After getting dropped by a major label, the Leonard Cohen-influenced south Londoner kept going, and has now won fans in Rosalía, Sabrina Carpenter and more. But writing for the Bard is the best of all, he says

Three years back, Matt Maltese was in a casual co-writing session with some friends. Out of it came a song called Magnolias, a stripped back piano ballad about imagining his own funeral. “I didn’t think anything of it,” he says. “And then two years later, we heard some quite bizarre whispers that Rosalía had somehow heard it.” It was true: six months ago, Maltese was sent the Spanish pop star’s demo of the song. He tried not to get too excited, even when, a few weeks back, a blurred-out photo of a Rosalía album tracklisting appeared online. “On the WhatsApp group we were like: I think that says Magnolias!”

Magnolias ended up as the final track on Rosalía’s new operatic masterpiece, Lux: one of the most talked-about albums of the year, currently sitting in the UK Top 5. Maltese first heard the finished song the day the album came out, when he’d got back to London from a US tour. “I took a long jet-lagged walk and listened to the whole album to contextualise it. It’s extraordinary.” On Magnolias, Rosalía changed some words, he says, “and dramatised it incredibly. It’s exquisite. It’s a gift from someone, somewhere, that it fell into her lap.” It’s all anyone has wanted to talk to him about since. “I’ve had a lot of follow backs on Instagram,” he smiles.