By: Staff
We were thrilled to immerse ourselves in the latest music from Diego Philips. This EP feels like an open invitation to step into their world, their emotions, and their most intimate reflections. I Want to Laugh Until I Cry is a stunning exploration of vulnerability and resilience, a delicate balance of melancholy and hope.
With a voice as haunting as it is captivating, paired with the gentle strum of a guitar and the soulful echo of cello strings, Diego Philips weaves a tapestry of sound that resonates with the quietest parts of the human experience.
Curious to uncover the inspiration behind the deeply personal themes and ethereal arrangements, we reached out to the creative mind behind this extraordinary project.
Read the full interview below with Diego Philips to discover the heart and soul of I Want to Laugh Until I Cry.
Begin Interview:
Hello Diego Philips, we’re thrilled to have you here for this interview! We've had an amazing time exploring your music and diving into your creative journey. Now, we’re even more excited to get a deeper look into both your brand and your personal and professional inspirations.
Your new EP, I Want to Laugh Until I Cry, has been described as a deeply personal exploration of intimacy, healing, and the passage of time. What inspired you to lean into such intimate and introspective themes for this project?
I just turned 34 this year, and I have the feeling that I have become more introspective with age. I have been asking myself questions I never had before, and it just seemed like the continuation of my own reflection to integrate those themes into my music.
The sound of this EP is beautifully minimalistic, with your vocals and guitar paired with cello arrangements. How did you decide on this stripped-back, raw atmosphere for the record?
It was quite natural. I wanted to come back to the essential. It was a deliberate choice to go for very simple arrangements. I think there are a lot of common points between cooking and making music. One of the hardest things to master for a chef is a simple omelet. I wanted to do the same with music and challenge myself to attempt to master simplicity.
Can you share a bit about your songwriting process? Do you begin with a melody, lyrics, or a specific emotion you want to capture?
I don’t really know where songs come from, but I have learned to identify when they take shape. I usually start on guitar or on piano, and I play until I find something that clicks. The next step is humming, and words always start to pop up. Those words usually create a story, and then I just have to fill the gaps in between.
With your music being so deeply authentic and personal. How do you balance creating for yourself and creating for your audience?
While I don’t have a massive audience, I see that as a kind of freedom. It allows me to stay true to myself, write songs that matter to me, and trust that those who resonate with them will find their way to my music.
What are the main challenges you face as a solo artist, and how do the benefits of working independently compare?
I think it takes courage to be a solo artist or to work independently, and I don’t say this for me, but I say it to every single musician around me that tries to create something. The challenges are great, it’s costly, time-consuming, it’s hard to cut through the noise, and it’s often done on top of having a full-time job. But resilience and passion are incredible qualities, and in the end, they are gifts!
Your vocals are an absolute stunner. The styling, intonation and accentuation is brilliant and captivating. When did you first realize you had this talent and what was a defining moment for you to move forward and record your voice for the world to hear?
When I started, my focus was on songwriting more than singing. I’ve always admired singer-songwriters with unique voices that stand out, not necessarily "perfect" in the classic sense but full of character. Over time, I’ve come to appreciate that my voice has its own identity, and that’s something I’m proud of, even if I don’t overthink it.
You’ve mentioned influences like José González, Nick Drake, and Patrick Watson. What is it about their music or style that resonates with you, and how did that influence your creative process for this EP?
They were essential influences for this particular piece of work. I actually saw José González and Patrick Watson live a few times in the past couple of years, and I remember clearly watching them play live and thinking, “This is something I would love to play.” So much beauty in their music. Unfortunately, it will be hard to see Nick Drake live, but his voice and his music are an incredible example of stunning musical beauty and simplicity, truly one of the greatest singer-songwriters of his era.
Can you take us back to the moment you wrote the title track, “I Want to Laugh Until I Cry”? What was the emotion or story you were trying to capture?
The full story is that I had a period over a few months where I had bad anxiety problems, and I was having constant panic attacks, almost daily. It was truly horrible. I realized that for my own sanity, I had to make some changes in my life. I had just moved house in London and moved across from a Buddhist center. One day, I saw that they were advertising a seminar hosted by a Buddhist monk about happiness, and I decided to attend it.
I listened to the monk’s story and advice, and I kid you not, I had an anxiety attack in the middle of that room full of people—the irony! I managed to calm down by focusing on doing a meditation exercise that happened just as I needed it. I went home, and this sentence was imprinted in my mind: “Pain is inevitable, suffering is optional.” It resonated.
It played in my mind for a while. Then one day, I was playing guitar, and the words “I want to laugh until I cry” came out, and I knew what they meant for me, the choice we can make to avoid self-inflicted suffering between the inevitable challenges life will put in our way.
The cello arrangements, performed by Shizuku Tatsuno, bring such a rich texture to the EP. How did this collaboration come about, and what role did the cello play in shaping the songs?
Shizuku and I met a few years ago. She came to play with a string quartet on my single “Strangers,” produced by David Flahou. At the time, she was still a student at the Royal College of Music. I contacted her before recording the EP, and I was very lucky as she moved back to Japan a few weeks after the recording.
I have to say, I gave her very little direction. She is a true master of her instrument, and it shows on the recording. I was lucky enough to attend her last concert in the UK before her move, and it was just the confirmation of her talent. She is fantastic! I’m very happy and very grateful for what she brought to the recording.
You worked with producer Alexander Sokolow (Tugboat Captain) at Ctrl-P Studio in London. What was the recording process like, and how did Alexander’s involvement influence the sound of the EP?
We also met a few years ago, we played the same bill one night at the Cavendish Arms in Stockwell. When we first talked about the EP, I think that he understood very quickly the direction I was taking, and we quickly agreed on the fact that we were on the same wavelength. Alexander is an experienced songwriter, and it was a relief for me to feel that he approved the songs. His high standards kept me on my toes during recording, and I’m also grateful for that; he pushed me to perform better. The collaboration was very easy and efficient. We recorded everything in only two days.
The EP cover art, designed by Dutch artist Erna Kuik, reflects the introspective nature of the songs. Can you tell us about your collaboration with Erna and how this artwork complements the themes of the music?
Meeting Erna was very serendipitous. My brother used to live in Amsterdam, and I have spent a lot of time in that city, one of my favorites in Europe. The first time I met her, I was wandering around the city and ended up in a little art fair. From far away, I noticed her artwork on the side of her stand, and it said, “I think, I think too much.” I had just started a new job, and the first thing I bought with my pay was her artwork. It’s still on the wall in my living room in London.
Immediately, we started talking together, and her personality shined through. I told her I was a musician, and she immediately pulled out her phone and started listening to my music. I asked her if she would be interested in doing an artwork for my music, not knowing I was going to record again, and she immediately said yes.
Every time I went back to Amsterdam, I would serendipitously find the art fair again, without looking for it, and every time I would see Erna and her artworks, and every time I had to get an artwork and gift it to a friend.
There is something about her art which is universal. A very unique sensitivity, a mix of words and drawings that says so much with very little. People from around the world were always stopping in front of her artworks, and you can tell they all found something in it—that’s her magic!
She actually decided on the name of the EP. I sent her the first mixes before they were finished and told her she could do whatever she felt with the music. She found the name and created that beautiful artwork.
This project follows your concept album I Am Yuki: The Hiroshima Project. How different was the creative experience of writing such a personal, minimalistic EP compared to a large-scale concept album?
Very different, polar opposites. I Am Yuki took a very long time to create and had a very deep emotional toll. James Yates, the producer, and I spent a countless amount of time in his studio to make sure that what the whole band was trying to convey appeared as authentic as possible. It was a long process. That said, I absolutely love that project. It holds a special place in my heart, and I know it’s also true for the musicians who participated in the project.
Your storytelling ability has been praised for blending poetry with heartfelt emotion. Where does your lyrical inspiration come from, and do you have a specific process for crafting your lyrics?
If I look back at older songs, I feel that my style is not very consistent, and I can tell that I pull inspiration from different places at different times, usually tied to the authors I’m reading. Maybe my writing in this EP is a little bit more mature, more me, but also quite naked and simple.
You’ve performed at iconic venues like The Saatchi Gallery and The Dublin Castle, and you’ve spent the past decade captivating London audiences. How has the city shaped your music and artistic identity?
When I moved to London, I was a very different person. Everything I knew about music, I figured out by myself. Moving here has changed me profoundly. I have learned so much over the past 10 years, and my music has been enriched by the culture but also by all the other musicians I have been lucky to make music with.
Besides this tremendous accomplishment, which top 3 live music venues or festivals are on your bucket list to perform at?
You know what, I’d actually love to play in Brussels, my hometown. More specifically at L’Orangerie du Botanique. It’s where I saw my first gig, Sean Lennon, when I was 14, and I thought, “Wow, maybe I could do that.” It would be a nice way to circle back.
Otherwise, of course, playing the Royal Albert Hall is every musician’s dream. And for a third one, I would say playing I Am Yuki in Hiroshima.
The EP balances themes of melancholy with a sense of healing and hope. Was it important for you to strike that balance, and do you see your music as a space for catharsis, both for yourself and for your listeners?
That’s what the EP means for me, that transition from sadness to getting better. So yes, it was important to capture that.
What do you hope listeners take away when they sit with I Want to Laugh Until I Cry? Is there a particular feeling or message you want to leave them with?
I hope they can find something, I don’t know what, but something. Just the time to do some introspection and maybe a note, a word, a sentence that resonates with them and can help them move forward in a good direction.
In a world where the music industry can be demanding, have you ever faced moments where you questioned continuing? What motivates you to push through those moments?
There have been moments where I’ve questioned everything. Performing live can be demanding, and for a while, it felt like too much. I even thought I might step away from music entirely. But writing this EP reminded me why I create in the first place, and here I am, still making music, still finding joy in it. It’s a testament to the resilience that art can inspire.
We saw you were in Bulgaria having fun with friends. We’ve never been there. Can you share something about that would surprise us?
Oh yeah? You should go! It’s a very nice country. Good food, good people, beautiful scenery. The monasteries are absolutely beautiful, very underrated. Here’s to surprise you: Bulgaria has been making wine since 4000 B.C., way before France and Italy.
So, what’s next? Can you share the full details on your future projects and what fans should be excited about? We’re hearing about more releases, and we’d love to be the first to announce it!
Right now, I’m letting things unfold naturally, which feels refreshing. I’d love to explore playing more gigs—whether solo or with other musicians—or maybe even experiment with new creative collaborations. What I do know for sure is that I’ll keep making music, and I’m excited to see where it takes me.
Diego Philips, thank you so much, we appreciate you taking the time to talk to us!
End Interview
We’re happy to have shared Diego Philips’s exciting journey with you and uncovered such inspiring insights about their creative process.
Now, click the links below to experience their incredible work firsthand!
Check out this latest release and listen to more on Spotify & YouTube
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