PBG 3 Question Interview with Roxy Rawson, “South Sudan" Single
- Produced by a Girl™
- Jul 14
- 4 min read
Hi! It’s Produced by a Girl, and I’m thrilled to spotlight Berlin-based chamber-folk artist Roxy Rawson and her stunning new single, “South Sudan.” Produced by the brilliant Jherek Bischoff, this track is rooted in Roxy’s time working with communities in Sudan, and you can feel that lived experience woven into every note. The song opens up a cinematic world, blending lush orchestration with modern folk textures and storytelling that feels both intimate and expansive. Roxy’s soaring vocals and the rich, emotive string arrangements invite us into a space of compassion, resilience, and a deep connection to nature. Her voice carries echoes of Agnes Obel, Joanna Newsom, and Florence Welch, yet she brings her own unique spirit to the mix. Having graced iconic stages like the Royal Albert Hall and the Roundhouse, and supported artists such as Sia and Yasmin Levy, Roxy continues to evolve and inspire after overcoming personal challenges. “South Sudan” is a breathtaking preview of her upcoming album, Bright Star, arriving in 2027.
1. I was immediately struck by how “South Sudan” moves from these delicate, dreamlike textures into something bold and full of heart. There’s this sense of intimacy that grows into something almost cinematic. What moments from your time in Sudan lingered with you the most, and how did those memories start to transform into music for you?
I have lots of sensory memories from that time, like seeing the place where the two Nile rivers meet, being part of a Sufi gathering at sunset that felt totally transcendent and witnessing Nuba wrestling. And my favourite moments came every evening, because by then the 40 degree temperature eased up and we would go sit with groups of people drinking tea made by these stunningly beautiful Ethiopian women with diaphanous shawls who would stew tea with multiple amazing spices for hours and hours.
But I think what struck me the most internally, was the depth of care that people had towards each other and their local communities. Part of my work at that time was consulting with our local partners about what they needed from the organization I worked with. The local communities I met there were mobilized and ready to pool whatever resources they had to make things happen to create deeply needed basic services. I felt honoured to have met them. And deeply sad, that the government had never paid attention to their needs and consulted with them. There is a deep lack of community involvement in Governments all around the world and I deeply feel the world would be a better place, if the communities that already care for each other and the earth so well were truly supported.
2. The song really shines a light on compassion, caring for the land, and that powerful choice between harm and love. When you were writing about something so deep, how did you stay grounded in your own experience as a witness, instead of trying to speak for the communities you met along the way?
Within the development field, there is a problematic colonial relationship still at play, and when I was working in that field, it was important to me to work with an organization that consulted and collaborated with local communities rather than perpetuating a top down approach.
The song itself came from somewhere outside of my mind, maybe synthesizing its message through my feelings, but the song itself didn’t feel exactly like it came from me.
I am giving a voice to the general worth of the choice that so many people make on a daily basis to care for each other and do no harm. The quiet work that people do to maintain life and take care of their loved ones and the earth isn’t loud or hugely celebrated. Politicians who do harm are more likely to be known about on the news, than the many, many people across the earth who quietly go about choosing to care for each other and do good. I wanted to celebrate and exalt that kind of life and choice of care in a general way. Those who harm get a lot more attention in the world.
3. Your sound on this track is such a beautiful mix; live strings, lovely electronic moments, and your signature vocals all come together to create this immersive chamber-folk world. What was it like collaborating with Jherek Bischoff, and how did building the arrangement help you channel the emotion at the heart of the song?
The wonderful thing about working with Jherek Bischoff on the orchestration and production on this record was his ability to understand the emotional heart of each song and capture it in his orchestration and production. He was able to preserve the moments that needed more intimacy and also grow the expansive parts to the extent that they could be expanded. I’m hugely grateful to have been able to work with such a sensitive arranger. He also involved me and consulted with me throughout the process of arrangement, production, mixing and mastering and always gave me space to give feedback, without defensiveness, which I hugely appreciated.
4. Bonus Question: What does Produced by a Girl mean to you?
It’s super important from my perspective for women to be involved in their own records and for the men they work with to be open and willing to listen to their wishes and input. I’ve had experiences collaborating with men in the past where they have dominated the process with their view of how things should be and it was harmful and exhausting. I think it’s important for men to be aware of their own ego and privilege (in patriarchal society writ large and also in an industry dominated by men- just check the statistics) and to listen and collaborate with women as equals. So ‘Produced by a Girl’ means to me that either a woman literally produced an entire record or that she was involved and consulted about her own music, which should always be the case.
Connect with Roxy Rawson
Written by PBG Press Chief Editor, Mary Knoblock
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