We had the opportunity to speak with The Clozer Music about his inspirations from the 1980s, his dedication to live acoustics, and his belief that the "Birmingham Sound" is ready for international recognition.

In the vibrant music scene of Birmingham, a talented producer known as The Clozer Music is redefining global pop. He is recognized for masterminding some of the most captivating "fusions" available online, particularly the widely popular "DILJIT LOVES ESPRESSO," which skilfully combined the Punjabi flair of Diljit Dosanjh with the catchy melodies of Sabrina Carpenter.

You have characterized your upbringing in Birmingham as a "musical immersion." How has growing up in such a culturally diverse city influenced your approach to production?

Growing up in Birmingham’s diverse music scene taught me to think beyond one genre. It shaped a production style that’s all about fusion, experimentation, and pulling from different cultural influences.

Your uncle was a DJ during the 1980s. What was the most significant lesson you learned from observing his performances?

The biggest thing I learned from him was how to read a crowd. He understood energy—when to build it, when to pull it back—and that stuck with me. It showed me that music is as much about feeling as it is about sound. Back then, crowds could be tough, and you didn’t have the technology we rely on now. It was all instinct, experience, and knowing how to respond in the moment, which made that skill even more valuable

While many contemporary producers rely solely on digital software, you emphasize the use of live strings and piano. What motivates you to go to such lengths to achieve that acoustic quality?

I’ve always been drawn to the feeling you get from real instruments. There’s a warmth and unpredictability in live strings and piano that you just don’t get the same way in software. Don’t get me wrong, I use and do both. It takes more effort but makes it worth it for me. Growing up, I was surrounded by Hindi and old Punjabi music where everything was performed live and recorded live, and you could really feel that human touch. That stayed with me.

"DILJIT LOVES ESPRESSO" marked a significant achievement for you. Did you anticipate that particular fusion would achieve such widespread appeal?

Honestly, you can never predict that kind of response. I focused on making something that felt true to my influences, and the reaction was a bonus. I think part of that comes from how I approach remixes—I don’t just mix 2 tracks together, I rebuild them, I play other instruments over them, rearranging sections, and reworking vocals so it becomes its own piece.

You frequently incorporate clean acoustic strings and piano over urban beats. How do you determine when a track requires a live instrument versus a synthesized sound to maintain that "organic" feel?

For me, it’s not really something I plan out—it’s more instinctive. I’ll be building a track and just feel what it’s missing. If it starts to sound too clean or a bit flat, I’ll bring in live strings or piano to make it stand out. Other times, the synthetic sound just fits what the record, so I’ll leave it as is. Sometimes I do both! It’s not a set rule or anything it’s more about following the emotion of the track in the moment.

Birmingham has a rich history in both Bhangra and UK Rap. How has the unique "energy" of the city shaped your production style compared to producers from London or other international locations?

Birmingham’s always had its own energy. Growing up around both Bhangra and UK rap, that mix just naturally shaped how I approach production. For me, it’s never been about sticking to one lane, it’s more about letting different influences sit together in a way that still feels natural.

There’s also a strong history of music coming out of Birmingham, with a lot of big artists setting the standard, so there’s always been plenty to draw inspiration from locally. Compared to places like London or other international scenes, I feel like Birmingham has its own identity, it’s very real and authentic. That’s something I always try to keep in my own sound.

Having collaborated with artists such as Amarjeet Desi on "Stunning," how do you balance your creative vision as a producer with the artist's individual style?

When I’m working with an artist like Amarjeet Desi on something like “Stunning,” , or any other artist it’s really just about finding that middle ground between what I bring as a producer and who they are as an artist.

I recently did a track with Ashok Gill, ‘Kaun Nachdi’ where the same principles and methods were followed. I don’t really go in trying to force anything—I usually just listen first and see where it naturally wants to go.

A lot of it comes down to their tone, their range, and the way they naturally deliver a line. That stuff ends up shaping the track more than people realise. If a voice has a certain texture or sits nicely in a particular pocket, that’ll influence everything—from the key to the arrangement to the overall energy.

So yeah, for me it’s not about pushing a fixed idea—it’s more about building around what’s already there. Once you lock into that, the track kind of starts to take shape on its own.

What does the future hold for The Clozer? Can we expect more original collaborations similar to "Stunning"?

Yes, definitely. There are more original collaborations on the way, similar to “Stunning,” and I’m working with both singers and rappers on some more mainstream type productions that are coming up.

At the same time, I still really enjoy doing re-produced remixes just as much as original records. For me, it’s all part of the same process—whether I’m rebuilding something or starting from scratch, it’s about creating something fresh and musical.

Before you depart, if you had the opportunity to produce for any artist in the world right now, who would you choose?

Great question, there’s so many? I’d say Karan Aujla straight away, Diljit too—both absolutely killing it right now, the energy they bring would be crazy to work with. Raf-Saperra is another one for sure, I really like what he’s doing.

I’m also really into Vishal Mishra at the moment—the tone and emotion in his voice is just on another level, I feel like there’s a lot you could build around that creatively. Shreya Ghoshal, recently went to her show in Birmingham, she was amazing.  Dua Lipa, she’s great.

Closer to home, I’d say Mist and JayKae as well. They’ve both got strong identities and I think it would be really interesting to build something with them.

From the streets of Birmingham to the Radio airwaves, The Clozer exemplifies how combining heritage with powerful beats can create something truly magical. We encourage you to listen closely, as his next fusion may already be the soundtrack to your weekend. You can follow his journey at @theclozermusic and stay informed about the evolving fusion sound.

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