the emotion and the storytelling. You can feel them listening. I’m still pinching myself to ensure I’m not currently dreaming about TARATATA. What an absolute mind blowing experience and opportunity. Growing up in the US gave me that foundation of performance, but coming over here has shown me how universal these stories are. Brownsville doesn’t belong to one place, it travels.
You’ve been playing a string of sold out shows and recently performed at London’s Troubadour. How does the energy of those live shows influence the way you think about the next phase of your music?
Live shows tell you the truth. You see what people hold onto, what they sing back, where they connect. That energy feeds directly into what comes next. It makes me want to go bigger, more open, more honest. Brownsville was always meant to be experienced, not just listened to.
Your single Scars and Glory has just been released, can you talk more about the track and what it means to you?
Scars and Glory is about taking the parts of yourself that were used against you and turning them into strength. It’s that moment where you stop hiding what you’ve been through and start owning it. For me, it’s one of the most honest records on the project. It sits right at the heart of Brownsville.
Final messages?
If there’s one thing I’d say, it’s that Welcome To Brownsville isn’t just somewhere you arrive, it’s somewhere you step into when the world gets too loud. It’s a space you leave reality for a moment to find clarity, strength, and the answers you’ve been searching for. A place for anyone trying to make sense of what they’re carrying, work through what’s unresolved, and figure out how to move forward.
