Mumzy Stranger Returns with ‘Ki Kori’

It is a homecoming of sorts for the British-Bangladeshi rapper, singer-songwriter, and record producer Mumzy Stranger with the recently-released ‘Ki Kori’ (‘What Can I Do’ in Bengali) featuring American artiste Muza. In an interview, Mumzy says ‘Ki Kori’ is not just another musical experiment, but a deeply personal, global statement. He opens up about the song’s creation, creative collaborations, his evolution, and why he still leads the way in shaping global South Asian music.

Excerpts from the interview:

What led to the creation of ‘Ki Kori’? Was it a lyric, a beat, or a conversation?

The first spark for ‘Ki Kori’ came during a studio session when DJ Lyan (British songwriter and producer) laid down a beat loop that immediately resonated with me. I started vibing to it and dropped a melody on the spot, which got the whole team excited. Later, we sat down with the writer and spoke about those moments in relationships where you feel helpless, asking yourself, “Ki kori?” or “What can I even do?” That emotional space became the heart of the track. Everything flowed organically from there.

You have always blended R&B and South Asian sounds; what new elements did you consciously bring to ‘Ki Kori’?

While blending R&B with South Asian sounds is part of my musical identity, with ‘Ki Kori’ I aimed to elevate that fusion. I focused on a deeper emotional tone, both musically and lyrically. DJ Lyan’s beat added a fresh cultural vibe, while I leaned into a moody, minimal melody. We gave the production space to let the emotion breathe. Vocally, I kept it raw and honest, weaving in Bengali phrases for cultural richness. The result is still me, but more stripped back, emotionally real, and cooler in tone, offering something familiar yet more evolved and universally relatable.

How did working with Muza, a New Yorker, influence your creative process on this track?

Working with Muza brought a fresh dimension to the track. His slick, sharp New York energy added a creative edge that pushed the vibe further. It wasn’t just a feature — it was a collaboration that made me approach my own parts with more energy and spontaneity. The chemistry was natural, and the session flowed effortlessly. His input truly helped shape ‘Ki Kori’ into something more dynamic and globally resonant.

Was it always meant to be a collaboration, or did the idea of bringing Muza in happen along the way?

‘Ki Kori’ began as a personal project with my team and wasn’t initially planned as a collaboration. But when Muza was in the UK for a show, we linked up in the studio. I played him the track, and he instantly vibed with it. I suggested he jump on, and he was all in. We recorded his part before he flew out. It came together so naturally and effortlessly that it felt like it was always meant to be a collaboration from the start.

How was the storyline planned for the video?

I handed the creative reins to Sameer at Desi Trill — he has got an eye for visuals. He built a fun concept that matched the song’s energy, focusing on attitude, style, and performance rather than just heartbreak. The result was a slick, cinematic, performance-driven video.

Sometimes a video can completely shift how people experience a song. Was there a balance you consciously thought of?

Absolutely. With ‘Ki Kori,’ I wanted the video to complement the track’s emotion, not overpower it. The goal was to enhance the listener’s connection without distracting from the rawness of the song. We struck that balance by keeping the visuals simple yet powerful, performance-based, with just the right energy to elevate the vibe.

You were one of the first to bring South Asian influences into UK urban music. How do you see the Global South Asian sound evolving?

It is incredible to witness how the South Asian sound has grown. When I first blended it with UK urban music, it was still niche. Now, it is a global force. Artistes are fusing traditional instruments with electronic beats and cultural melodies with modern vibes, making the sound more dynamic and accessible. It Is no longer confined to one space, it is everywhere. The world is finally appreciating the richness and versatility of South Asian music. This movement is expanding fast, and we are only scratching the surface.

When you think of your early hits like ‘One More Dance’ or ‘Come My Way’, how do you feel your sound and storytelling have evolved by the time of ‘Ki Kori’?

‘One More Dance’ was about breaking barriers, being a South Asian artiste in R&B and proving we belong. With ‘Come My Way,’ I began blending in my own languages, experimenting with identity. There were no rules, just a drive to try something new. By ‘Ki Kori,’ that journey matured. The sound became more refined, the emotion deeper, and the storytelling intentional. I’m still blending cultures, but now with clarity and purpose.

Over the years, how has your relationship with your Bangladeshi roots evolved through your music?

Initially, my Bangladeshi roots were more of a background influence as I focused on making waves in the UK scene with R&B, grime, and dancehall. But over time, I’ve grown to embrace my heritage. Incorporating Bengali language and sounds into my music has deepened my connection with both the culture and fans across the diaspora.

Is there a story behind Muhammad Mumith Ahmed changing his stage name to Mumzy Stranger?

‘Mumzy’ came naturally, it was a nickname people from my area started using early on, and it just stuck. The ‘Stranger’ part came later. I always felt like I was doing something different — an outsider blending R&B with South Asian roots at a time when that wasn’t common. I was stepping into spaces where someone like me was not expected. So ‘Stranger’ represented being unique, not fitting into boxes, and owning that identity.