Reagan Grey on ‘Sidewalks’, Detroit Influences and Finding Depth in the Details
For Reagan Grey, making deep house has never meant restricting herself to a particular sound or era. The Toronto-based producer and composer draws from garage house, early Detroit techno, vocal-led dance music and darker contemporary electronics, bringing those influences together through a distinctive emphasis on melody, chords and analogue warmth.
Her latest release, ‘Sidewalks’, marks a significant moment in that journey. Appearing on the fifth and final instalment of Freerange Records’ 30th anniversary series, the track places Grey alongside Jimpster, Crackazat, Last Nubian, Simbad and fellow Toronto producers Toronto Hustle & Sean Roman.
For an artist who has followed Freerange since its earliest days, the invitation carries considerable meaning.
“I’ve followed Freerange from the beginning and it's a milestone moment to be included in this project. It feels like an affirmation of my work and the many years I’ve devoted to learning and developing my skills.”
The anniversary series brings together 30 exclusive tracks across five vinyl releases, celebrating three decades of deep, soulful and underground house. For Grey, the label’s longevity demonstrates how a recognisable musical identity can survive without becoming creatively restrictive.
“Freerange has stayed relevant for 30 years. It demonstrates that deep house can be rooted in tradition and evolve at the same time.”
That balance between musical heritage and contemporary expression is central to ‘Sidewalks’.
Built around gritty drums, melodic keys and subtly shifting synthesiser arrangements, the track unfolds patiently, favouring immersion over dramatic peaks. Its starting point was a series of deliberately deep productions Grey had been developing, with the initial melody establishing the foundation for everything that followed.
“It started with keys and locking in the main melody. Then I built it up with synths and melodic variations.”
There are also less obvious references buried within the production, including sound design elements inspired by 1970s New York. The overall intention, however, was something immediately recognisable to anyone who has spent enough time on a dancefloor.
“I was trying to capture the feeling of being lost in a groove at 3 a.m.”
Detroit provides the strongest musical reference point. Grey has been listening closely to the city’s producers, particularly the relationship between melodic keyboard work and the distinctive rhythmic character of its house music.
“Detroit house is the biggest influence here, particularly in terms of keys and drums. I’ve been listening to a lot of Detroit producers lately, and there’s a strong and distinctive sound coming out of the city.”
Yet ‘Sidewalks’ is not simply an exercise in reproducing those influences. Grey’s productions have long moved between different musical territories, and she sees little value in limiting herself to one interpretation of house music.
“I love so many different styles of music and would never limit my sound to one facet. I’m drawn to artists who push past boundaries and work across genres, because the results are almost always more interesting.”
What connects those different approaches is her attention to musicality.
“The through line in my work is an emphasis on melody and chords, keys and synths. And I’m always working towards maximum analogue feel.”
That preference also connects her work to the musical traditions running through Toronto and the UK.
Although based in Canada, Grey has released much of her music through British labels, finding common ground in the UK’s relationship with soul, disco and rave culture. She sees parallels between that history and the North American influences that helped shape Toronto’s underground.
“Toronto has been influenced by underground music and culture out of New York and Chicago, and I think those cities run a parallel path to London.”
Those connections become particularly interesting when considering the production process behind ‘Sidewalks’.
Despite the finished record’s stripped-back character, Grey does not consider herself a minimalist in the studio. Quite the opposite.
“I’m definitely a maximalist when it comes to production.”
Once the foundations of a track are established, she builds additional melodic ideas, effects and sound design around them, creating variations that keep the arrangement moving. Only after repeated listening does the process begin to reverse.
“Then I’ll listen to it many times, and anything that bothers me gets cut.”
That willingness to remove material is essential to the finished result. Rather than equating restraint with a lack of ideas, Grey uses it to determine which elements deserve to remain.
“I like to spend time refining a composition, and a big part of that requires listening to mixes often, over time.”
The approach helps explain why ‘Sidewalks’ feels detailed without becoming overcrowded. Its movement comes from the relationship between sounds rather than constant changes in intensity, allowing the groove to develop its own momentum.
Within the wider Freerange anniversary compilation, that understated quality finds an appropriate home.
Grey describes hearing the complete release as particularly fulfilling, not least because of the calibre of artists involved. She also credits label founder Jimpster, Jamie Odell, for the way the six contributions have been brought together.
“It’s designed as a full-play release and really reflects Jamie's skill as a curator.”
That sense of continuity is important. Although Grey acknowledges the milestone represented by her Freerange debut, she does not see it as the point at which her artistic identity has suddenly become established.
“I think I’ve had a distinct sound for many years now.”
Instead, she is interested in continuing to expand that identity without abandoning the musical instincts that define it. New artists, unfamiliar techniques and different collaborations all offer opportunities to develop, but the intended destination remains the same.
“Ultimately, I’m making music for a dancefloor, I want it to reach an audience.”
Her immediate plans reflect that balance between exploration and consistency. Several vocal collaborations are currently underway, with another release scheduled for winter. Beyond those projects, Grey intends to return to the deeper, dubbier side of her sound.
“I already have a few tracks written and would like to build them into an EP.”
After a busy year, finding time to finish that material is a priority.
For now, ‘Sidewalks’ offers a compelling introduction to Reagan Grey for listeners encountering her through Freerange. It is a record informed by decades of house music history, but equally by an artist who understands that making something feel effortless often requires considerable work behind the scenes.
The result is precisely the kind of deep house that has sustained Freerange for 30 years: musical, understated and made to reveal itself gradually, preferably somewhere around three in the morning.
Get your copy of '30 Years of Freerange Volume Five' here.
