Make way for Nathan Sykes. After years spent under the intense spotlight as one-fifth of The Wanted and later as a solo artist navigating expectations, Sykes’ long-awaited second album Ultraviolet finds him reclaiming his creative agency in full.

As he prepares to take Ultraviolet to the stage for two intimate headline shows in Manchester and London later this month, Sykes sat down with FAULT Magazine to reflect on freedom, growth, and the lessons that shaped his newest chapter.

FAULT Magazine: How did your creative mindset shift between Unfinished Business and Ultraviolet?

Nathan Sykes: It was a real moment of freedom. The first album was centred around proving myself, not only to myself, but to the audience. When you come from a band, there can always be questions surrounding your ability. I subconsciously focused on being “the vocalist” and wanted to create a really impressive vocal album. Whereas when I started writing Ultraviolet, I felt like I didn’t need to prove myself anymore, and the focus shifted onto the writing and the sonics that define my sound. It was a long process to get to where we have, but I feel like it’s put in the groundwork for the rest of my career.

FAULT Magazine: When you say Ultraviolet allowed you to express yourself “without compromise,” what did that freedom look like in the studio?

Nathan Sykes: Freedom was being able to walk into the studio without having anyone to please. Due to tough decisions I had previously made, a boardroom at a record label was no longer able to try to influence my sound, and I only had to write something that I loved and felt connected to. That allowed for the creative process to feel so much more at ease, and it gave us the space to try different sounds that other people might question.

FAULT Magazine: The album moves through so many genres. Was this by design or just reflective of your personal tastes?

Nathan Sykes: I think that I’ll always try to capture various influences within my music, as all of those influences create my sound. I don’t ever want to be an artist who is just good at one sound or genre, I pride myself on versatility. The thread that brings it all together will always be my voice. I wanted to create an album that was unique to me, and I believe that can only happen if you switch off any attachment to genre.

FAULT Magazine: What was going through your mind when you wrote Time To Say Goodbye?

Nathan Sykes: Closure. I was just about to start the tour with the band, knowing that it would be the last time we would be on stage as a five. Writing Time To Say Goodbye was crucial in allowing me to arrive in that place emotionally. It was an emotional day, but a big breakthrough musically too, it achieves something that ranges from intimate moments to a massive wall of sound that ends the album.

FAULT Magazine: How do you balance honouring your past work while pushing into new creative territory?

Nathan Sykes: The journey to where I am now is in itself honouring my past work. Nobody wants to hear me recreate a Wanted track, it was the five of us that made the band what it was. But the experiences I’ve had have given me the confidence to express myself in new ways. Everyone’s growing up, and I think it’s important to respect that evolution in both myself and my audience.

FAULT Magazine: Were there moments in making this album where you had to confront writing blocks or creative fear?

Nathan Sykes: I didn’t really have blocks, but I had to learn to trust myself creatively. Having a small group of writers allowed us to challenge each other. Skin is a great example, it started off more guitar-driven, but we shifted direction after taking a break, and it became this fluid, genre-free track.

FAULT Magazine: What do you most want people to feel when listening to this project?

Nathan Sykes: I want people to connect to the music in their own way. I try to write from a deeply personal perspective but still leave room for interpretation. I hope listeners really take the time to sit with it, maybe on vinyl, coffee or wine in hand, and detach from the world for a bit.

FAULT Magazine: When you look back on your artistic journey, what’s been the hardest hurdle to overcome?

Nathan Sykes: I started so young that it took me a long time to figure out who I am. My time in the band was incredible, but it was also high-pressure, and marketing strategies sometimes shaped how you were perceived. Ultraviolet was the first time I had the space to ask, “Who am I?”, and I feel like I’ve finally realigned myself on the path I want to be on.

FAULT Magazine: What are you most looking forward to for the rest of the year?

Nathan Sykes: Saying yes to things! I’ve always been cautious about taking risks, but I feel ready now. I’ve got the live shows in Manchester and London at the end of the month, and I can’t wait to play Ultraviolet in its entirety. Smaller venues like The Deaf Institute are where you learn so much as a performer, and I’m really excited to experience that again.

FAULT Magazine: What is your FAULT?

Nathan Sykes: My fault is that I’m scared of failure. I’m learning to redefine what failure means and to understand that it’s sometimes essential for progress. People are quick to criticise, and it’s easy to believe them, but I’m working on quietening that inner critic and reframing what success and failure look like for me.