Khalid Steps Into the Light

Khalid points to 2006 as the year that shaped his musical DNA — the “goated” pop year that gave the world Rihanna’s “SOS,” a song he still credits with sparking his imagination as a kid. That was also the year he moved from Texas to Germany, a seismic shift that made everything before it feel blurry. Those formative years, full of upheaval and discovery, hum quietly under the surface of the new record, like a private frequency only he can fully hear.

There’s also the matter of no longer walking into sessions with anything to hide. “The blinds are open,” he says. That openness has led to his most creatively expansive era yet, with executive producer Ilya steering the ship and collaborators like Julia Michaels, Darkchild, and Tove Lo in the mix. “Instant” and “Tank Top,” co-written with Lo, are already early favorites among friends and industry ears.

It’s not just who’s in the credits — it’s the energy. The same electricity you can see in that single cover: friends leaning in, laughter spilling over, music not just made for the world, but meant to be lived in it. “Whoever this music touches, that’s who it’s for,” Khalid says. “Come out, have fun. The moment is here.”

I listened to the album, and it’s so good. It’s pop, kind of throwback, but it feels like you’re coming into a new chapter. You released Sincere last year, but what makes this release feel different for you?

This album is so pointed to the inspirations that made me the artist I am today. I really resonate with the year 2006 for some reason. Maybe because that’s the year I moved to Germany as a child. That was one of my most intense childhood memories. I don’t remember much of my life before that move because it was so big, so drastic, so different.

When I think about discovering my calling as an artist, it was during those formative years. Now I have an opportunity to come into the world with my music, but also be authentically myself — to be out, to be queer. I asked myself, What star do I want to reintroduce myself as? Quiet, gentle? No. I wanted to be bold, upbeat, and celebratory, because I’m so happy with where I am now in my life.

I can recall moments when I wasn’t happy. When I wrote Sincere, it was healing. It was an audio diary of my inner feelings and thoughts, centered on my emotional state. With this album, it’s about who I am and my place in my community. I’m really excited for this chapter because it just feels real.

Do you think Sincere was more inward and introverted, whereas this one is more outward, community-focused?

Exactly. Sincere was honest, but reflective of what I kept inside — my emotional state. This one is extroverted, bold, fearless. It’s healing in a way where I’m making music to be embraced by the world.

Before, do you think there was a sort of detachment from that? Like you were making music that was embraced by the world, but they weren’t embracing you fully?

Before, I was writing stories that I felt would be broadly accepted by the masses. But as time went on — from American Teen into Free Spirit and after — the stories I had to write about myself that were relatable to the masses started to diminish, because I had gained success and fame. Personally, I don’t want to hear too many stories about superficial things, and it became disjointed.

One thing everyone can relate to is love and sexuality, but when it’s more pointed to who I am as an individual, there’s a risk that some people will say, ‘I don’t align with this, I’m not going to listen to it.’ My decision now is: fuck it. Whoever this music touches, whoever feels impacted by it, that’s who it’s for.

It’s so much more oriented around the community I’m surrounded with — the people who embrace me — instead of my fear of being accepted on a global scale. Regardless of whether people accept me or not, this is my calling. The blinds are open, and I have to embrace it. It’s my right to do so as an artist.

Even the cover for “In Plain Sight” is you smiling, surrounded by people. It’s like your community, sort of partying. And even the title says a lot. Did you struggle with that pressure of being a worldly artist and having people accept you for who you are?

Yeah. Words hurt, opinions hurt. Even if you try not to read them, sometimes you’re forced to hear things about yourself. When it came to my sexuality, that was one thing I felt I had control over — or at least I thought I did. Obviously that control was taken away from me, but it was still something I tried to preserve for myself.

I put music into the world knowing it’s going to be judged and scrutinized. That’s what art is for. But when it became personal, tapping into theories or perceptions of my private life, that was something I always feared. When it happened, I realized it wasn’t as bad as I imagined. You adapt, you learn, and you discover new sides of yourself you wouldn’t have known otherwise.

I thought I’d be devastated when the world found out I was gay. Instead, I was celebrated. And even if there were a few comments condemning me, once everybody knows, it doesn’t hurt anymore. So now I’m choosing to have fun with it.

I loved how you handled it on Twitter. You were just like, “Yep, it’s out.” You didn’t let people make it into a headline or a PR thing, which can so quickly happen.

For most of my career, I’ve been music-focused. I’m not a controversial source of entertainment. I’m a worldly artist accepted for my music. So to be suddenly introduced to that side of it — the tabloid side — was definitely annoying.

I’m the type of guy who wants to kick his feet up and chill. But in that moment, I had to get on my feet and face it. I’m sensitive, so intense situations scare me. But running away seemed harder than just saying, “Okay, I’m gay. What’s next?” If my friends don’t care, my family doesn’t care, I don’t care. What’s the point of making it bigger than it is? It happened. It is what it is.

Was there anyone you talked to or got advice from during that time?

One person who really reached out was Kiana Ledé. I had talked to her about my sexuality before I was out publicly, so we related. She’s so gentle, kind-spirited, and open. It felt good to have an artist friend who knew before the world did — not because I had to explain myself, but because we already connected over our shared experiences. She’s a great friend and really looked out for my mental health. That’s a name I won’t forget.

“Out of Body” was a standout for me on the album. Anytime I hear a Darkchild intro, I’m in. And it ties into your whole 2006 thing. He was so influential in that era. Tell me about the collaborators on this album.

I really pride this album on its collaborators. Rising to the occasion meant putting myself out there in ways I hadn’t before. Since everyone knows who I am now, I don’t have to walk into a room feeling hidden. I can work with whoever I want and aim high.

Ilya, the executive producer, is a huge part of this. We have this synchronicity that’s almost otherworldly. I trust him, and he trusts me. Before, I might have been more guarded, keeping certain parts of myself private. Now that everything’s out in the open, these producers and writers really get to know who I am.

We all care about the integrity of music, especially at a mainstream level. Working with giants like Darkchild was a full-circle moment. I grew up on his work with Toni, Brandy, and so many others. I felt I had to bring my best because these are high-level collaborators.

Writing with Tove Lo was also incredible. She co-wrote “Instant” and “Tank Top,” which are some of my favorite songs. I got a text from her today saying she’s so excited for people to hear them. And when I play the album for friends, those songs are often their favorites.

In the past, I might have been closed off and surface-level in sessions. Now, it’s all on the table, and we all get to eat together. You can feel that connection in the music — nothing feels disconnected or misunderstood.

That must have been crazy, because Sincere came out before you came out publicly, right?

Yes, and it took me the longest to write Sincere. But when I was thrust into being out, I ended up making my quickest project ever. I didn’t do it alone, and while there aren’t any featured artists on the album, everyone involved is an artist in their own right. Everyone’s talented, everyone’s gifted. Even writing songs with Julia Michaels — just incredible, talented people who deserve their flowers, all on one album together. It just so happens to be mine, and I’m very grateful for that.

Darkchild, Julia Michaels… icons. Is there anything else you want to tell your fans before the single releases? Maybe a sneak peek into the rest of the album and this new era?

I’d love to tell them to expect live performances. I haven’t gone on tour in nearly five or six years, so they can expect to see me outside. Expect community, expect me embracing these moments. The music will live in the world, but it will also be performed in the world. So come out, have fun. It’s happening, and the moment is here.

Speaking of 2006, what’s your favorite song from that year?

That’s a tough one, but I’d say “SOS” by Rihanna. It’s one of the main songs that inspired me as a child to imagine myself as the artist I am now. I’ll never forget hearing it for the first time. It changed my life.

Photography: Muriel Margaret, Sophie Jones