RenzNiro: If it's worth doing, then it comes with growing pains

Whilst Renzniro’s music refuses to be constrained by any particular label, No Weapon Shall Prosper is firmly rooted in a breaking UK wave of experimental grime, driven by polished production, cinematic soundscapes, and live instrumentation. NWSP mirrors the movement it's a part of: new territory, triumphant, and awash with sounds of angelic ascendance.

Alongside Renz, producer Wudini served as another alchemist, responsible for shaping the mixtapes sonic direction. NWSP features a curated selection of touches from some of underground electronica’s most forward-thinking producers. Klein, Space Afrika, Amil Raja, and Big Animal Theory all contributed key pieces in assembling the projects larger vision, alongside a selection of Renz’s most trusted Manchester collaborators, with bad boy studios leading the visuals.

We attended Renz’s listening party at The White Hotel, a venue synonymous with the success of Manchester’s electronic underground in recent years. There was a full house of Mancunians silently absorbed in the project, a testament to the mutual respect between Renz and his city. We caught up with him shortly before the listening party began.

RenzNiro. Shot by Louis Butler.

What inspired the title of the project?

Isaiah 54:17

No Weapon Shall Prosper points to a more cinematic soundscape than your previous work. What led to that shift in sonics?

A number of things. The initial seed was planted when I watched Atlantique by Mati Diop, particularly the score, which is by Fatima Al Qadiri. I remember sitting in complete silence and awe for like 5/10 mins after the film ended. I’ve been interested in ambient music for quite a while, but before I saw that film, I was contemplating keeping ambient sonics separate from my solo music. Atlantique spurred me on to push forward and double down on it. The second thing was the show I had with a live ensemble at Stoller Hall towards the end of 2025. Hearing music that I had composed, reimagined, and then presented in a more formal classical context/space really emboldened me.

A lot of the cinematic feeling also happened when me & Wudini started to strip things back. I think the moments of restraint really allow the moments where everything locks together to shine.

It seems you've really grown into your own production with this project. As you only started producing in early 2023, can you talk a bit about the creative freedom which learning production has given you?

Learning how to produce has given me a whole new outlook to making music. I initially started producing so I could understand more about what was going on in sessions and be more useful in those kinds of rooms. Now I know that I can do more myself, and I trust in my taste, I’m way more intentional about who I work with, and why. If I have an idea, I can sketch it out on my own, then slowly build on it over time. I can hear who I want to add to a beat or add vocals more clearly, etc. It has changed my life.

RenzNiro. Shot by Louis Butler.

Having developed the album over several years, which tracks changed the most?

Definitely Live Again, Silverspoon, Guava, & 2Early.

Where they started, to where they ended up is such a mad progression. It taught me a lot about how far you can push a song if you really need to.

Can you talk to us about the journey to finishing this album? You mentioned having your stuff stolen during the making of the project. How did that impact the process?

The laptop and hard drive being stolen delayed the release by about a month. But in that month, we realised just how much this project means to us, and we were committed to reaching the finish line.

RenzNiro. Shot by Louis Butler.

Looking back on the project, how has your approach changed?

Making this project has forced me to be less precious about certain parts of a song and be comfortable with getting rid of things when they don’t fit anymore. There were a lot of times where we had to dial things back or remove it because the feel of the song had changed, or because of an addition. I used to find it hard to let go and let the song morph beyond what I thought it was gonna be. But now I realise that there’s so much possibility, even within one song.

As you’ve collaborated with a variety of artists across different genres, has your approach changed from collaboration to collaboration?

No, not necessarily. When it’s for my solo stuff, I always just ask for the contribution for a specific point in the song, and then edit what I receive to fit more cohesively.

Are there any collaborators in particular who’ve proved to be strong influences on the project?

Without Wudini, this project wouldn’t be what it is. He influenced every single track and pushed me beyond my limits creatively. I’ve never worked with someone that understands, and can implement, what I’m trying to achieve so well, whilst also weighing in with his own ideas at exactly the right points.

No Weapon Shall Prosper listening party @ The White Hotel. Shot by Louis Butler.

How has your life in Manchester influenced your sound on this project?

Travelling a lot in 2025 really inspired me but also made me appreciate Manchester a lot more. I gotta bring a slice of Manchester with me to wherever I’m going, & I’m trying to do that through the music.

Your sound has often been connected to the Northern Gothic scene emerging out of the White Hotel. Do you feel like your music represents the idea of Northern Gothic?

I want people to listen for themselves and see.

This is a really special project. It feels as though it plays into the idea of "new territory". What do you think makes this project uniquely special at this moment in time?

Thank you. I think that’s something that will become clear when I have more hindsight.