For Sam Ryder, his second album marks a new chapter — leaving behind the spacesuit and moving on from Eurovision.
The singer, who finished as the Eurovision runner-up in 2022 with his hit song “Space Man,” explains:
“I created a world around Eurovision and that was the character I wanted to create. I thank my lucky stars it worked. But that story finished with the first album. Now it’s time to go back to what I started before all the crazy happened.”
We meet as he’s en route to Heathrow Airport to catch a plane to Germany, full of energy and excitement about what lies ahead.
The Essex-born artist says:
“There needed to be a circuit-break moment for me because we were just everywhere. You need a palate cleanse for people to get excited about what the new sound will be and what you’re going to make next. But it’s hard to find your feet. From 2021 onwards, every big TV or touring moment came with a load of media around it. Sometimes it’s hard to find the time for creating music because most of it is promo and marketing.”
A New Chapter with Heartland
“Heartland” is inspired by stepping into a new era as an independent artist. Ryder admits:
“I really struggled during the 18 months I was making this record. I was battling that demon of self-doubt, trying to believe in myself and find some confidence. For a lot of that time, I had no confidence, no self-value, no real idea of myself as any kind of success. It was very difficult, especially because I’d always been that super-smiley, positive, optimistic person. Then suddenly I was like, ‘What happened? Was I like Samson — did someone cut my hair or something?’ I didn’t recognise myself.”
The uplifting track Better Man was the first song written for the album, but it almost didn’t make the final cut.
“Better Man was written shortly after the release of the first album and everyone loved it, but as I went to write this new album, it felt too poppy, too obvious — like I was just trying to write a hit record. I hated the way I was hitting the notes. The more I heard it, the more annoyed I got and the more I rebelled against it.”
Six hours before the album deadline, Ryder gave it one last chance. He called his producer friend Jamie, and they set up in a hotel room in Glastonbury Festival.
“I just stood at the mic, sang it, and channelled a Bobby Caldwell vibe. Suddenly my mind changed about the song — it didn’t feel cheesy anymore. The first album might have been more pop, but this one’s different. It’s rooted in soul music.”
Nashville Influence
A lot of the record was made in Nashville, which Ryder calls his “second home.”
“It was always a dream to put down some roots there. When I first went there about 14 years ago, I fell in love with the place — partly because I’d just started getting into country music. I fell in love with the lyrics. There’s this real fire that gets ignited when you’re making music in Nashville — everyone’s in the same part of town, chasing the same thing.”
“Singing Without Ego”
Before Eurovision fame, Ryder spent eight years as a wedding singer — something that still shapes how he approaches performing.
“It taught me to sing without ego. At weddings, no one cares about the singer. You’re on the periphery and you have to learn to sing without getting any applause. I’d sing covers of Whitney Houston, Mariah Carey, Celine Dion and Aretha Franklin — all these big female singers because I had a high voice. Weddings were like a vocal workout for me.”
Those early years performing at weddings and in alternative bands — including heavy metal and punk gigs across South America and Russia — gave him the foundation many pop stars lack.
An Honest Record
“We’ve created this strange world where we package and sell music, then judge success by metrics, a chart position or trophies. And I’ve been part of that. But I want my songs judged on how they connect with people — the emotional response.”
The new album draws inspiration from Quentin Tarantino, The White Stripes, Dusty Springfield and Frank Sinatra.
The opener, Olympic 89, is a tribute to spaghetti Westerns and Ryder’s grandfather — they used to watch one every Thursday. Another standout, Eyes On You, is about staying grounded and not neglecting loved ones while chasing dreams.
Armour was written about someone involved in the early stages of the album whom Ryder eventually parted ways with:
“It’s only after you move on, you find out how much you were held back by people without you even knowing.”
Independence and Fire
“I was due to make three records with my label Parlophone, but a lot of my team lost their jobs, so I decided to step away and go independent — with them. When I announced this project was going to be independent, it felt so empowering.”
Now 31, Ryder is grateful he became successful later, avoiding some of the darker sides of the industry.
“There’s a lot of fire in the belly of this album. It comes from a kind place, but there’s also that ‘we’ll show you’ fire.”
Wembley Dreams
Next month, Ryder will headline his biggest show yet at OVO Arena Wembley.
“We’re treating Wembley like a completely different show from the tour. We can do so much more with the space, set length and lighting design, so the show needs to be treated as its own entity.”
After a challenging period, Ryder says he’s rediscovered his ambition.
“I’m grateful to have new goals and to know that my career doesn’t have to look like anyone else’s. I’ve been so lucky with things deemed ‘uncool’ like making a Christmas show, hosting a TV show, doing Eurovision. And I feel proud of that.”
He’s also had creative side projects like writing for Ted Lasso with Brian May, and composing the theme for David Attenborough’s Parenthood.
“Now I feel I can do anything I want — my dreams include studying Egyptian archaeology and writing a film or TV score from start to finish. I’d also love to be a global arena artist and make a rock record in California with Queens of the Stone Age.
For now, I’m enjoying breaking the pop rules and doing things my way.”
