In an era where streaming metrics often dictate creative decisions, “Brother” emerges as something truly exceptional release from Farbod a six-minute emotional journey that defies conventional song structure in favor of raw authenticity. This powerful track serves as both personal catharsis and universal connection, exploring the complicated but ultimately redemptive relationship between siblings who weathered childhood trauma together.
“Brother” represents a notable artistic evolution, seamlessly integrating classical piano foundations with gospel choir crescendos and orchestral elements to create something that transcends typical genre classifications. The result is both intimate and cinematic—a musical narrative arc that mirrors the emotional journey described in its lyrics.
We recently spoke with the artist about the creation of “Brother,” with Farbod discussing the vulnerable creative process behind the song, the musical choices that shape its distinctive sound, and the importance of artistic integrity in an industry that often prioritizes commercial considerations over emotional truth.
Listen to Brother below
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“What personal experiences or emotions inspired the creation of your single “Brother”?
The song is a letter to my little brother. We had a difficult childhood marked by a lot of abuse. All either of us ever wanted was to be loved and have someone care about us and support us in becoming the people we were supposed to be. That never happened, so we’ve had to figure it out ourselves and learn how to be brothers to each other along the way. It’s been hard work and a long journey but, as it turns out, the story has a happy ending.
The message of the song is that I know exactly what you’ve been through, I watched you survive it, and I’m right here with you as you heal. And, as the two of us together start shifting our gaze from what was to what can be, let’s find out how amazing life can be and what it’s like to thrive. I wanted my brother to hear what he deserved and needed to hear as a kid, now. And I wanted us both to feel: I’ve got you. You’ve got me. We’re good. Let’s live.
How does “Brother” reflect your personal musical style or artistic journey?
Brother marks a major shift in my sound. When I started producing in 2018, I was making almost entirely trance and progressive house music. While dance music will always have a special place in my heart, and I’ll continue making it probably for a very long time, Brother is a return to my musical roots. I’m a classically trained pianist who learned to sing in musical theater and gospel choir. Brother places renewed focus on vocals, organic instrumentation (piano, cello, violin, and guitar) and, of course, the gospel choir climax at the end.
Were there any specific challenges in writing and producing this single?
One thing I really wanted to accomplish with Brother was that, every time you think this is the climax, you find out—nope, we’re going even higher, even more joyful. The song is an exercise in erasing limiting beliefs and playfully exploring just how much magic we can really experience if only we allow it.
A lot of people will get to the end of the cello and string section and think that’s the end of the song—only to find the second verse comes in with a whole lot more intensity. Then you get to the end of that verse and think, ok that’s it, but then all of a sudden a gospel choir shows up. And then you think that must be it, but then I start ad libbing on top of the gospel choir at the top of my range in full falsetto. And then you think we really must be at the tipping point here, only to have a final, full blast verse with me, the gospel choir at the top of our lungs, and all the instrumentation together.
The idea is that we limit ourselves so often and in so many ways. If we are willing to go along for the ride and trust the process, we could end up at such higher heights than we otherwise would have allowed ourselves when we first thought “this is it.”
I fully experienced this myself when I was creating the song. So many times, I felt like “there is more I could do here. There’s something I haven’t said.” And I didn’t believe I had the skills or tools to do it, or that I couldn’t figure out where to go from where I was. That’s when the words “gospel choir” popped into my head.
What musical influences shaped the sound of “Brother”?
Brother really reflects all of my musical influences together, from a blending of the genres that taught me what music is (classical, middle eastern, and afro-spiritual) with both electronic elements (synths, plucks, swells, and FX), and organic instruments (piano, cello, violin, and guitar).
How does “Brother” differ from your previous musical works?
Brother is what I would make if I didn’t worry about “making it”—whatever that means. Attention spans are getting pretty short these days, and songs are getting shorter and shorter. I know a lot of musicians who, very understandably, are catering their artistry to the algorithm. I used to do it myself. Brother is the result of my decision not to do that.
The song is almost 6 minutes long. That’s because it needs to be to tell the story it needs to tell. Will that mean the song is less likely to go viral or have repeat streams on Spotify? Maybe. Maybe not. But it doesn’t matter. Brother is the first time I have truly leaned in to the idea that success can look like a lot of things, and among them is creating a work that is vulnerably and authentically me on a platter, without worrying about what labels or the algorithm are looking for.
Were there any unique production techniques or musical arrangements you used in this single?
The main motif of the song was a mistake. I always start writing at the piano, and I always pick an easy scale (like C major) so I don’t have to deal with black keys that can get in the way of creative flow. I was tinkering with a chord progression and accidentally played a B flat on the G chord, which made it a minor chord, and totally changed the vibe of what was happening. It inserted just a little melancholy into what is otherwise a bright scale. That’s when I knew exactly what the song would sound like. When you listen to the first line of the song—“What are you waiting for?”—the “you” was that accidental note that was then the framework for the rest of the song.
Also, working with a gospel choir for the climax of the track was surreal. Watching a choir of sopranos, altos, tenors, and baritones singing lyrics I wrote over four part harmony at the top of their lungs was a really transcendent moment for me. And then when I sang the lead vocal with the choir at my back – that’s when I knew I had something good here.
What does the song reveal about your perspective on brotherhood or familial relationships?
In a lot of ways, this was a message to the child version of me and my brother—keep going. You have no idea how amazing life can be. My brother and I were never taught how to be brothers to each other. We had no idea how to love each other, how to play, how to resolve disputes. It was all a black box because our entire childhood was about survival. What I’ve come to realize is that, while it was totally unfair and not how our childhoods should have been, we have agency in determining what our lives look like now.
Family can be so complicated. But at the end of the day, we all have a choice. And we can choose to support each other, love each other, mentor each other. And that is the choice my brother and I made. It’s never too late.
Are there any specific moments or memories that directly influenced the songwriting?
Just that little twerp’s mischievous face when he was a kid. Despite the rough times, he had a light that would not be extinguished. And it wasn’t. Neither was mine. We kept going, and now we get to play.
