What inspired you to revisit such an iconic song like “Imagine” and present it through your own artistic lens?
It just happened organically. I was listening to an electronic track that my childhood friend and I had created over 20 years ago and noticed it would fit with the verses of John Lennon’s classic. I checked with my friend and he was game to use our old track for a new version of “Imagine,” so then I started figuring out what else was needed to make a complete version of the song.
How did you approach balancing faithfulness to John Lennon’s original with creating a version that feels uniquely yours?
This was done with the help of Adam Rossi, my co-producer on the song. We were recording my lead vocals and Adam had to coach me along to find my own truth with these lyrics. It took hours to find my voice. The lyrics seem simple but they go deep, and I needed to do them justice.
The track blends acoustic elements, electronic textures, and orchestral arrangements — how did that sonic vision come together?
It started with the electronic track that my friend and I had made. John Lennon’s original has been so beloved by millions around the world that it seemed like this version needed to acknowledge how epic the song is. So I started thinking about an orchestra, and how that would help bring some heft to the track.
What was it like working with the Budapest Symphony Orchestra and vocalist Hyunju Lee on this project?
I had never worked with an orchestra before and when I sat in on the 50-piece orchestra recording session for this, I couldn’t believe it was happening. It was over pretty fast—they were such pros. Hyunju Lee, I can’t say enough about her work on this. She took hours of precise, dedicated work to get this right, and her voice adds such beautiful textures to the song and really supports the lead vocals in such a gentle yet solid way.
Do you remember the first time you heard “Imagine”? How has your relationship with the song evolved since then?
I was 13 years old, living in the Himalayas in India. A friend had returned from England with some cassettes—including “Double Fantasy” by John Lennon and Yoko Ono, as well as the album “Imagine.” I listened to them on repeat for months. I remember at the time my mother telling me that the first time she’d heard “Imagine,” in 1971, she was driving and had to pull her car over because she was so moved by the song. So I knew it was an important song.
Over the years, I’ve considered the lyrics more and more, and during the process of creating this version, the lyrics hit home in a powerful way. The first line of the second verse—”Imagine there’s no countries”—reminds me that I was an illegal immigrant in India when I first heard the song, and now, living in the U.S., those words are especially meaningful. The line “Imagine all the people, living for today” makes me feel like we have such potential—that there’s real opportunity for humans to act from kindness and goodwill, which I experienced firsthand from the Indian people while living there illegally.
I’ve noticed that everywhere I go, most people have an innate response to help when they see others in need. One of the challenges is that we’re often in our own digital bubbles, but deep down, when not manipulated by division, people have a natural tendency toward compassion. That line, “living for today,” feels like an invitation to invest in our communities right here, right now.
Your version feels deeply emotional and hopeful — what message do you hope listeners take away from it today?
I was born in 1969, a time of change and hope, in spite of great difficulties. It’s difficult to feel hopeful when I look at comment sections online, but when I’m face to face with people—no matter our differences—I feel hope again. When I first started creating this version of “Imagine,” I wasn’t thinking about what I wanted to achieve with it, and now it just feels like the spirit of the original wanted to remind people of the possibilities for fellowship and brotherhood, and just used me as an instrument to make that happen. I hope people can take heart in this song and remember our potential.
This is your first-ever cover release. What made “Imagine” the song you wanted to reinterpret?
It really wasn’t an intentional effort. I just noticed that it would work well with the old electronica track that my friend and I had never released. I then noticed that John Lennon’s birthday, October 9th, was just a few months away, and I wanted to release it on his birthday—so I went to work with that deadline, something I never do!
How has your background as a songwriter shaped the way you approach reimagining a legendary track?
The songwriting part of this was done, so I didn’t really use my songwriting tools. Instead, this was about being a producer—figuring out the sound that was called for, the elements that would fit well together.
Who or what influenced the creative direction of this arrangement, both musically and thematically?
My initial ideas for it probably had something to do with listening to The Moody Blues and The Beatles when I was a kid, because both groups had orchestras in some of their songs. I’m forever influenced by Pink Floyd, who were doing such incredible things 60 years ago. The electronica of the ’90s, which often had lush melodies while also being great to dance to, really left a mark on me. Adam Rossi, who co-produced this with me, recognized what I was going for and made the all-important choice to have Hyunju Lee’s background vocals play a crucial part in the song.
With this release now out in the world, how do you see it fitting into the larger story of your music and where you’re headed next?
This is the second release of mine that veers into the world of electronica (“Commercial Break” is the other). I think a lot of my music will continue to have some element of electronica. I’ll continue to aim to write meaningful lyrics. Many of my songs—like “You’ll Do Fine,” “A Beautiful Life,” and an upcoming track, “Orion”—are about taking heart and keeping going.
