Freddie Graham: Crafting Cinematic Soundscapes Rooted in Nature

Internationally acclaimed producer, composer and multi-instrumentalist Freddie Graham is an artist who creates worlds as much as he creates songs. Blending acoustic instrumentation, subtle electronics and immersive production, his music transports listeners into richly textured soundscapes that feel both intimate and expansive.

Raised in the English countryside, Freddie developed a deep connection to the natural world, a relationship that continues to shape both his sonic palette and lyrical storytelling. From birdsong and flowing streams to poetic reflections on human emotion, his work draws on nature to explore themes of longing, hope and self-discovery.

Freddie is also the founder of sonogrove, an innovative events collective that unites sound, nature and technology through surround sound, projection mapping and multi-sensory live experiences. Despite being early in his career, he has already performed at prestigious venues including the Royal Albert Hall, Edinburgh Fringe and Manchester Academy.

His latest single, Can’t Wait To See You, released on 1 May 2026, sees Freddie stepping into a more pop-forward space while retaining the cinematic atmosphere and emotional depth that define his sound. Dreamy, euphoric and emotionally exposed, the track captures the anticipation and excitement of reconnecting with someone special.

We caught up with Freddie to discuss the art of building immersive music, translating nature into electronic production and why authenticity matters more than ever.

1. Your music often feels like a space rather than a song — how conscious are you of building atmosphere and environment as part of your composition process?

Atmosphere and environment are so important to immersive music creation – it’s what really connects a listener to an artist’s unique sound. I put a lot of detail into the musical and soundscape layers in my music production – my DAW projects honestly have a scary number of tracks and instruments! I think this attention to atmosphere is why people often call my sound ‘cinematic’.

2. Growing up in the English countryside clearly shaped your connection to natural sound — how do you translate that into electronic production without losing its organic feel?

I love to put natural field recordings from special places back home into my compositions: a beautiful 5 am dawn chorus, a trickling stream deep in the woods, waves slapping and sighing onto a rocky beach. The natural world also heavily influences my lyrics; I like to use metaphors from nature (like a sapling reaching for the horizon) to mirror the human condition and my own emotions. It really stems from moments alone in nature where I’m able to meditate on what’s really going on internally.

3. With ‘Can’t Wait To See You’, you lean more into a pop-forward structure — what pushed you to make your songwriting more direct and emotionally exposed on this track?

I’m always looking to push myself and try new things - I like to constantly evolve. I haven’t explored Pop and its subgenres as much, so I decided to create something using this medium. Not just musically, but also in its theme and lyrics. As a result, it feels a lot more direct and emotionally exposed – and that vulnerability feels new for me. I think it still retains my sound and essence, particularly in its layered production, vocals, and psychedelic climax.

4. You work across multiple mediums — sound, visuals, immersive events — how important is it for you that your music exists beyond just listening and becomes something more experiential?

It’s 2026 - we have so much technology readily available. I started a live events group – sonogrove – where we utilise immersive technologies like surround sound, projection-mapped visuals, live music, and the senses, to unite sound, nature, and technology. It’s important to me that we use modern technology not just to grab attention, but to increase awareness, and to connect people to themselves, the natural world, and the people around them. It’s about combining artistic mediums in a conscious way – they’re so much more impactful when they’re combined, and it allows for more collaborations with different artists with varied points of view – which I love!

5. Your work resists the fast-paced, attention-driven nature of modern music — is that a deliberate response to the current landscape, or simply a reflection of how you naturally create?

I think it’s a reflection of my own worldview. There has to be an element of balance – if it’s too slow and conceptual, it can be harder to get your points across to more people; if it’s too fast-paced, hype-driven, and formulaic, I feel it sacrifices my artistic authenticity. So I try to find somewhere in between that resonates. I don’t want my music to be for a select few because I feel I have important messages to share, but I’m also aware that my music may not be for everyone – it’s the beauty of the subjectivity of art!