When Myles Smith reflects on his journey – from an 11-year-old kid playing guitar and piano to a charting artist – he feels he’s continuously exceeded his own expectations.
This year, the 26-year-old from Luton has had a top five single, played Glastonbury, smashed past one billion streams and just been named BBC Introducing’s Artist of the Year.
“I guess it’s taken a long time. But I finally feel comfortable in my own skin and I feel proud of the music,” he says.
When Myles speaks to BBC Newsbeat, he is in Montreal, one of the stops on his North America tour.
“What I think this year’s taught me is that expectations are there for comfort. But very rarely are they exactly what we imagine.
“My expectations when I started 2024 was not in a year to have played over 100 shows or the billion streams.”
Myles says he will never take the opportunity for people around the globe to choose to listen to his music for granted.
His breakout hit, Stargazing, has achieved worldwide acclaim, been platinum-certified and even featured on former US President Barack Obama’s summer playlist.
“For me it was just about prioritising writing music that comes straight from the heart and trying not to filter too much of that brain to mouth barrier.
“I just wanted to write something that was simple, but something that we all experience and feel at some point in life.
“I feel like doing that, it resonated with so many more people around the world,” he says.
The song, which he says was made in about 15 minutes, has also found a home on TikTok.
And Myles is well aware of how important the platform is to artists looking to break through.
In 2020, during the coronavirus lockdown, Myles began posting covers, with his acoustic version of The Neighbourhood’s Sweater Weather going viral in 2022.
“Social media in general is so significant to an artist’s journey,” he says.
“Some people may feel that the onus to do social media is a pressure that isn’t needed.
“And others may see it as an opportunity to really sort of find a community at a global scale.”
Myles sees it as the latter.
“We have the autonomy and control to be able to market ourselves how we desire and in ways which are most authentic to us.”
But there has been some criticism that TikTok’s influence is changing the way music sounds, with impacts on song lengths and styles.
“I think that the idea that TikTok somehow diminishes the quality of music or somehow you have to fit the music within parameters is a myth for me personally.
“It’s given me more freedom than ever to do what I want. And how I want to do it.
“Times change all the time. One time you were cutting records on vinyl next it was on CD, then MP3 and digital… it’s about moving with the times,” he says.
While Myles accepts the “privilege” of being able to reach so many online and on tour, he feels it’s important to highlight the “other side”.
Artists such as Rachel Chinouriri, The Last Dinner Party and CMAT have previously mentioned the financial challenges of touring, particularly in North America.
Myles agrees that it “is super expensive” to tour, and feels live music more widely needs greater support.
In the UK, Myles said the “thriving” small venue and grassroots scene took a hit post-Covid, and struggle to support artists in the way the used to.
Such venues have often been an important starting point for artists who’ve gone on to superstardom, including Adele and Ed Sheeran.
“[It’s] truly fundamental to an artist’s journey and luckily I was able to start my journey a long time ago,” says Myles.
“I think that moving forward, thinking about support for musicians and thinking about how we can move forward and value the arts is an important conversation.”
The other thing Myles is keen to do when thinking about his future is to “keep making music I love”.
Myles is due to support Ed Sheeran in 2025, describing him as “one of my idols”.
“I just want to have the most fun and the best year that I can.
“Spend it with the people that I love the most.
“And that is a priority for me now.”
