The discipline of an artist is forged through resilience and persistence, and, for Sean Ghazi, these are non-negotiable. When asked how he deals with rejection, he reflects candidly: “You pick yourself up, dust yourself off, wash your hands, and start again. If you have faith in yourself, a plan, a vision, and you put in the work, you’ll make it through. I come from a world where you had to put in your 10,000 hours. Otherwise, you’ve no right to call yourself an expert.”
Perhaps that’s why the award-winning Malaysian artist carries the kind of tenacity needed to survive in show business. Still, every star has their first spark—what lit his? Turns out, his love for the stage can be traced back to the innocence of a kindergarten play. “I played Jack, of Jack and Jill, when I was about five or six in a kindergarten production. I went on stage, did my line and my little trick, and suddenly about 400 people reacted and laughed. I remember thinking, ‘Wow, this is a powerful feeling.’ Of course, I was too young to think of it as a career, but it was an unusual sensation.”
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With the world as his stage and Bobo KL as his home base for the past decade, Ghazi has proven time and again that no stage is too big—or too small—for his craft. Following the success of last year’s Symphonic Broadway show, the artist returns this October with When You Wish Upon A Star: A Symphonic Celebration at Zepp Kuala Lumpur. A Bobo KL production in partnership with HSBC, Istana Budaya, the Ministry of Tourism, Arts, and Culture (MOTAC), the show features the 66-piece National Symphony Orchestra (NSO) in full splendour, conducted by Eric Lee. The concert promises to bring timeless animated favourites and beloved cinematic melodies to life with performances by Elvira Arul, Mae Elliessa, Dasha Logan, Ida Mariana, Tria Aziz, and Izen Kong. But that’s not all—Ghazi is also gearing up for another show on 13 September at Menara Ken in Taman Tun, Kuala Lumpur, entitled National Symphony Orchestra Goes Tarakucha!; the NSO will be joining forces with the retro-inspired big-band he developed at Bobo KL. “I’m basically booked and busy preparing back-to-back shows!”
Who is Sean Ghazi when the lights go off and the curtain falls?
Animals just make me happy. I’ve always had pets growing up, and I think they’re awesome. One of the things I hope to do at some point is set up a sanctuary, not just for abandoned animals, but for those in need of care.
What was your first big dream?
I was serious about becoming a pilot. There was a time I could name every airline and every engine on every plane. I’d sit at the airport just watching planes land and take off, fascinated by the science of flying. But then I realised my math wasn’t great, and you need to be good at numbers and vectors to be a pilot. These days, I’m more interested in travelling.
What was the boldest risk you’ve ever taken in your career?
Moving to Los Angeles. I packed up my life, got my green card, and just went for it. The plan was to work the town like I had in London and Berlin, just to get into the system. But LA has its own system, and it was quite grim. It’s very hard to penetrate any circle there. The toughest part was the question of race and how people perceived me. There was always confusion about where I belonged. Even though it didn’t work out the way I hoped, there were other victories along the way.
What do you think has kept you in love with performing after all these years?
I don’t think I’ll ever stop performing. I don’t see myself retiring. In some ways, I see myself like Tony Bennett. What keeps me going is storytelling—I think it’s a very basic human need, whether you’re the one telling the story or the one listening to it. That’s what makes performing so powerful.
Do you still get stage fright?
There are definitely nerves. It comes in layers: the expectations of how I want the show to go, how I want myself to perform, how the band is going to play, or how my co-singer might do if I have a duet. There are so many elements to think about. People don’t realise how much work goes into this. For big shows, like last year’s, there is a colossal amount of coordination just within the music department—having to supervise the symphonic orchestrations of close to 20 songs per show. I’m meticulous and very well-prepared, because I don’t want the risk of forgetting something important, such as sponsors or people I need to thank. It’s not a strict script, but a roadmap to keep on track.
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Which one is harder to put together, small or big shows?
Small, intimate shows are harder. You’re so exposed, just a few feet away from the audience. A lot of headliners who are used to big venues come to Bobo KL and admit that it’s the hardest stage to perform on. With bigger shows, they’re grander and more theatrical, but you’ve got help with lighting, sound, orchestra, and a whole team. I would like to do a one-man show at some point. It feels like my last chance to tell my story because I want to dance, and dancing years don’t last forever. I’d love to recreate some of what I did in Western musicals in a more intimate setting.
What’s your guilty-pleasure song that you love to belt out when no one’s watching?
Whitney Houston has plenty of great hits. My go-to is usually I Will Always Love You, but in a very different key.
Your most treasured possession?
A diamond I inherited from my mother. It also happens to be my birthstone, so in terms of value, that would be the most precious thing I own.
What’s something you can’t live without?
Coffee and ice cream.
Photographs courtesy of Rosiegraphie.
