Raphael Saadiq’s legacy is not just a collection of hits; it’s a tapestry woven with passion, authenticity, and an unwavering commitment to the craft. A true Renaissance Man – singer, songwriter, multi-instrumentalist, and producer – he has crafted hits in each of the last four decades, a testament to his enduring genius. Saadiq is a musical polymath, a rare breed known for his soulful spirit and melodic voice; even his speaking voice carries a melody that hints at the harmonies living in his soul. He brings harmony not only to his music but to every conversation, making you feel like you’re in the presence of a true sensei of sound.
With Tony! Toni! Toné!, he revitalised R&B by reintroducing live instrumentation, delivering tracks like Feels Good and Anniversary, where his voice melds with strings like they were cut from the same cloth, showcasing his alchemical approach to music-making. They weren’t just songs; they were moments in time. Later, with the supergroup Lucy Pearl, he proved he could seamlessly blend R&B, funk, and rock, setting a new standard for genre-crossing brilliance. His timeless fingerprint can be felt across his solo work and his trailblazing time with the band, cementing his influence in the annals of music history.
Today, Saadiq’s influence remains as powerful as ever. His collaborations read like a who’s who of musical legends – Mary J. Blige, Tupac, Erykah Badu, Whitney Houston, Lionel Richie, Stevie Wonder – and his recent contributions to Brent Faiyaz’s culture-shifting Wasteland, which crashed the Billboard 200 at #2 in 2022, showcase his ability to stay at the forefront of contemporary music. When Beyoncé needed some extra magic for her albums Renaissance and the Billboard 200 #1 country album Cowboy Carter, she knew exactly who to call. Saadiq co-wrote and produced four tracks on the unanimously acclaimed Cowboy Carter, including American Requiem, 16 Carriages, Bodyguard, and the smash hit Texas Hold ‘Em.
His contributions have not gone unnoticed. Saadiq has been nominated for three awards at the 2024 People’s Choice Country Awards: Songwriter for The Song of 2024 for Texas Hold ‘Em by Beyoncé; Songwriter for The Female Song of 2024 for both Texas Hold ‘Em and 16 Carriages by Beyoncé; and Songwriter for The Storyteller Song of 2024 for 16 Carriages by Beyoncé. These nominations not only highlight his versatility but also his ability to craft songs that resonate deeply with audiences.
Saadiq’s influence extends beyond the recording studio. His work is palpable in film and television, earning him multiple award wins and nominations. His songs have graced critically acclaimed movies like Mudbound (2018) and The United States vs. Billie Holiday (2021), while his scoring and music supervision have elevated series such as Insecure (HBO), Lovecraft Country (HBO), Genius: Aretha (NatGeo), Underground (WGN), and 61st Street (AMC). He also serves as the executive music producer on the critically acclaimed Disney animated series Marvel’s Moon Girl and the Devil Dinosaur, bringing his unique sonic vision to a new generation of listeners.
Raphael Saadiq doesn’t just produce tracks; he architects experiences, sculpting soundscapes that transport listeners to new realms. With every project, he preserves the spirit of Black musical tradition, channeling the soul of his ancestors while pushing the boundaries of modern R&B. His deep, unshakable love for music shines through every note, beat, and lyric. His passion is infectious, his knowledge vast, and his respect for the roots of soul and R&B is unwavering. He’s a beacon for aspiring artists, proving you can honour your heritage while pioneering new sounds.
His work is a testament to the power of authenticity, bridging the past and the future of music in ways that are both timeless and cutting-edge. With a career defined by vision, authenticity, and relentless dedication to the art form, he has become a living legend. His story is not just one of personal success but of artistic excellence that continues to inspire and shape the musical landscape. In Raphael Saadiq, we find an artist whose genius doesn’t just echo through time — it defines it.
After over three decades of shaping the music industry, what continues to fuel your passion and creativity today?
I think it’s my love for the art of music and all the things that go with it. Listening to music on the radio, listening to all the music in the past that I like. I’m still inspired by some of the same things, you know. I’m really inspired by instrumentation. The actual building of the instruments makes me want to just be around music.
At just eighteen, you joined Sheila E.’s band for Prince’s iconic Parade tour. What was it like to dive headfirst into Prince’s world at such a young age?
I was graduating high school and then I was in school for a year, so I was probably nineteen turning twenty. But still, very green, very young. It was amazing to watch and to be in Sheila’s band — respect to her for letting me join. Going through the process of rehearsing for a big tour, getting ready to fly to Japan and start the tour there…
The first person you soundcheck is Prince, and this was right after Purple Rain. He had just done the 85 tour and the Purple Rain tour. Then he hopped on the Parade tour around the time the Under the Cherry Moon movie came out. I went to the premiere in Oakland. We rehearsed for a few months.
The first person you soundcheck is Prince, and this was right after Purple Rain. He had just done the 85 tour and the Purple Rain tour. Then he hopped on the Parade tour around the time the Under the Cherry Moon movie came out. I went to the premiere in Oakland. We rehearsed for a few months.
What was that like?
You’re basically in the middle of a stadium, sound checking, looking at all these people walking single file line in Japan. There’s no greater feeling but you have to hold it in because you can’t really show it. I was taught to act like you belong and not act so excited about it — but I was very excited! Now that I think about it, it was kind of dangerous to hold all that in. You have to be cool out there. Everybody’s pretty much cool. You act like you belong. But it was amazing!
The food was amazing in Japan. Prince made it wonderful for the girls. He always had top models around us and we were not deserving of any of that (laughs). But he made sure there were models at the party. We didn’t know anything about that. We just walked into a party with some disgusting hairdos and fanny packs on, terrible clothes, but he was that powerful. You stand next to the Prince and it’s just going down.
The food was amazing in Japan. Prince made it wonderful for the girls. He always had top models around us and we were not deserving of any of that (laughs). But he made sure there were models at the party. We didn’t know anything about that. We just walked into a party with some disgusting hairdos and fanny packs on, terrible clothes, but he was that powerful. You stand next to the Prince and it’s just going down.
Your group Tony! Toni! Toné! revolutionised R&B with live instrumentation and soulful rhythms. Can you share how the group originally came together and what your collective vision was at the outset?
All we knew were live instruments. The only idea we had is that we grew up listening to the Isley Brothers, Grand Central Station, and local bands like Infunction, The Whispers, and The Commodores. And Earth Wind and Fire, of course. We were really into that. Our only idea was, now I’m not on this tour with Sheila and Prince. But I’ve seen how it’s done. I knew how to rehearse, and I knew we had to be really serious.
We were already a band before I left with Prince and Sheila. So, once we got into the record industry, we had Tommy McElroy and Denzel Foster, who ended up producing En Vogue and Club Nouveau. They sort of gave us our first identity with the song Little Walter. After that, we were in the studio on our own having to figure out what our identity was, who we were, and the only thing we could reflect on was all the music that we had heard.
We were already a band before I left with Prince and Sheila. So, once we got into the record industry, we had Tommy McElroy and Denzel Foster, who ended up producing En Vogue and Club Nouveau. They sort of gave us our first identity with the song Little Walter. After that, we were in the studio on our own having to figure out what our identity was, who we were, and the only thing we could reflect on was all the music that we had heard.
So that’s what inspired you at first.
I think we would just pull all those things out that we were, and hopefully, when we got back to the label, they would say, okay, this works. That’s what happened. I think our identity was to go into the studio and produce something. We saw the competition, the competition was deep, but we sort of cut through it and made our own identity.
With timeless hits like Feels Good, Anniversary, and It Never Rains (In Southern California) still resonating at family reunions and cookouts, how does it feel to see your music connecting with new generations decades later?
It’s amazing. It feels great to know people still listen to those songs — they’ve aged well. That’s what music is about: creating something timeless that can make somebody happy. It’s about having a sound that becomes a household staple, a record people can play for different generations, year after year.
Your recent tour revisiting Tony! Toni! Toné!’s music has thrilled fans nationwide. What inspired this revisit, and how did it feel to reconnect with audiences after so many years?
It was amazing! From a marketing standpoint, we tried to stay away from the word ‘reunion,’ so we called it something else. It said: Raphael revisits Tony! Toni! Toné! When I, in hindsight, look back at it now, it was more like us revisiting different cities and families. It was more about giving people this feeling, but also, the audience giving this feeling back to us. I can’t even put it in words.
Memphis was beautiful. North Carolina was beautiful. There were so many people there, it was sweaty, they were pressed to the wall. They were singing to the songs, enjoying the music but also enjoying each other. I’ve only experienced that with the late Frankie Beverly’s audience — may he rest in peace. That’s what we experienced, that’s what the revisit was about.
Memphis was beautiful. North Carolina was beautiful. There were so many people there, it was sweaty, they were pressed to the wall. They were singing to the songs, enjoying the music but also enjoying each other. I’ve only experienced that with the late Frankie Beverly’s audience — may he rest in peace. That’s what we experienced, that’s what the revisit was about.
Ask of You from the Higher Learning soundtrack directed by John Singleton became a standout solo hit. Did its success influence your perspective on pursuing solo projects versus working within a band?
It did kind of let me see that I had that option, but I'm more of a band person. But I did see the possibility.
You've collaborated with remarkable artists like D’Angelo, Solange, and Beyoncé. What’s your approach to bringing out the best in your collaborators during the creative process?
My approach to working with artists like D’Angelo and Solange is whatever their approach is. My approach is just to come in and listen and be an assistant to whatever they might need. So, it starts with the artist first, and then I’m just part of the band. I always say I’m part of the band. I don't go in as a producer. That’s what I try to facilitate.
Working alongside legends like Prince and Stevie Wonder must have been enlightening. What valuable lessons or insights did you gain from those experiences?
Sometimes they’d say direct things. They would tell you that what you really need to know more than anything else is what kind of people you want around your business. That's what you can learn around Prince. Everybody knows that he's pretty much out front about that. That's what you need, really, creativity. You just have to learn by watching.
In what sense?
You watch a pro and you learn how to live like a pro. Do some of the things they did in their businesses, something they did in their shows, and take some of the risk that they took in being in an industry that's forever changing. How do you remain yourself in something that’s so humongous? I think that's what you learn from the greats.
Contributing to Beyoncé’s recent projects, including the acclaimed Renaissance and Cowboy Carter albums, must have been extraordinary. What was it like collaborating with her, and what stood out to you during the creative process?
I have to tell you, Bodyguard is one of my favourite songs, it really stands out to me. But thank you! Yeah, it was amazing. Everybody knows she’s a huge, amazing talent with a lot of ideas. She’s always thinking, so you got to be on your toes. There are a lot of great writers around too, as well as producers. With so many different people around, it makes you raise your game up because they do the work at a high level. But I’m used to working at a high level, so it’s perfect for me.
I heard you had Bodyguard nearly completed before collaborating with Beyoncé on Cowboy Carter. How did bringing her into the mix influence the song's evolution, and what was the creative process like working together?
I had kind of written a song called Bodyguard, but then she came in and changed the lyrics to fit her. We had top-of-the-line writers with her. She was writing and then the way she arranged it vocally… she really produced that record. How she spaced the verses out and how she wanted to get to her solo. I played an eight-bar solo. She was like, nah, you got to make that longer. We got to go in. That’s a real band leader — people who know what they want. I work better under an organised structure, and she has a lot of structure. That’s why it worked.
In addition to albums, you’ve composed music for television. How does your approach differ when creating for the screen compared to producing a studio album?
When you’re working on a TV show, I’m scoring for them. So, you’re producing to the dialogue. The dialogue is a musician, right? You have to put music around it, and it has to be done reasonably faster than working on an album. It’s a different challenge, and I like it because it turns me up to work with artists in the music industry. In film, if they need a pink elephant on Saturday, you got to deliver that pink elephant. That helps you: somebody wants something and you have to deliver it.
Having witnessed the evolution of R&B over the years, what are your thoughts on the current state of the genre?
I feel like a lot of younger artists are really, really good. I think this is the biggest flex of people trying to be who they are in R&B. I think it’s looking up. They have their own minds and nobody can tell them what to do, they know what they want to do. You have your Daniel Caesar, you have your Sid, you have Steve Lacy, who’s mixing and matching — he’s R&B but also making pop records at the same time. That's what popular music is based on; it’s really something that could be popular. It’s not just pop music, it’s not the same four chords. A lot of artists now are just exploring, and they say, this is what I want to do no matter what's going on. So, I think it's in a good state.
With your incredible journey and lasting impact on the ever-evolving music industry, what indispensable advice would you offer to aspiring artists who aim to achieve longevity and success in their careers?
I would say know who your staff is, who you’re working with, who you sign into, and also have an idea of who you want to be and look at some of the greats and see who lasted and who didn’t. If you really want to do this for a long time, study the greats. You gotta be like an athlete. You have to study footage, tapes, singers, shows; be a student of it. Don’t be just be in it.
I see myself like a friend of the brand. I don’t feel like I’m in it. So, you got one foot in, and you got one foot out. You can’t just be all the way in. One foot got to be studying and the other one got to be in the music industry.
I see myself like a friend of the brand. I don’t feel like I’m in it. So, you got one foot in, and you got one foot out. You can’t just be all the way in. One foot got to be studying and the other one got to be in the music industry.
Earlier, when you talked about working with Prince and how you had to contain your excitement, I thought, that’s exactly how I feel right now.
I appreciate it, man. Thank you!