Student Spotlight #1: Prazul

Prazul is a Harvard junior and talented saxophonist whose musical journey began at the age of 11 when he first picked up the saxophone in sixth grade. Since then, his passion for music has grown from experimenting with a few notes to creating his own original music. Drawing inspiration from diverse genres including jazz, Afrobeat, Amapiano, and Indian music, Prazul seamlessly blends global sounds with his signature saxophone melodies. His artistic evolution has led him from attempting viral fame to prioritizing authentic music creation, making him a standout voice in today's music scene.

Our interview with Prazul:

HUMBA: Thank you for taking the time to do this! Let’s jump right in. When did you first learn or interact with music, and what made you fall in love with it? Also, tell us about your very first instrument.

Prazul: My parents had put me in piano lessons when I was about 5 years old, but I hadn’t really gotten into it too much. But when I got to sixth grade, I picked up the saxophone—and I just loved the sound immediately. I was eleven years old, and it felt really cool to play. Even when I only knew three notes, I was already trying to see what I could do with them. It was love at first sight, or first sound, I guess.

Over time, though, I also started thinking about music beyond just learning set pieces. In middle and high school band, whenever we had basic arrangements, I’d find myself adding little trills or imagining a bigger cinematic section. Later on, once I was in college, I realized music was the one way I felt truly heard. That’s why I still do it.

H: Did you ever consider playing a different instrument—or did you try others—before committing to the saxophone? Or was it the sax right away?

P: It was straight to the saxophone. I mean, we had a piano at home, but I never really practiced it seriously, so it never stuck. I was actually more into swimming at that time. Music and saxophone kind of snuck up on me and became “my thing.” It just clicked, and I didn’t want to stop.

H: Who were some of your musical influences growing up? What did you love listening to?

P: Since my parents are immigrants, they didn’t really curate my western music taste so I kind of just listened to what was on the radio. I’m talking about big, mainstream radio stuff like One Direction and Justin Bieber. In terms of non-western artists, I grew up hearing Kishore Kumar because my dad would play him all the time in the shower or in the car. In high school, I started listening to jazz saxophonists like Gerald Albright and Lou Donaldson. I also started to love artists like Masego and Kanye West (musically speaking)—I felt really inspired by Kanye's production.

These days I’m more into Afrobeat and Amapiano artists like Ayra Starr, Burna Boy, and Tyla. I love how these sounds can be combined with Indian rhythms and melodies and I take a lot of inspiration from those artists in my own music. I also gotta throw in that I love Sade. So I was exposed to lots of different styles, which definitely shaped my ear.

H: When you came to college, how did that affect your relationship with music? Did you ever consider going to a music school, or what was your plan at the time?

P: I did think about dual-degree programs—like Berklee and Harvard. I played with the idea but never fully committed to just doing music school. When I arrived at college, I started in 2020, which was prime time for TikTok to blow up. I wanted to be “the TikTok saxophonist” and get famous doing sax solos on viral songs. Looking back, I realize I was in it for the wrong reasons—more for the attention than for the art itself.

For a long time, I only posted saxophone solos over popular tracks. But it wasn’t fulfilling, and the growth I wanted didn’t happen overnight. Eventually, I realized I needed to create my own music, not just play over someone else’s. My early attempts at producing were, honestly, not great. It took a couple of years of trial and error before I made a song I was proud of. Once I started focusing on the music itself, rather than trying to go viral, things started making more sense.

H: Now that you have this ethos of “artist first”—and you’ve shifted away from chasing viral fame—how do you approach marketing yourself on social media?

P: I don’t think about social media metrics when I’m creating. While I’m producing a track, I don’t worry about what’ll go viral on TikTok. The music has to come first. After it’s made, of course, I think about promotion. The saxophone always helps me stand out, so all my songs have sax in them. It’s not a gimmick—I genuinely love the instrument and built a following around it, so it makes sense for my brand.

Promotion-wise, I often showcase the sax parts because that’s what grabs people’s attention and highlights what’s unique about my sound. But I don’t feel I’m compromising who I am, because the sax is what made me fall in love with music in the first place. It’s not a marketing trick; it’s part of my identity as an artist.

H: What’s your take on today’s music industry? If you had to give a “hot take,” what would it be?

P: I actually think social media has been a net positive for musicians. Yes, it can be stressful to keep up with likes and algorithms, and there’s a lot of mediocre music floating around, but overall, it’s given artists more power. You can build a following on your own, which means you have more leverage if and when a label comes calling.

One thing I do wish we had more of from the old days is genuine artist development. It seems like labels used to invest more in nurturing talent. Today, they often wait for you to blow up on TikTok before signing you, and if your next track isn’t viral, they might lose interest. That’s tough. Still, if you have a strong vision and brand—and you keep working at it—people will eventually find you. Then you’ll have real negotiating power.

H: Two more questions. First, what do you think of AI in music?

P:  I already use AI in small ways—like automatic mastering tools (Logic’s AI Mastering, for example). It’s definitely helpful for quick demos. I think AI can level the playing field by giving bedroom producers access to high-level tools. Musicians have always been scared of the next big tech breakthrough but in the end it’s always unlocked new possibilities for great art. Yes, labels are going to start using AI to crank out covers, remixes, or even entire songs under some alias, but I don’t think it can replace real artists. People connect with people. They want to go to a live show and see a human being performing. AI can’t replicate that emotional exchange.

H: Lastly, what advice would you give to other artists?

P: First, be prepared to put yourself out there—often. Whether it’s posting on social media, sharing demos with friends, or playing small shows, you have to be seen and heard. Secondly, don’t be afraid of looking “cringe” or getting low views at the start. It’s part of the journey. Embrace feedback—find people who’ll tell you the truth, not just hype you up no matter what.

Most important of all, stand behind your music. If you’re proud of a track and it gets 100 streams, you can still say, “I love this song, and I’ll show it to anyone.” That confidence keeps you going. At the end of the day, you’re signing up to be heard and critiqued—but that’s what art is about. Share it, refine it, and keep pushing forward.