By Cassie Forsythe
Born and raised in Kota Kinabalu, Sabah, Clinton Liew has carved out a distinctive presence in Kuala Lumpur’s creative scene. Over nearly a decade, he has honed a sound that bridges hip-hop foundations with organic textures and pop sensibilities, effortlessly blending the digital with the emotional.
Clinton’s work speaks volumes through collaboration. He’s produced for an array of Malaysian artists, including SoImJenn, Benzooloo, Tuju (of K-Clique), Airliftz, ASYRFNSIR, and Tiga Soul.
As the founder of Wavefarer Audio, Clinton has turned his production house into a launchpad for thoughtful creatives. One of its standout moments was the GrabMart campaign Sama Saja, which earned a Bronze at the Kancil Awards 2024, solidifying his role not just as a music producer, but as a creative force in branded storytelling.
Despite his growing influence, Clinton remains deeply connected to his roots. He is also featured as an in artist Sabah Bangkit, an anthem aimed at inspiring unity and pride among Sabahan youth. More recently, he led the composition for Feel It All, a soundtrack for a destination video by the Sabah Tourism Board, capturing the soul of the state he still calls home.
1. When you were first approached to work on this composition, what went through your mind? What excited you most about the opportunity?
It’s always been a dream of mine to work with the Sabah Tourism Board. So when the opportunity came, I was really excited. I had previously worked on a project for Tourism Malaysia, but doing something specifically for Sabah felt personal as it hit close to home. At the same time, I felt a certain pressure because I really wanted to get it right. Almost immediately, I began imagining how the song could sound and started building a rough structure in my head.
2. Sabah Tourism Board suggested bringing together different musicians for this piece. How did you take that idea and turn it into a cohesive collaboration? What was your process in selecting the featured artists?
The theme was “Mountain High, Ocean Deep,” and the first thing that came to mind was diversity and how to musically represent both the majesty of the mountains and the depth of the sea in one piece. I took STB’s suggestions on the featured musicians and expanded on them to include traditional instrumentalists to reflect Sabah’s cultural richness.
I’d been working with Adam and Frida from Rolou Borneo on a few projects, and their efforts in reviving Sabahan traditional instruments have been so impactful that I knew I wanted those sounds in Feel It All. We also featured incredible voices like Phoebe Tsen from Avery Fos and Dabra Sia, who not only sang but also contributed beautiful lyrics and melodies. Joanna Ho brought soul to the music with her violin, while Najmie’s seruling and turali performances added a timeless, earthy quality.
One standout moment for me was seeing Anaqist perform poetry at an open mic. Her words moved me deeply, and I felt honored that she agreed to write and recite the poem that opens the track.
The version featured in the destination video is just a snippet—we’re really looking forward to sharing the full version with everyone soon! Quick shoutouts as well: to Stephen Lim, our recording engineer, whose professionalism I truly admire; to Johnston Wang, my partner at Wavefarer Audio, for his magical mixing touches; and to Kenneth and Isaac from Third Rice Culture for documenting the entire process.
3. “Feel It All” has been performed publicly twice; first at the Sabah Tourism Appreciation event in December 2024, and more recently as the opening act at this year’s Lampoopalooza. What made it especially meaningful was the inclusion of the Sabah Society of the Deaf, who performed the song in sign language. How did you feel when you found out about this gesture, and what did it mean to you as the composer?
It was incredibly humbling. I didn’t expect it at all, and watching the song interpreted in sign language added such emotional depth. It reminded me that music goes beyond sound—it’s about connection. It also gave me a deeper sense of responsibility in the way we tell stories through the work we do.
4. Every creative project comes with its challenges. Were there any concerns or fears you had at the start of this one?
Definitely. When I work with clients, I usually don’t feel as much pressure. But because this was a project so close to my heart, I felt a real weight to get it right. I spent a lot of time on it (more than usual) going through several drafts, changing chord structures and lyrics until I finally landed on a version I felt confident enough to share with STB.
This project also reminded me of the beauty of collaboration. For example, Phoebe and Dabra helped shape the song both melodically and lyrically, and it just clicked. Sometimes when you’re too deep in a project, your ideas start to run dry. Working with all the musicians involved brought fresh energy and ideas that really elevated the song.
5. In your experience, how often do Sabah-based companies—whether government bodies, GLCs, or SMEs—approach local composers like yourself to take creative lead on a production? Would you say there’s been a shift toward greater openness in supporting local talent, especially with recent projects like the Chinese New Year songs and the Kaamatan-themed compositions?
Honestly, it’s quite rare. I’d say 90–95% of my clients are from KL or abroad. Only a handful of Sabah-based government bodies or SMEs have approached me to lead creatively. I think the hesitation often comes down to budget and understanding of creative vision.
That said, there’s definitely been a growing interest in celebrating our Sabahan identity, and with that, a bit more openness to engaging local talent. I do think clients need to better understand the value of creative work and compensate fairly. At the same time, we as creatives also need to demonstrate the value we bring. It’s a bit of a chicken and egg situation, but I believe as our creative community matures, we’ll see better alignment and mutual respect. And this, I believe, comes from connecting with one another and learning from one another through our talent and experiences to understand how we can grow both individually and as a community.
6. Is there a local company or brand you’ve always dreamed of collaborating with? What draws you to them?
STB was definitely on my list! But beyond that, I’d love to work with a local lion dance troupe to produce a track they could perform to, maybe even create an interactive experience around it.
Another brand I’d love to collaborate with is Uinah Ginger Beer. I think there’s so much potential in using sound and audio branding to elevate local products like theirs!
7. Are there any local musicians you haven’t worked with yet but would love to collaborate with in the future? What about their work inspires you?
There’s definitely quite a few but one that stands out lately is Jon James. His drive and determination are something I admire, and paired with his talent, I believe he’s going to go far. We actually have a few songs together that haven’t been released yet but…. hopefully soon! Bro, if you’re reading this, just know I believe in you!
Have you watched the video?
Feel It All
Credits to:
Composer, Lyricist, Producer, Vocalist: Clinton Liew (MKNK)
Lyricist, Vocals: Phoebe Tsen, Dabra Sia
Spoken Word Artist: Qistina (Aniqist)
Traditional Instrumentalist: Adam (Rolou), Frida (Rolou)
Traditional Instruments Featured: Sundatang, Gong, Tongkungon, Tonkubong, Bungkau, Tongunggak, Toburik, Pod Shaker
Violinist: Joanna Ho
Seruling, Turali: Najmie
Recording Engineer: Stephen Lim
Mixing and Mastering Engineer: Johnston Wang
Wavefarer Audio: Audio Production House
