FOR THE BOY IN ME, the debut album from Canadian R&B singer Dylan Sinclair, profoundly reflects personal growth. As you press play on the album, you embark on a 12-track journey of self-reflection. Dylan's willingness to tap into his vulnerabilities and share the experiences that have shaped him over the last few years is refreshingly raw and honest, inspiring listeners to embrace their own growth.
Hailing from Toronto, Canada, he once again showcases what Canada has to offer in R&B, a touch of music that has been one of the most exciting cultivators of budding talent. Alongside the likes of Savannah Ré (with whom he has collaborated) and others such as Aqyila and Chxrry22, to name a few, are a couple of fresh sounds bringing something different to the current music landscape.
For Dylan, music has been a part of his life for a while now. "A family friend of mine had a studio, and he invited me to work out of there on the weekends. This was back in high school, so he would invite me to come and make music, nothing too serious. That was my first few months on the scene, making stuff and considering putting out music," he says of his beginnings in making music in a studio while he was still a high school student.
He has since released three EPs, leading up to his debut album, FOR THE BOY IN ME. Tapping in with producers Jordon Manswell, Bryan Allen, and Zach Simmonds, he crafted a body of work that effortlessly displays his talent sonically and lyrically and shows him as a name to know when it comes to R&B.
As we speak, we touch on everything from the album to more.
I'm curious about the title FOR THE BOY IN ME. How did you come up with the title?
FOR THE BOY IN ME was essentially a channelling of my inner child and youth because as I continue to evolve and expand, I've learned that a lot of what that looks like is connecting with yourself on a deeper level. I like to do a lot of internal growth, having those moments of nostalgia and being able to be with yourself and just feeling like a boy. I may suffer from Peter Pan syndrome, where I have this weird feeling towards growing up, but then I want to do it my way. And this album is just me figuring out what that looks like; it's me navigating my career, my relationships, and my relationship with myself in the world.
Encapsulating all of that in the album and everything that it speaks to, where did that begin for you?
In artistry, you can't fake it. You have to tell it how you live it. So I went through my experiences as an emerging artist, and I just started writing songs based on my experience, and that's how the music came about. It was reactive to my experience, and then, as for the title, we just stumbled on it as we were in the studio, brainstorming. There are times in the studio when you're making music and just talking and figuring out what you're trying to say. And it was one of those that we just stumbled on in conversation.
In terms of being on this journey and getting to this point, what moments have led you up to creating this body of work at this stage of your life and even at the stage of your career right now?
Falling in love with what I do is a big part of it. I love making and performing music, which will always be a part of my work. I aim to get better at it every day. My growth reflects my commitment to making the best music I can.
What was the moment you knew you wanted to make this album? Did it happen intentionally, or did it come together without you realising it?
Coming off the tour, I knew I wanted to make an album, and then the process of getting to where we are involved, a lot of music being made. A lot of songs happened, a lot of travelling happened, and a lot of experience happened. It wasn't one of those where I had many songs and was making them and realised, "Oh, I'm making an album." It was one of those where I went into it knowing that I wanted to make an album.
How did you bring this album to life and work with you in terms of collaboration?
I kept it very close regarding the production team and wanted to work with people who understood what I was trying to do. It was my homies, Jordan Mansville, Bryan Allen and Zach Simmons, that I primarily worked with. A lot of it was me honing my production skills to communicate better what I was going for on the project. So I started producing a lot more and then brought in those guys who understood what I was trying to convey. I don't know if the album would ever come out if it weren't for them.
How long has the process been, from when you started making the first song to when you finished the album, and how long did it take to make the album?
The oldest song in the album is LEMON TRESS. I made that right before No Longer in the Suburbs came out. It's over two years old. NARCISSIT was another one that was quite old as well. And then the latest one was I MISS YOU. That was the last song I did a couple of months ago.
From putting out No Longer in The Suburbs, what would you say for yourself has been the biggest change from that project to this one?
With this album, I've taken my craft more seriously. I've delved deeper into research, explored music more, and remained more inspired. I've made a conscious effort to ensure that what I digest influences my music positively. I hope this commitment to my craft resonates with my audience.
With this album being so personal to you, did you hesitate about being open and sharing a part of yourself that was so personal, or was it something you knew you needed in the music?
Both. I knew I needed to put it into the music, but I was very hesitant on many occasions to make that the title, and two, put out certain songs. I had to fight my team, or my team had to fight me for NARCASSIT? to come out, for example.
Why NARCASSIT?
It flowed off the tongue so easily, like I made that song in two hours, just like the flow I was in. I loved the song so much, but just for myself, not for anyone else to hear. Then my team heard it and told me it needed to be on the album. It's funny because since the project has been out, many people have connected with it.
Canada has a rich music scene, especially R&B right now. There is so much great talent. So, what was your first introduction to music, and how did you find yourself in that scene?
A family friend of mine had a studio, and he invited me to work out of there on the weekends. This was back in high school, so he would invite me to come and make music, nothing too serious. That was my first few months on the scene, making stuff and considering putting out music. Regarding the city's influence on me, I've always been inspired by Toronto artists. I love the legends that have come before me, and I am inspired by the strength of our city's talent trail and the legacy of the artists from my city; I admire it and am inspired by it every day. We have something special over here.
What do you want people to get from this album as they listen to it?
Life isn't easy; no one's perfect, and it's okay to feel what you feel, be honest with yourself, and be present. It's good to evolve. In order to fly, you have to let the weight go.
CREDITS
Photographer: Peter O’Sullivan @peterosullivan_
Creative Director: Zekaria Al-Bostani: @zek.snaps
Producer: Seneo Mamba @seneomwamba
Stylist: Rhys Marcus Jay @rhysmarcusjay
Styling Assistant: Lerato Marupi @itsnotlerato
Creative Assistant: Whitney sanni @its.whit_
Design: @margokatesmith & @ShalemAlone
Writer: Seneo Mwamba @seneomwamba
PR: My Blaqbook @myblaqbook @giovannamae @1gracezadi
Styling
LOOK #1
Jacket: Dickies
Shirt: Ahluwalia
Trousers: Burberry
Trainers: Converse
LOOK #2
Denim Suit: Ahluwalia
Bandana: a pledge by rmj
Boots: Timberland
LOOK #3
Sunglasses: Bonnie Clyde
Jacket: Silpa Clothing
Trousers: Vintage Yard Market
Shoes: GUCCI
LOOK #4
Full Look: Peter John
Jewellery: Skyethestudios
LOOK #5
Jacket: COOBA London
Shirt: Richard James
Trousers: Blue Marble
Shoes: GUCCI
Jewellery: Skyethestudios
