‘It was lonely being a young queer artist’: Sam Smith on finding health, happiness – and their hazel-eyed fiance

Sam Smith Finds Sanctuary and Love in New York: A New Chapter with Hazel Eyes

Wanderstayfinder.com – When Sam Smith joined a recent video conversation, they appeared under the username “Lily of the Valley”—a poetic nod to the May-born artist’s birth flower. This gentle introduction set the stage for a candid discussion about personal growth, creative evolution, and finding peace after years of public scrutiny. Currently based in Guadalajara, Mexico, Smith is promoting their fifth studio album, Hazel Eyes, through an intimate residency tour called To Be Free.

Unlike the sprawling arena circuit that has become Smith’s trademark, this new tour format features smaller venues across just six cities. The shift represents a deliberate move away from the theatrical excesses of previous performances. “On stage on my last tour, I was flailing around on a massive gold bum and had, like, seven costume changes,” Smith recalled with characteristic humor. The new approach prioritizes genuine connection with audiences, satisfying what Smith describes as a deep “craving to look at people again.”

A Career Defined by Resilience

Smith’s journey into stardom began remarkably early. At just twenty years old, they emerged as the featured vocalist on Disclosure’s breakthrough hit Latch in 2012. Their 2014 debut album, In the Lonely Hour, cemented their status as a soulful chart-topping force, though critics sometimes noted a tendency toward self-pity in their heartbreak anthems. The album’s centerpiece, Stay With Me, became a global phenomenon.

Smith’s artistic range was further demonstrated in 2015 when they performed Writing’s on the Wall for the James Bond film Spectre, earning an Academy Award. Subsequent albums explored glossier pop territories while maintaining commercial success. However, Smith’s path has not been without challenges. Since publicly identifying as non-binary in 2017, the British singer has faced persistent criticism from rightwing commentators.

Sanctuary in the City That Never Sleeps

The calm demeanor Smith exhibits during conversations reflects a significant life transformation. Three years ago, they relocated from the United Kingdom to New York City to be with Christian Cowan, a hazel-eyed designer who is now Smith’s fiancé. This move proved transformative for Smith’s sense of belonging.

When I got here and was able to walk in the street and feel no judgment, I realised that I was very happy to have found a sanctuary in New York City as a queer person.

Smith, who has embraced makeup and feminine fashion since childhood, experienced heightened tensions following the 2023 release of Gloria, their previous album. “With a body like mine and the person that I am, it created a bit of a media storm,” Smith explained. Music videos for singles including Unholy and I’m Not Here to Make Friends faced accusations of oversexualization, with some observers interpreting the criticism as transphobic.

Despite these challenges, Smith emphasized that the move to New York was driven by positive aspirations rather than escape. “I wasn’t running away from anything,” they stated firmly.

Creative Rebirth Through Collaboration

Hazel Eyes represents a deliberate return to intimacy in Smith’s creative process. The album emerged from conversations with Simon Aldred, a collaborator who had encouraged Smith to pursue more personal musical partnerships since their debut. This approach yielded a more nuanced exploration of relationships compared to Smith’s earlier work.

The album’s opening track, Everlasting Love, carries particular significance. Smith composed the first half the night before meeting Cowan, while the second half reflects on their three-year journey together. This personal connection extended to Smith’s first experience co-producing an entire album.

I’ve always been very hands on with my music, but I never felt like I could really put my name on the credit. I’ve realised that I’m not just a singer and a songwriter, I’m an artist.

The sonic landscape of Hazel Eyes draws heavily from 1970s influences, blending blues, folk, R&B, and outlaw country into a cohesive whole. Recording sessions occurred at all hours, a departure from Smith’s previous disciplined approach of working between 10am and 5pm while remaining completely sober. Late-night studio sessions with the Dap-Kings, the band associated with the late Sharon Jones, became highlights of the creative process.

It just felt so freeing, what music’s about.

Smith acknowledged that these relaxed collaborations initially felt intimidating. “I had operated as a pop ho for a long time – in the best way,” Smith reflected. “I loved it, and I will be that again, but every two, three records were written with a different group of people. It was like a speed-dating process of making music.”

Hazel Eyes marks not merely a return to Smith’s singer-songwriter roots but a fresh perspective on familiar themes. The album captures the bloom of falling deeply in love while documenting a period of personal healing and artistic maturation. For Smith, this represents more than musical evolution—it signifies finding authenticity in both life and art after years of navigating public expectations and personal transformation.