Being part of a key indie rock band from the 2010s can certainly boost one’s confidence. Following the xx’s third album, I See You, in 2017, bandmate Oliver Sim recalled a conversation with producer Jamie xx during their teenage years. Jamie had expressed his early feelings about not making a significant impact on the world. This reflection seemed to echo youth uncertainties, yet in hindsight, it appeared quite inaccurate.
This moment signals anything but a self-fulfilling prophecy. Having already made a name for himself beyond the xx, Jamie xx is now set to unveil his eagerly awaited second album, In Waves, following 2015’s In Colour. After nearly a decade, his debut still resonates, embodying the vibrant essence of the mid-2010s—a hopeful time just before chaos ensued. In Waves feels like a nod to that youthful assertion, with its tracks reflecting everything from club bathroom conversations to deep late-night discussions, creating an environment for personal exploration and release.
In many ways, In Waves stands in stark contrast to its predecessor. It features a plethora of energetic tracks designed for dancing, filled with excitement. The album includes a greater number of collaborations with other artists, like Robyn and the Avalanches, and its cover art deliberately lacks the vivid colors present in prior work.
Nevertheless, Jamie’s confidence as a musician continues to develop and expand. During a phone interview, he shared insights on the changes in his approach. “I care less about public opinion now,” he stated. “With In Colour, I was mindful of how it would be perceived because it was my first solo album. The idea of establishing my identity was exhilarating. This time, I had to push those thoughts aside to finalize the project. It’s a much healthier mindset.”
In the following conversation, Jamie xx discusses his evolving relationship with dance music, the significance of errors, and how this album represents the most authentic version of himself.
1. “Wanna”
JAMIE XX: When I created this track, I was still figuring out my reasons for making the album. It was initially a quick piece intended for my DJ sets, serving as a moment of calm amidst the energy. I had played it live for years and received numerous inquiries about it.
Did you determine later why this track would be the album opener?
JAMIE XX: While organizing the album’s tracklist, making it feel cohesive was crucial to me, especially in the streaming era. I initially placed this track in the middle, but after a suggestion from Kieran Hebden (Four Tet) to rearrange it, it became the opening track—which was a pivotal adjustment.
What was your reaction to this change?
JAMIE XX: I was initially hesitant, but I appreciate it being the album’s introduction since it resonates with the conclusion of In Colour. As the album plays on, it drifts further away from that previous work.
Did you have plans for a follow-up album right after In Colour?
JAMIE XX: About a year after completing it, I was continuously creating music and had ideas for the next album. However, after completing the xx’s third album, I tried working on that concept, but it felt lackluster and failed to capture what I envisioned. I realized that the most impactful music often emerges from unexpected mistakes rather than a set idea.
On the topic of sampling, how did the Double 99 and Andy Quinn samples come together?
JAMIE XX: I aimed to create a recognizable piece for my DJ sets that would have an unforeseen twist, intended to surprise the audience. The strings came from a movie trailer and I’d been experimenting with them for some time until they seamlessly blended with my own created elements.
2. “Treat Each Other Right”
Considering your evolution from In Colour, this track feels much more intense and urgent. Can you explain its creation and why you selected it to launch the album?
JAMIE XX: This was one of the last tracks I completed. I was in a carefree mindset, aiming to craft something enjoyable yet erratic with tempo variations. Its fast-paced creation felt unique, allowing me to experiment without overthinking it. Inspired by contemporary UK and European producers known for their dynamic sounds, I aimed to reflect those influences while staying true to my style.
Which artists specifically inspired you during this process?
JAMIE XX: There’s a wealth of emerging music that hasn’t yet been released…
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That’s something you can find on SoundCloud. There’s a significant generation of music producers making waves, especially on UK pirate radio. I first met Metrist when he performed at the Floor in London. His music, which I’ve been drawn to, evokes the feeling of a movie trailer but is also danceable. It’s quite exhilarating.
The visuals you created are intense and somewhat intimidating. Did you have a specific scene or atmosphere in mind for these tracks?
JAMIE XX: Over the years, I’ve realized the importance of collaborating with someone whose creativity you admire—someone who can deliver results beyond your expectations. I’ve learned that having too many opinions in a project can dilute its essence. Rosie Marks, who directed the video, was living with me in LA during the lockdown. We shared a daily routine of surfing and working side by side, inspiring one another, even though we were focused on different crafts. So I had always planned to involve her once the music was ready to release.
3. “Waited All Night” (Feat. Romy & Oliver Sim)
JAMIE XX: This year marks the first time we’ve all launched our individual projects. We’ve recently returned to the studio as a group, and the energy feels quite different. There are now more possibilities. I think the key is to avoid boxing ourselves in; every idea could fit into what we’re creating together. The most important part is that we just enjoy making music.
Considering your previous experiences with collaborative projects, was there a conscious effort to focus more on collaboration in this album, seeking a balance with other artists?
JAMIE XX: My last album, In Colour, was introspective and shaped by a lot of solo headphone sessions. While I did spend significant time alone on this new album, I found that it encouraged a more external perspective. Many tracks were finished by playing them live, which added an engaging aspect. Collaborating can be a bit daunting, stepping into a space with new people, but it ultimately fuels my creativity. It helps me recharge, knowing I can return to my solo process afterward.
4. “Baddy On The Floor” (Feat. Honey Dijon)
How did you and Honey Dijon connect? Did you discuss the recent rise of dance music in mainstream charts?
JAMIE XX: I first met Honey in Spain at a festival organized by The xx in Bilbao. I was impressed by her skills as a DJ right from the start. We kept in touch, and during the pandemic, she reached out asking for music for her album. At that time, I was struggling to find my creative flow, but thinking of her sparked a quick burst of inspiration, allowing me to craft “Baddy On The Floor” within a day. It set a positive pace for my music-making afterward.
Why did you choose to release this song as the lead single?
JAMIE XX: The song has a strong appeal and had received positive reactions at festivals. It also represents a fresh direction that might be surprising to those familiar only with In Colour.
How has your view of dance music and its societal impact evolved?
JAMIE XX: After the pandemic subsided, I witnessed small, illegal raves popping up nearby. It was heartwarming to see people coming together to dance, which rekindled the excitement I felt when I first stepped into clubs.
The challenge with this album stemmed from the success of my first one. Dance music transitioned from being a cherished underground scene to occupying mainstream charts, losing some of its edge. I had to shift my focus away from public perception and reconnect with the purity of making music for joy, reminiscent of my bedroom days. This mindset allowed me to complete the record.
Did your experience relate only to creating music, or did listening to dance music also feel different?
JAMIE XX: I continue to enjoy nights out at clubs. However, during a period, I stopped engaging with most contemporary music at home. It often reminded me of my work, pulling my thoughts back into the studio rather than allowing me to experience music purely for enjoyment. I wanted to rediscover that pleasure, so I turned to genres like soul and jazz, which influenced some samples in the album.
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