Zaki Hagins is a newly Berlin-based singer-songwriter, originally from Philadelphia. With a background in contemporary classical composition and operatic training, he uses a minimalist blend of live-looping viola and soulful vocals to create his own brand of experimental pop. Growing up in the Philadelphia public school system, he played in numerous ensembles throughout middle and high school, studying with Philadelphia Orchestra violist Renard Edwards and Jazz violinist Owen Brown. While in high school, Hagins started busking with his twin brother Mosi, and after graduating invested in a Boss RC-30 Loop Pedal, which he considers his best investment. In 2018, Hagins moved to the Netherlands to study composition with Vykintas Baltakas at Conservatorium Maastricht, where he also studied singing with Yvonne Schiffelers.
By Kamil Bobin
Discovered via Musosoup
Kamil) Hey Zaki Hagins, super nice to have the chance to chat with you. What first got you into music?
I grew up with music all around me. Both of my parents used to work in music journalism, and played music on the stereo at home, in the car, everywhere. I've always loved to sing along. My mom even credits my early learning to read to her only buying CDs that had lyrics printed in the liner notes. It was almost inevitable that I would end up playing an instrument.
What jobs have you done other than being an artist?
My first job was working as a political canvasser. I was literally one of those people with a clipboard, waving people down to ask them to donate to non-profit organizations. I enjoyed being able to just let my inner theater kid out and be really sociable, talking with people about social and political issues, but I would never do it again, because it was not very well paid. It was a great experience, though.
Your latest song is 'Younger'. Can you tell us more about the making of it and if there were any unusual things happening during the process?
Making 'Younger' was really a process of learning how to self-produce. I always want to have complete creative control over my output and, especially with something so personal, prefer working independently, but I didn't have the technical knowledge to finish. I would spend a lot of time working on the mix, then letting it sit on my computer for a while I focused on other work, only to come back to it later and completely redo my previous work because I realized I'd done something wrong. Eventually, I ended up working with the producer of the Pop mix, Dominic Edgley, and learning a lot through the process of collaboration. It was through what I learned working with Dominic that I was able to produce the Acoustic Mix myself.
What do you dislike about the art world?
That's a BIG question. In general, I would say my biggest pet-peeves are elitism, being stuck in the past, and lack of equity, all of which go hand-in-hand. As an example, in the classical music world, there is a tendency to play music by dead cis white men, which not only erases composers in the past who didn't fit the norm, but also makes it so much more difficult for contemporary composers to get their music played. Things are improving, slowly, but it still takes a lot of work, energy, and time to be able to navigate systemic barriers.
Describe a real-life situation that inspired you?
One situation that heavily inspired 'Younger' was the surgery that my twin brother underwent for scoliosis when we were thirteen. There was unfortunately a complication, and he suffered nerve damage. For two weeks, his left leg was paralyzed. I still remember the day he regained some movement, I literally broke into tears when I heard the news. Luckily, he's had a full recovery.
What accomplishments do you see yourself achieving in the next five to 10 years?
I see myself making more great music, playing larger venues, and just growing as a musician in general. I'm already planning my next album!
What’s your scariest experience?
My scariest experience was also my lowest point: ten years ago, I was suffering from severe depression, and almost died by suicide. The second of January was the 10-year anniversary. I've fortunately undergone much therapy, and my mental health is far better than it was then. When I think about my state then, I would have never imagined I'd be where I am now, and life's still getting better every day!
How would you describe the music that you typically create?
I've always found it difficult to describe my music. I perform using a loop pedal, and I love the ambient sounds and textures I can create with just my viola. Furthermore, I am also heavily influenced by the R&B, Soul, Pop, Rock, and Classical music I listened to growing up. In the end, I guess I'd describe the music I mostly make as Andrew Bird meets Björk, with Roberta Flack-ish vocal technique.
Have you ever taught or mentored another musician?
I have very little experience teaching, although I have given viola and violin lessons to my then-five-year-old brother and my roommate, respectively. I'm a bit apprehensive, because I know that my viola technique is far from perfect, and I don't want to pass on any bad habits that could lead to injury in the future.
Is the artistic life lonely? What do you do to counteract it?
Life as an artist can be lonely at times; it's really easy to spend entire days alone working on your craft. Luckily, the need to survive and pay rent forces me to interact with others, and being in numerous other ensembles helps me to maintain a social life. I also love going to open mics in Berlin, where there's such a huge community of artists, some of whom have become amazing friends of mine. Community is incredibly important; having a good support network has been integral in not repeating the events mentioned in question 7. Ultimately, if it weren't for my community, I probably wouldn't be making music. After all, what is a performer without their audience?