Sainté’s ‘4L’ Is the Update You Didn’t See Coming: A Direct Look at His Artistic Path

You know the feeling when an artist drops something, and you just know they’ve figured it out? That’s Sainté with his new EP, 4L, dropped July 18th. It has confidence, a flick of the wrist that says, "Yeah, I knew this was coming, why didn't you?" He’s been putting in work, refining, doing what needs to be done.

Sainté is not new to this. He has built a reputation for a minute, a Leicester kid with a West Coast lean in his sound. His earlier work, like ‘Champagne Shots’ and the Local MVP EP, put him on the music map, showing a flow that could glide over anything from hip-hop to jazz.

One thing that endears listeners to Sainté is this: his sound is crisp and identifiable. This sound is a testament to his artistic vision and the collaborators he chooses. For instance, on his single ‘Dora’ a track that further cemented his sound ahead of 4L – the production work, credited to Parker Jazz and BB as arrangers, highlights the attention to detail that defines Sainté’s output. Their contributions to ‘Dora’ are examples of the kind of craftsmanship that ensures Sainté’s music stands out, making every beat, every melody, recognisable as his.

However, 4L is not just another project; it feels like the Sainté 2.0 update. This is not just growth; it’s a recalibration, a statement. For labels, it’s a signal that Sainté is not a flash in the pan; he’s an artist with vision, capable of bigger moves. For us, the audience, it’s about seeing an artist who’s still connected to his roots but isn't afraid to push past comfort. He talks about "honest art," letting "the mess show and the confidence sit next to doubt." That’s the headspace: a guy who’s owning his journey.

4L is not a track-by-track affair you dissect. It’s a mood. Sainté brings back those textures and laid-back vibes that defined his early sound. The drums snap harder, the layers are deeper. He’s pulling from jazz, broken beat, and the alt-R&B wave that’s been reshaping the UK sound. Think of it as his original palette, but with colors you hadn't seen before. He’s not avoiding anything; he’s embracing the contrast he talks about. The flows are sharper, the production feels like it’s had an upgrade. It’s still Sainté, the "local MVP," but the operating system has been overhauled. The collaboration with Wiz Khalifa on 'DSM' isn’t just a co-sign; it’s an indicator of the scale he’s aiming for. This feature signals a step onto a larger international stage, demonstrating his ability to attract and collaborate with global talent.

Sainté’s energy on 4L is self-belief. He’s not trying to prove anything; he’s owning it. You hear it in the way he delivers, a controlled swagger that never spills over into arrogance. It’s that assurance that comes from putting in the work. When he says he’s "pushing past what felt comfortable," you feel that in the sonic shifts. He's taking risks, not for the sake of it, but because it’s clear and confident where he wants to take his art next. The scene's definitely watching, tuned in like that Disney Channel every kid would be glued to after school - Spongebob, Tom and Jerry, which one was it for you?

So anyway when artists are pulling in 300 million streams and landing campaigns with New Balance, Burberry, and Jean Paul Gaultier, you pay attention. This isn't accidental. This is an artist moving with purpose, knowing exactly what he’s doing. I’m sure he had the 5 year plan planned out in his notes app for years. This level of foresight and execution speaks volumes about his dedication and understanding of the industry.

Global Ambitions and Strategic Collaborations

The story around Sainté extends beyond the music itself. Last year’s Still Local mixtape, with features from Potter Payper and Lil Silva, showed his commitment to his ideals while still growing his sound. He's still repping Leicester, still shouting out his friends and family, but the world is clearly availabl on speed dial. Ahead of the full EP, Sainté offered a preview with the single

'Days In The 3'. Featuring Ldbyheer and Kairo Keyz

Crucially, the polished sound of 'Days In The 3' can be attributed to its production by Omari Iyesight. This was not just a collaborative effort; it was a masterclass in synergy, with Iyesight's production providing the perfect backdrop for Sainté and his features, resulting in a piece of perfection that further showcased Sainté's curatorial ability and the high standard of his sonic output. He’s no longer simply dreaming of luxury; he’s living it. Matte black Lamborghinis, Chanel bags, jet skis. It’s a visual representation of an artist who’s transcended his beginnings. The influence of LA, Bali, and the edges of Soho and Camden filter into 4L, creating a project that’s global in its scope. This EP is Sainté’s angle for a summer that promises to eclipse last year’s Paris Fashion Week debut and world tour. He’s not merely building a career; he’s building something substantial, brick by brick.

So, where does Sainté go from here? He's laid down the blueprint. Now, we just watch him build. His ascent feels not just inevitable, but deserved.