Afro-fusion artist Gabzy discusses collaborating with Fireboy DML and his new EP, “It’s Not You, It’s Summer”.
Gabzy’s latest project, “It’s Not You, It’s Summer”, is a seasonal soundtrack that is a sharp, emotional commentary on the fleeting nature of love, timing, and self-discovery. A twist on the classic phrase “it’s not you, it’s me,” the title explores how summer can become a scapegoat for emotional distance, and the conflict between freedom and commitment that often initiates under the sun. Across six genre-blending tracks, the UK-based artist leans into vulnerability, while keeping honesty and sonic evolution close.
From origins in a church choir in Peckham, Gabzy has built an artistic identity that embraces complexity; his alter ego Malone co-exists seamlessly within his own personage. Reflecting onto a sound that moves fluidly between R&B and Afro-fusion, the EP boasts notable collaborations include Fireboy DML and Victony, who add new dimensions to the project.
“It’s Not You, It’s Summer” displays the importance of not moving while in the heat of a moment. Building an artistry to last, Gabzy reflects to Wonderland on his past, while gazing at a forward pathway that stands more clear to him than ever before.
Listen to “It’s Not You, It’s Summer”…
Read the interview…
The title of this EP is reminiscent of the phrase – “It’s not you, it’s me,” – Where does summer and the seasonal element fit in within this title ?
“It’s Not You, It’s Summer”, is a play on the phrase “it’s not you, it’s me,” – it’s about situations that often happen when someone has something special with someone – and then the sun comes out. Their feelings may not change, but that seasonal shift causes them to start looking for freedom, and to look for an excuse to pause or even end things until the end of summer.
You have multiple tour dates across countries such as Uganda and Zambia approaching. Do you prepare for the live experience differently when performing in different places?
Zambia, that was my last Gabzy experience show – the crowd was crazy. There were like 5000 people, and a further 100 outside who couldn’t get in. I definitely prepare for every show the same, because I try to put on the best show possible. Performing in Africa is definitely more challenging – in terms of having to build your own stage, and keep that same experience throughout. I definitely prepare for all shows the same so that everybody has the same experience.
Both New York and London have helped shape your sound. I know you met Melvitto in New York, how would you describe each city’s contribution to your sound ?
Both are very multi-cultural places. New York is a very unique place, just in terms of the people that you meet on the day to day, but I find there are similarities with London too. They’re both very fast paced and there’s so much happening that you feel like you have to be doing something. You can hear those two different cultures in my music.
Speaking of home, I know you grew up in the choir – how did that change your view on performance and what from that experience do you carry with you today?
I used to do solos, all the time. At that point, I never thought I’d be an actual singer – I wanted to be a footballer. But it definitely helped me become comfortable singing in front of regular people.
On “New Body” – you flipped the concept of a ‘new body’ and celebrated the work people put into their bodies, not for others, but for themselves – what else in the creation process of this EP flipped on its head but worked?
With that song I wanted to flip the concept we’re used to hearing about girls getting their bodies done, and that being their new body – this song was about girls going to the gym and transforming that way. I feel like ‘So Easy’ is one of the only songs where I actually talk about my life and the challenges I face – it gives my fans just a bit more about myself. It’s time for them to know more about me. Trying to find the right songs for the project was a journey. As creatives we all go through writer’s block and try to dig deeper while knowing you can do better – showing up and continuing to dig deeper was key for me, and at the end of the tunnel was this project.
While having an alter ego, Malone – have you ever feared that people would struggle to understand both sides to your artistry?
I feel like it’s cool for them to not just accept one – if they feel like they don’t relate with one, there’s the other. Gabzy is what people are used to hearing – sugarcoating things, hearing what they want to hear – whereas Malone is a little more direct, and says things how they are, which people are scared of. So I can understand why people may lean towards one rather than the other. Malone may make a song about a situation a girl’s going through that she doesn’t want to accept the truth about, and she may not want to listen to it as a result. That’s the type of feeling he gives off. I’ve obviously grown as a person, but those songs came from real places.
“So Much Sense” with Fireboy DML, and produced by AOD and The Elements speaks about alignment. Talk to me about the collaboration between yourself and Fireboy DML – what was the alignment there?
I had the song, and I loved it. Everybody really loved it. I brought forward some names who I thought would sound crazy and Fireboy was one of them. When we got in the studio the energy we held together was crazy and the way that we bounced off of one another’s creativity made so much sense.
Has alignment been something you’ve ever had to compromise in your musical journey?
Not really. Even when getting into work with artists, I have to be a fan of what they do. If something doesn’t make sense for me, I won’t do it.
“After Summer” is a bit of a slowdown/ comedown from what we hear before on the EP. Speak to me about that song, and how much do you appreciate the quiet in your life after being involved with a life that’s rooted in and surrounded by sound?
‘After Summer’, for me, is the heart and the message of the project. The message of me hoping that she’s still waiting. In terms of quiet in my life, I’m still learning how to manoeuvre the days where it’s loud and how to deal with the noise, but I definitely appreciate the quiet. Lyrics and song ideas sometimes come from being a quiet place.
On “After Summer”, you sing “‘I’m scared that she’ll find better when I’m ready to settle,”. This is so honest – the fear of something leaving just when we’re ready to hold it and grasp it fully. Has there been anything in your career that has slipped out of your hands just when you were ready?
Not that I can think of. I feel like guys, especially in this generation, we know what we have and we know what we want – but we still wait around for whatever reason to see if we can somehow obtain something or someone better. But realising that what you already have is the best you can get – and that she can probably do better than you – is where that lyric came from.
There’s also peace there, you choose to do what you choose to do right? Definitely a weight off the shoulders when lyrics like that are put forward, but it doesn’t change what might happen. But I just hope
Production wise is it a struggle for you to match the stories you want to tell with the right sounds?
Whatever mood I’m in, I’ll communicate that with the producer and he’ll make a beat for me to freestyle over. The melodies usually tell me what to say – that’s usually the process.
“Special” is the last track. It really slows things down. When we slow down we learn to savour things more. Has the track taught you something about slowing down too?
I’ve had that song for quite a bit now – everybody’s loved the song – it’s been there and we had a meeting – all my managers, A&R’s, and I, and we listened to the music and narrowed ten or fifteen songs to the six that you hear on this EP. There was someone who came in, Mo, with the intention of keeping that particular song on the project.
When you hear a song for so long, even if it’s good, you forget how good it really is. We needed the reminder that it’s a really good song, so that’s how it stayed. In terms of making it, it was myself and Lekaa Beats, my good friend and producer. We often go out to lounges, get drinks, and go back to mine, since I have a home set up in my house.
It was one of those nights where we had gone back to mine and we wanted to record something. We recorded the song so fast. I feel like it was one of those ones, that was just so seamless. It’s definitely my favourite on the project, especially because before we added it, there was no feature, and Victony added a different energy to the song.
We’ve had “Summers”, “Malone”, “At The End Of The Night”, and now “It’s Not You, It’s Summer” – how would you describe your growth up until now and the chapter you’re in now?
Right now, I’d say I’m a lot more experimental. I’m definitely challenging myself more with this project – With my last project, I knew I could do it in my sleep, and I’ve come to realise now that I can go even harder. I couldn’t tell you the amount of times this project has almost been scrapped, because I’m constantly wanting to go deeper and challenge myself more, so that’s the difference in the growth. I feel like that will continue into the album process, where I’ll probably have to go to the mountains – or somewhere with clean air – to get the outcome that I want.
