Aubrey Suwito steps into the spotlight after 30 years behind the music

For over 30 years, Aubrey Suwito has been the driving force behind some of Malaysia's most beloved music - crafting, arranging, and producing songs that have become an integral part of the country's pop culture. This month, however, the spotlight finally turned to the 60-year-old maestro, who became the first Malaysian composer to receive a National Symphony Orchestra (NSO) concert titled "NSO with Aubrey Suwito: Pop Meets Symphony."

The two-day event, held at Panggung Sari, Istana Budaya, showcased six of his compositions, including "Gemilang," "Seribu Impian," "Memori Tercipta," "Gemuruh," and "Lebih Indah," reimagined with symphonic arrangements.

Aubrey Suwito's achievement still feels like a dream, according to the 60-year-old composer. "My initial reaction was disbelief," he told FMT. What moved him most, however, was the recognition extended to the people whose work often goes unnoticed - the composers, arrangers, and producers behind the scenes. "This honor is not just a celebration of my artistic journey, but also a symbol of appreciation for the many individuals who have contributed to the industry without receiving much attention," he shared.

The concert required an immense amount of dedication, with the symphonic arrangements taking almost three months to complete. Aubrey, who holds 26 Anugerah Industri Muzik (AIM) awards, attributed his disciplined approach to his training at Berklee College of Music. He likened the level of discipline needed to his own experience as a pilot, emphasizing that constant practice and experience sharpen instincts and confidence over time.

The concert also introduced audiences to Aubrey's latest composition, "Jodoh," performed publicly for the first time by Shiha Zikir. Despite decades in pop music, Aubrey remains curious about the possibilities that lie ahead. He is particularly interested in exploring traditional sounds and finding ways for different musical worlds to blend seamlessly. "My hope is that pop, symphonic, and traditional music will no longer be seen as separate, but will develop as one musical landscape that complements itself," he expressed.

This spirit of openness was evident in the production itself. Performance director Fairuz Tauhid, better known as Cikgu Fee, noted that working with Aubrey revealed a different side of the composer, primarily through his ideas during rehearsals and discussions. He described Aubrey as generous with his insights, despite his vast experience. The biggest challenge, however, was striking a balance between pop music, which resonates with a wider audience, and orchestral music, which is often perceived as exclusive.