Ruby Alexander On Her Classical Training And How It’s Woven Into New Single “Undertow”

If you are in your era of self-discovery, then Ruby Alexander is the artist that needs to be on your soul searching playlist.

A relaxing artist who is a nomad herself, listening to any Ruby single feels like the world is slowing down, and sometimes that’s exactly what we need.

We had the absolute pleasure of speaking with Ruby about her professional background, the thoughts that continue to inspire her music, and more!

How did playing Young Nala in “The Lion King” shape the way you think about performance and storytelling now?

R: “I met so many incredible people in “The Lion King”, who, by example, showed me what it can look like to live a creative life. 

Overall, it taught me that a great show is only possible through the cooperation of many committed people who are dedicated to their craft. Without the people backstage – lighting and design, fx, sound engineers, makeup artists, etc.– storytelling and performance just wouldn’t be possible. I learnt how to throw myself into show preparation – to rehearse and work hard with my band in the lead-up so that there’s more capacity for actual presence during the show.”

When did you first realize that you wanted to transition from musical theatre and pursue a career as a music artist?

R: “When I was fifteen and started writing songs consistently, the seed was planted. And then rather unexpectedly, I moved to New York to study music at NYU’s Clive Davis Institute. Music school is very clarifying – you either want to continue or you don’t. You can’t lie to yourself, whatever that means. In school, we had the space – incredible studios open to us all – and time to ‘incubate’ ideas and explore without consequence. We also had some remarkable mentors to look to.  Once I nurtured my sound a little more, I finally felt that I had something worthwhile to add. It then felt necessary to continue making music…  I just want to see what I will continue to create. I’m sure I’ll surprise myself.”

You’re a classically trained guitarist who went through NYU’s Clive Davis Institute. How much does that formal training show up in your songwriting, and how much, if any, do you try to let it go?

R: “My guitar style, influenced by my earlier classical training, comes out most in solo acoustic performances; I enjoy these and feel especially free. Actually, my brand new single “Undertow” features more of this playing… so keep an ear out for that. 

I haven’t made a conscious effort to let go of my training so far, but if I could find something to replace it, maybe I would, out of curiosity.”

One of your latest singles, “All This Time Together”, has been one of your best performing releases yet. What inspired this song, and how did it change from the first idea to the final version?

R: “All This Time Together” initially sprung forth from a fearful place, one of disquiet and wondering – Where is the world headed? What is my place in it all? What can I do? I know that so many of us share these questions. 

Yet, as I moved through the writing process, it intuitively pushed me toward a lighter place. I found refuge in it, and I hope that this unexpected comfort translates to listeners. Once the song was written, the character was set. This produced version of the song you hear aligns pretty perfectly with what I had in mind on that day I wrote the first draft.”

Is there a memory, place, or feeling you find yourself returning to again and again in your writing?

R: “Place – a cold beach in winter with dark stones rather than sand, empty and covered in fog. The edge of the sea – that precipice where land melds into fluid expanse. 

Memory – holding familiar hands. That simple gesture and what it can mean. 

Feeling – reflection. As I write all my music alone, I often dip into this state of replaying memories and sorting through questions. And sometimes, it’s a pretty happy place to be too.”

You’ve said you want your music to be a place where listeners can rest. What does that mean to you musically? 

R: “I hope that during the 3 minutes of my song, listeners can simply sink into a space in their body and mind that is reflective or emotional, one of feeling rather than thinking. Sometimes, whilst listening to a song, I can finally allow myself a moment to step out of my head – the noise and the constant run of thoughts. It can provide a relief I didn’t know I needed. Mirroring this, I wanted to create a song to hold people and be a protective layer of some sort.” 

Make sure to stream “Undertow”, available now on all music platforms!

Je’Kayla Crawford– Founder and Director– Je’Kayla has been a journalist for years and decided to start a publication of her own, New Scene Magazine, back in October 2020. When not helping her team and working on their print issues, you can find her watching a movie on Netflix or baking using a viral TikTok recipe.