Uriel Turns Uncertainty Into Forward Motion on “OUTTA HERE”

Brazilian-born singer-songwriter and producer Uriel revisits the song that captured a pivotal period of uncertainty with the anniversary edition of “OUTTA HERE (In My Room Before Going Out),” offering a new perspective on what it means to keep moving when the destination still feels out of reach.

Blending contemporary jazz and pop with touches of rock, “OUTTA HERE” was born from the frustrating space between ambition and reality. Uriel writes about wanting more from life while confronting the doubt, setbacks, and uncomfortable question of whether all that effort will eventually lead somewhere.

Lush vocal harmonies meet live instrumentation throughout the track, while its rhythmic movement rises and recedes alongside the emotional shifts in the songwriting. Moments of hesitation gradually give way to confidence, reinforcing the idea that progress isn't always obvious while you're living through it.

A year after the original release, “OUTTA HERE” takes on new meaning. Produced by Yan Perchuk, the anniversary edition pairs a streamlined Single Edit with an intimate Green Room Rehearsal version. Hearing the song from these two perspectives feels fitting for a track centered on transformation. One captures its polished musical identity, while the other brings the listener closer to the performance itself.

The original five-minute recording arrived in August 2025 and was submitted for consideration for the 67th Annual Grammy Awards in the Best Arrangement, Instruments and Vocals category. “OUTTA HERE” will also appear on Uriel’s forthcoming INFATUATED EP, part of a larger two-EP project currently in development.

Ultimately, “OUTTA HERE” isn't about pretending uncertainty doesn't exist. It's about refusing to let it decide where you end up.

“OUTTA HERE” was originally written from a place of uncertainty, but you’re revisiting it a year later from a different point in your life. Which lyrics or ideas hit differently for you now?

Honestly, the lyrics were almost finished long before the song became what it is today. Originally, it was named “Blue,” but I couldn’t quite figure out how the production should sound until I found Yan Perchuk. I knew he was incredibly talented, and I decided to work with him because every other producer I had approached said that my composition was too complex. Even Yan acknowledged how challenging it was, which made the whole process so interesting.

Looking back, one of the things that hits differently now is the bridge. During the recording sessions, I was genuinely unsure about those lyrics and even thought they were kind of lame. But after the song came out, several of my friends told me that their favorite part was the bridge groove. That made me incredibly proud because sometimes you’re so deep inside your own creative process that you can’t realize that you’re not making music just for yourself; other people will have their own individual experiences with your music.

Of course, there are things I wish I’d had more time to explore in the studio, but I’ve also learned that a piece of work can be complete in its own right, even when you still have a thousand ideas left—as the lyrics state, “a thousand ideas running through my head”—that was literal at that moment, and I can still bring those ideas to life in a live performance.

The song is rooted in manifestation, but it also acknowledges frustration, doubt, and failure. How do you personally separate genuine belief in yourself from simply hoping things will work out?

I think genuine belief in yourself is something very different from simply hoping things will work out. Hope can be passive, but belief requires you to keep moving no matter what. Sometimes the worst things that happen to us lead us exactly where we need to be. I’ve had so many moments when I thought, “If that hadn’t happened, I wouldn’t be here now.”

I remember that, as a child, I used to sing a song from a kids’ show about “never giving up and trying again and again” whenever I was trying to accomplish something. I think that message stayed with me. That’s why, in the bridge of “OUTTA HERE,” I say, “used to be lost, but now I’m leading the scene.” To me, it’s about realizing that failure isn’t the end of your story.

Also, I’ve learned that doubt doesn’t necessarily mean you’ve stopped believing in yourself. You can be terrified, frustrated, and completely unsure of what comes next while still knowing deep down that you have something worth creating. I think the difference is whether you allow those feelings to define you or whether you keep going despite them.

You’re presenting “OUTTA HERE” through both a polished Single Edit and a raw Green Room Rehearsal. What does the live version reveal about the song that the studio recording couldn’t?

The Green Room Rehearsal version is actually a snapshot of “OUTTA HERE” before the song was even finished. It was recorded while I was still rehearsing the lyrics, the groove, and how I wanted everything to sound.

Unlike the Single Edit, which represents a shorter version of the official version, the rehearsal captures a much more spontaneous moment. The instruments were played live, and although we made some corrections and mixed the recording afterward, we kept the experimental spirit of that session. You can hear different drum patterns, alternative bass lines, and musical ideas that didn’t necessarily make it into the final studio version.

This live version brings some of that initial curiosity back. It’s less about presenting a finished product and more about capturing the creative process itself. It reveals how many different directions the song could have taken before we settled on its final sound.

The arrangement moves between jazz, pop, and rock while mirroring the emotional shifts in the lyrics. When producing your own music, how intentionally do you use instrumentation to communicate what you aren’t saying directly?

I was responsible for the arrangement and production direction of “OUTTA HERE,” choosing the instruments and sounds I wanted. At the time, I was really inspired by Jacob Collier and Brandee Younger. I once watched a video in which Jacob Collier suggested inserting a nonsensical, wild element mid-song, and I applied that exact approach to the outro’s arrangement.

I understand that “OUTTA HERE” might not be for everyone, and honestly, that’s okay. I love this song, and I genuinely believe there’s something about its sound that belongs to the future. Maybe one day, someone will revisit it and think that this craziness of mine is a masterpiece. Sometimes, you have to trust your instincts enough to create something that might not make sense to everyone today but could mean something entirely different tomorrow.

“OUTTA HERE” will appear on your upcoming INFATUATED EP as part of a larger two-EP project. Where does this song sit within that bigger story, and what can listeners expect the two projects to reveal about you as an artist?

The two EPs are connected, and I view them as two segments of one narrative. “OUTTA HERE” appears on the first EP, while the final EP concludes the story with a track called HOME. There’s something meaningful about that journey: we venture outward, captivated by our ambitions, yet ultimately, we can always find our way home. No matter how far we go, there’s a place where we belong, and this purpose guides our way forward.

I’m also planning to create visuals for the project, with music videos that represent the stories and ideas behind each song. I still want to shoot a music video for “OUTTA HERE,” and I believe it deserves that visual representation. Even though the song has been out for a while, I don’t think it’s ever too late. It’s like an introduction to who Uriel is as an artist.

I love it when music surprises people. I want people to understand what I’m creating, what inspires me, and the kind of vision I’m trying to build through my music. I think this song will make even more sense when people hear the full EP, but for a little experiment, listen to “OUTTA HERE” and then play “Human Nature” by Michael Jackson. You might discover some connection between them.