Following the release of his aptly-titled album Extraordinary, we spoke with Gareth Donkin about the experiences that shaped both his sound and creative identity - from theatre school and jazz piano lessons to DJing, house music, beat-making and the experimental SoundCloud scene. All of which perfectly encapsulate the depth, musicality and imagination behind his artistry today.

With Extraordinary we see you deepening a world you have already established - the continuity, intention and expansion has remained consistent with your work. Now that this second album is released, how does it feel to see it alongside your previous work as part of a wider catalogue?

I think that was really the aim with this album - to build on what I’d already done and really hone-in on my production skills and technique. With every new project, I always strive to do better than the last, or at least grow in one aspect or another.

I’m relieved and happy to finally have this music out in the world. Artists can end up sitting on music for such a long time, and some of these songs actually go back to 2022-2023. ‘Sing, Everybody’ and ‘Where Did We Go’ both started around then, and ‘Never Going to Break Your Heart’ was written in 2023, around the time my first album came out.

I can be a perfectionistic with my approach to music. I always want to make sure it’s the right time for a song, and that it fits within the body of work and the story I’m trying to tell. Those songs have stayed really close to my heart since I wrote them, so finally releasing them feels like a huge weight off my shoulders.

It’s been a long time coming, waiting for the right moment, so I’m really pleased people are finally hearing the songs. They’re new to everyone else, even though mentally I’m already preparing for the next thing.

Seeing people interact with the music and tell me what they think is still surreal. I obviously still want to keep pushing the album and getting it heard, but it does feel good to close the door on this chapter a little bit. Now I want to recentre, get inspired again and gather new ideas wherever they come from.”

 The collaborations on Extraordinary sit very naturally within the project. What guides those choices, and how do you ensure each feature compliments the overall sound?

“Two of the features actually came through DJ Jazzy Jeff’s Playlist Retreat - Kiefer and Uhmeer.

Uhmeer is an incredible rapper and songwriter. He’s got this really great pen game and a fun, tongue-in-cheek approach to writing, and I knew that energy would fit perfectly on ‘Play The Game’. We’d connected on Instagram before officially meeting at SXSW in 2024. I posted a photo outside the first venue I played, and he messaged saying, ‘You’re here? Let’s make something happen tonight.’ We ended up going to a show together that DJ Jazzy Jeff and Natasha Diggs were doing, and we really hit it off from there, then became even closer through the retreat. I just knew he’d capture the energy of the track perfectly and elevate it.

Kiefer was someone I’d been listening to since 2017, so meeting him at the retreat was surreal. I was honestly nervous to even speak to him. Eventually I introduced myself on the last day and he was such a nice, chilled guy. We connected over Instagram afterwards and started talking about collaborating on each other’s projects. When I sent him the album, I basically told him to choose whichever track he connected with most because I trusted that anything he touched would be incredible. He picked ‘Where Did We Go’, and what he brought to it completely blew me away. It was a real honour to work with him.

ESME is another artist I’m really excited about – she’s a new artist from LA and definitely one to watch. She’s effortlessly cool and has such a unique flow and delivery. My manager first introduced me to her music, and I was instantly blown away. ‘I Need You’ was another older song that had been sitting around for a while, it was gathering dust, and I felt it needed freshening up. Bringing ESME into the process gave the track a completely new life. She absolutely bodied it.

I’m very particular about who I work with. I keep my circle of musicians and collaborators intentionally tight because I’m protective over my music and I like building trust with people over time. I usually know instinctively whether someone is the right fit, and with these three artists I really felt they were meant to be part of the project.”

Your 2019 release Catharsis introduced many listeners to your sound. Looking at the new album, what has remained most important to you in how you write and produce?

“What’s remained most important is authenticity- staying true to myself, the music I gravitate towards and the things I genuinely love. That hasn’t changed at all. Neither has my love for music or my drive to keep creating. Music really is therapy for me. My one true love.

One thing I’m proud of is never feeling the need to sell out or become something I’m not. I think my sound has evolved very naturally over time. Early on, especially around 2016 to 2020, I was heavily inspired by hip-hop, beat-making and J-Dilla.

As time’s gone on, I’ve started leaning more into all the other things I love too. There’s definitely a stronger 80s influence on this project. Before, it felt more like a crossover between Jacob Collier inspired harmonies, big choral moments and my beat-making background. Now I feel like I’m stepping into my ‘Quincy Jones era’.

Artists like Earth, Wind & Fire and Jamiroquai have always been constant sources of inspiration for me, but I think I’m becoming more confident in fully embracing every side of what inspires me. Through all of it though, authenticity has stayed the most important thing.”

Could you share a little about your early life – where you grew up and what drew you to making music?

“I always find it hard answering where I grew up because I moved around a lot. I was born in the UK, lived in France for a while with my family, then moved back to England. I went to theatre school in London, which was really where my creative beginnings started. I loved performing and being on stage, but eventually realised music was where my heart really was.

I also come from a very musical family. My mum was a conductor, violinist and teacher, my dad sings and plays multiple instruments, and my siblings are all very musical too. Growing up, I listened to artists like Michael Jackson, Jamiroquai, Earth, Wind & Fire and George Benson - all of that definitely shaped my ear from a young age. I put a lot of my education down to what I was exposed to from a young age.

Interestingly, DJing was actually my first real introduction into music-making. When I was around 10 or 11, I became obsessed with electronic music, house and artists like Disclosure, Deadmau5 and David Guetta. I downloaded some DJ software on my computer and started trying to work out how remixes and productions were made. That eventually led me to Ableton and music production, and it spiralled from there.

Then my brother introduced me to SoundCloud and this whole community of beat-makers and producers. That completely changed everything for me. I was so excited and that opened my world creatively.

I also took jazz piano lessons from around age 11 to 14. I fell in love with chords and harmony, although I wasn’t exactly the most disciplined student. I had no interest in practising scales or approaching music academically - I always relied more on my ears and experimenting on the piano myself. Learning about 7th and 9th chords. Looking back, I probably wish I’d taken the theory side more seriously, but all those experiences shaped who I became musically and where I’ve landed with it all.”

 Your music often feels like it’s in conversation with the past - there are hints of 70s and 80s soul and rock warmth, but it never feels retro for the sake of it. What draws you to that era sonically?

“It really starts with the songwriting, craftsmanship and production. I think the sonics from that era are timeless. Those records still really hold up today. I’m constantly asking myself why more people aren’t trying to tap into that space because the level of artistry is incredible to me. There is something about those writers and producers had - there was a genuine passion behind the writing and production. You look at people like Rod Temperton, Quincy Jones and the engineers behind Michael Jackson’s records - those albums are timeless for a reason. The songwriting never feels overly formulaic to me. There was just something special in the air creatively during that period.”

Are there particular artists from that period who shaped your ear early on?

Artists like George Benson, Earth, Wind & Fire, Michael Jackson, Electric Light Orchestra and The Beatles were all huge for me growing up. But The Police are actually a big one - a lot of people don’t realise how much I love rock music too, especially soulful rock and power ballads. Later on, in the 90’s, Jamiroquai were instrumental – they became a massive influence for me as well, especially Jay Kay’s vocals and delivery

There’s something psychedelic about your arrangements -unexpected chord turns, subtle shifts, textures that feel ethereal and otherworldly. How intentional is that experimental edge?

“Sometimes things happen completely by accident, and I’ll hear something unexpected and think, ‘That’s really cool, I’m keeping that.’ But most of the time it is intentional. I definitely see myself as a producer first, and I’ve always been fascinated by experimental production techniques and sound design. Subconsciously I always try to make explosions occur in what I do, especially with my latest work. Growing up within the SoundCloud beat-making community exposed me to so many insanely talented producers doing really technical, creative things with music. Even styles people might not expect me to listen to - really experimental electronic music, drum & bass, producers like Mr. Carmack - I have a huge appreciation for music that’s technically impressive but still interesting and emotionally engaging. That experimental side really seeps into my own work subconsciously.”

You attended Jazzy Jeff’s Playlist Retreat in 2024 and 2025, which for many artists is a dream creative environment. How did that opportunity come about?

“Going to the retreat was a huge dream of mine. After releasing Catharsis, I became much more immersed in that world and started connecting with people around it online. I actually met Jeff’s son Corey through Instagram around 2019 or 2020 after he showed love to my music. He told me, ‘We’ve got to get you to the retreat someday.’

A little later, Jeff’s other son Amir followed me too and eventually told his dad about my music. Then one day, completely randomly, Jazzy Jeff followed me himself and DM’d me saying, ‘Never lose your spark. Do not dim your light for anyone.’ That honestly blew my mind.

I’d been manifesting going to the retreat for years, so getting the invite felt surreal. And it really was everything I imagined and more. It was also intimidating at first - the imposter syndrome definitely kicked in.

I remember walking into one of Jeff’s studios while he was showing Dre Bombay and James Poyser one of my Instagram videos. I walked in right at that moment and couldn’t believe what was happening. I was reading their Wikipedia pages afterwards thinking, ‘This has got to be a dream’

But the retreat was full of inspiration, amazing conversations and incredibly talented people. Everyone had something to share, and I learned so much from both years I attended.”

What inspiration did you gain from being in a room with so many peers - did that experience shift anything for you creatively or personally?

“It led to some incredible friendships and creative experiences. The first year, I was honestly just trying to take everything in because I felt really intimidated and overwhelmed with imposter syndrome. By the second year though, I threw myself into it much more, and that led to some really amazing collaborations, conversations and creative inspiration off the charts’.

 You’ve recently featured on the De La Soul album Cabin In The Sky, and  Zo! & Tall Black Guy’s album, Expansions – who would be a dream collaboration for you?

“Stevie Wonder is obviously one of the first names that comes to mind, although honestly ,he almost feels too sacred to even imagine collaborating with.

But the main one for me right now would probably be Mk.gee. I’ve always loved rock music and artists like The Police and Sting were big inspirations growing up. I’m such a sucker for soulful rock guitars and big power ballads.

I’ve basically had his album on repeat for the last couple of years, analysing everything about it. The production, songwriting and overall approach just speak to me on so many levels. It scratches every creative itch for me. It feels like he’s completely found himself artistically and fully nailed his sound. The music is outstanding.”

What’s next in the works for Gareth Donkin?

“I really want to play more shows and hopefully tour this album. We’ve been talking about it, but touring is a huge undertaking - especially when you’re largely funding it yourself. There are so many moving parts, and I want to make sure I do it properly and put on the best shows possible.

Ultimately, touring the world is absolutely the goal, but I know the timing has to be right. For now, I’m still very focused on my studio work. We’re aiming to do a headline show towards the end of the year, and I’m also supporting Carrtoons at Jazz Cafe in July.

I’d also love to spend more time featuring on other artists’ records and producing or writing for other people. At the same time, I know I need to recentre creatively before starting work on a third album.

More importantly, I want to focus on my health, wellbeing, sleep, and spending more time with family and friends. I’ve had my foot on the gas constantly for the last five or six years. I’d love to travel more too and experience more of life outside the studio because those experiences feed the songwriting.

I’ll never stop making music, but I do think it’s important to go out into the world, live a little and find inspiration naturally rather than forcing it.”