Gold Fanatic, Simpsons Enthusiast, Lager connoisseur, battle cruiser peruser, Ealing Native, Sign painter and me old friend Alex May Hughes’ been puttin’ in the graft with her distinct style of Gold based artwork for a hot minute. From her humble beginnings pumpin’ out premium products from her bedroom to being a fully fledged and full time certified sign maker. Commanding widespread accolades for her synonymous style and chracteristic creative direction.

Alex has taken a desire to do what she loves into a respectable career with out compromise. Affordable sentimental commissions for a lovers gift to their significant other to independent and large scale art exhibitions in the corporate sphere. Her work transcends the world of artistic commerce, while vehemently retaining it’s artistic integrity. So much so that I decided it was about I caught up with her to chew the fat about her early life, entry the Art world, the transition into to her full time career, her attitude towards and interests in the broader realms of Art – and the culture that surrounds it – and a general otherwise deeper insight into who she is and what informs the work she does.

Here’s what we discussed when I span down to her studio in West London:


T: When you consider that most young people pursue creative endeavors of this kind are in east or south. Why did you decided to stay in West – more specifically your native borough of Ealing?

A: Yeah. Well, I did my degree at LCC and I lived in South London; which was really fun, and good, and cheap. Close to school, close to everything which I enjoyed. And then the guy I was going out with at the time went and lived in North – just off of Green Lanes – Which was wicked; amazing Turkish food which was absolutely bangin. You wake up in the morning and it smells like the most incredible Lamb and think “yeah I’d eat that for breakfast” *laughs*. So I lived up there for a bit and that was good, but it didn’t pan out so I moved back home….


A: …I thought oh my life’s a mess what am I doing… But, what it did mean I could do was not have to worry about rent, I didn’t have to go and get a shitty job that I didn’t want to do. So, I just started painting signs and I could go just do that non-stop for like 16 hours a day working out of my bedroom.

T: So this all started in your bedroom…

A: In my small bedroom; which I’m still in now,… *laughs*. I use quite a lot of chemicals and stuff like that, and thought ‘ah yeah this is fine…’ and then after a year and half I started to lose my mind a bit. *laughs* Those chemicals give you a really bad headache and I never stop working..

T: So you were feeling the effects *laughs*

A: Eventually yeah! *laughs*. Then I started to turn down work because I ;literally didn’t have the space to make it, and it occur to me that maybe I could work in a studio or something like that. But I didn’t think I’d have enough money for that, and didn’t really have a grasp of what it might cost. In West London it’s prominently residential – people wanna live here. Where as in East, South or even North there’s more artist communities. But I typed it into Google and in North Acton there’s some artist studios but they’re about 8 or 9 hundred pounds a month. But they were in beautiful community building with parquet floors, but I thought ‘I dont’ need that… I’m gunna ruin that!’

T: But that would’ve the quote unquote “artist community” that you were looking for…

A: Yeah they had screen printing facilities and all this other stuff, and in theory that would be great… but who are the people that are there that can afford to pay £800 rent and £800 on there studio… Like how do you a make living off that?! And then this place came up which is with a place called ACAVA and they have places all over London – and now outside of London because they recognise that empty buildings in London aren’t really a thing anymore. They basically just wanna make it really affordable for people to do this as they job.

T: So, that’s there mission?

A: Yeah it was setup by this guy Duncan Smith in the 70s – he’s a proper old man artist.. Long white pony tail…

T: Is he balding??? *laughs*

A: Errgh… *laughs* He always this grey baker boy hat…

T: So yeah probably balding then… Sorry I’m just trying to put an image to the name init… *laughs*

A: Yeah he’s proper artisty. But yeah, in the 70s there all these empty buildings in London I think they just thought ‘Let’s just start putting artists in them’. Anyway, this building came up and I thought I’d check it out, and I literally walked in thought ‘100% yes!’. A big room with big bright windows..

T: And a durable floor.. *laughs*


A: Yeah a floor I don’t have to care about, a short bus ride away from where I live. And now I’ve been here 2 and half years. Fingers crossed it doesn’t get shutdown, or taken away from me, or nobody burns it down…

T: For insurance purpose.. Duncan get’s a bit fuckin’ desperate *laughs*

A: Nah more people are careless. Health and Safety in Perivale industrial estate is not a priority. I’ve guys park where they shouldn’t and I guy with a forklift will come and pick their car…

T: Rah, they’re ruthless round here! But that basically explains why you stayed in West. Cheap and close to home.



-The lawless streets of the Perival Industrial Estate. Mind ya motors folks…

T: So let’s roll it back… Where you into Art, or typography or Comic Books as I kid. Obviously deeply into the Simpsons.

A: Heavily into Simpsons. From the get go always…

alex simpsons 2



-Two-Two Simpsons Selections from Alex’s archive

T: Did you have the books. There’s on in particular that I had but I can’t remember what is was now…

A: Bart Simpsons guide to life?

T: Yeah!!!


A: Yeah that was the shit that I loved which was cool.

T: Cartoons in general or were you just a fanatic about the Simpsons?? Biker Mice from mars fan??

A: Nah Cartoons in general. And Yeah, really into Biker Mice From Mars. Really into Teenage Mutant Ninja Turtles… I had an older brother and a younger Sister so it was all spanning all the time. SO had to watch what everybody wants to watch…




-Classics. If you don’t, I beg you get to know at your earliest convenience, still…

T: Were you drawing stuff.. Where you that kinda kid?

A: Yeah I think so, always drawing stuff and in school that was my favourite thing to do.

T: Where you good at drawing coz I always have this discussion about Art and School and whether you bothered doing in year 10 and 11 when you chose your subjects was pretty much determined by how well you could draw. It’s pretty narrow. I’m not sure if that’s changed…

A: I guess so. But there’s lots of people who were like ‘Argh I can’t draw…’ But there’s different types of drawing and Artistic drawing is different to just being communicative…

T: But don’t you think that in school what more like...

A: Tracing shit…

T: Yeah there was no abstract Art in year 8 and 9…

A: No, well… maybe unintentionally *laughs*. But yeah I think I had good teachers and I enjoyed it so i put an effort in and kinda snowballs.

T: Do you consider what you do as “Art”? Coz you do Typography for the most part…

A: It’s a weird place to be. I mean when people ask me what my Job is I don’t go ‘ Oh I’m an Artist’… Who the fuck does that?! *laughs*.

T: Wanka’s! *laughs*

A: *laughs* I just say go ‘I’m a signpainter’ because ultimately in it’s truest form it’s just a trade – you’re just providing a service for people. But I also do a lot of private stuff. So it’s weird. It serves a different purpose to lots of different people… I really don’t know because even within Sign Painting I do such a narrow bit of it. I mean I only really work on glass and with Gold Leaf and that’s just a really small aspect of it….


-One of many gold leaf signs from the earlier end of Alex’s the archive…

T: Staying on the topic of Art.. Are you actually into “Art”? Firstly like, contemporary Art – do you go to exhibitions and genuinely go to see the art? And if so what type? Coz, I mean it could be photography, Fine Art or whatever…

A: Yeah absolutely.. I went the national Gallery to see the Ed Ruscha exhibition coz his paintings are amazing and I’d never seen them in real life. I really like doing that a lot… And if I really wanna see the Art I won’t go on the opening night coz I’ll just get really pissed, talk to all my mates and not look at anything *laughs*.

T: So you do genuinely care about Art…

A: Yeah but I can’t stand the really protentiousy things that I don’t understand. I’m quite a literal person. I mean signs have got words on them, so you can read them and understand what it is.

T: Yeah there’s a lot of pretentious shit out there; particularly Photography exhibitions…

A: Sometimes I just don’t get it. I try to understand it, but if there’s no context with it so you can’t even try to work it I just get bored and go ‘I just don’t care what that is’… which is probably appalling. But sometimes someone will explain what it is and i’ll go ‘Ahh, that’s fuckin’ sick’. So, maybe I just need to spend time doing it, but also there is some really pretentious shit out there that I don’t care for much.

T: Who are you really rating though?

A: I mean the Ed Ruscha that I went to yesterday and his attitude towards it is kind of like the tradesperson thing. He doesn’t believe in prentencious shit or any of that stuff, and anybody that calls their artwork “peices” can just get the fuck out! *laughs*

T: *laughs* He’s anti!

A: Well he just does these massive paintings that have a historical and social context. And they’re usually just landscapes or an image with text on them. So they’re kind of literal, but abstract in their meaning.

ed ruscha work



– Two-two artwork by man like ‘Ed Rucsha’

T: So like to being able to see it and take something away from immediately. Rather have someone give you an epilogue...

A: Kind of yeah. Maybe that’s just the terrible ‘Instagram Scrolling Syndrome’ where if you don’t get it you just keep scrolling…

T: Yeah, but I suppose some people like that. Like being able to peel back the layers, or the aspect of talking about it. So rather than the piece itself they primarily like the discussion… Like, those socialite art types…

A: Oh noooo *laughs*

T: Let them live obviously.. But that’s not you…

A: I just want people to come to my exhibitions and just like the way it looks. I mean sometimes I’ll have an idea or there’s a place where the words came from and if you wanna read into that that’s cool and you’ll get something from it hopefully. But also you just wanna look at the picture and go ‘That’s a nice picture, I like the way that looks’; I’m not gunna make you work hard for it *laughs*

T: Rolling on. Where did your obession with gold come from? Did the #GOLDPATROL predate the Gold Leaf work? Were you always you just deeply into gold??

A: *laughs* I was always really into it. But that’s not a new thing that’s like an Egyptian (hertiage) all spanning the history of the planet thing. It’s just deeply within you.. this finite resource which is just so attractive for so many reasons. So, I was always really into it and also when I was younger it was kinda fashionable – or maybe it kinda always been fashionable. I can’t make the call on that…

T: It comes in and out of Fashion…

A: Maybe it does, but the crassness kinda appealed to me when I was younger. I think it kinda had a renaissance for being cool or whatever. But the Gold Patrol, was before I had Instagram. So I was using Facebook as a fuckin’ blog, finding these random pictures on the internet and sharing them…

T: So you are deeeply into gold. This goes beyond the norm…

A: *laughs* I mean kind of. I got non-stop spam on insta of people sending me stuff. The people on instagram no! That and car number plates… You gotta be careful what put out there on the internet because people are non-stop sending me stuff.

T: *laughs* Well they must send you some stuff you like..

A: Yeah sometimes I get stuff and I’m like ‘yeah thanks’ and post it up *laughs*

T: So, back to your craft. What’s your favourite commission? I was reading some prior interviews and there was one the came up. But we’ll see if that matches to your favourite to date..

A: Was the drunk fish?

T: Yeah, is that still the one?

drunkfish-213x300.png-The Infamous and aforementioned Drunken Fish..

A: It was a really fun one… and it was a drunk fish. *laughs*

T: What was the reasoning behind that? The fish did look really drunk…

A: *laughs* Well it was for pub called ‘The Anchor Tap’ which is owned by ‘The Dark Star Bewery’ who also own my favourite pub in London ‘The wenlock’ in Old Street…

A:…Anyway, it’s on the way to Brighton and it had a sea theme, so they got another guy to do a big anchor and some other signs and stuff. Then Adrian the guy who was doing the design for it sent me that image of the fish and I was like ‘fuck that’s so sick,’ So it made a lot of sense it was really cool… Also, that was when I was still working in my bedroom and that was the biggest thing I’d made in there; I nearly didn’t take on the job, but I made it happen. I was like sleeping like half underneath it *laughs*. It was hard that one. But when I made it was yeah, now I need to go get a fuckin’ studio so I make something this big all the time…

T: So it came at a pivotal moment in your career…

A: Kind of, I mean coz it was so big I made more money. So I thought maybe this can be my job. It helped me to take it more seriously I suppose. But I finished a sign for an exhibition with 30 other sign painters from around the world and it’s based off a catalogue of a sign painting exhibition in the Victiorian times in London and this Meredith in American who’s a sign painting historian. She has a catalogue of what all the signs were of. So she put them into a spreadsheet and said all of you can pick one sign and you get to make whatever you want and I chose one that said ‘All The World and His Wife’. All of where really fuckin’ cool. Mad puns and really filthy shit.. So, I just finished making that and I’m really pleased with it.

T: I see what you mean about making stuff that looks good but has a theme that’s easy to digest. It ticks all the boxes. So if you had your own exhibition…

A: Yeah, I’d put that in it. I mean every two years I try do an exhibition and I’ve got a list on my phone; so if I see a cool word, or think of something cool or a song title, or whatever it might be… And after 2 years I got this fuckin’ long list that I haven’t made. So I just think shit, If I put on an exhibition I can just make stuff that’s on that list.

T: So when’s the next exhibition?

A: I mean I’m due one coz my last exhbition was like 2 years ago now. But i have to not take on commisions for a couple of months which I find very difficult; saying no to people. Some people it means a lot to them. When they’re like ‘My girlfriends loved your work for years’ and they wanna get them a present. How can I say no? I’m so grateful it’s my job…

T: So this exhibitions gunna be a while then…

A: We’ll see. I feel like if I had a month of just solid work I could do it this year…

You can check the full unedited and in depth 45 min audio podcast version available to down HERE and listen below:



It was New Years of ’16/’17 that I first met Yoni. Posted up in the kitchen of the house party is where we spent – all things considered – an incredibly disproportionate amount of time discussing and dissecting a medley societal topics in great depth. While everyone else was turnin’ up to celebrate the birth of a new year, we were breaking down race relations and debating social constructs. I didn’t know who Yoni was at the time, but after our talks, I knew he was an interesting person. And upon connecting on the socials, I came to learn of his profession.

Promoter, Filmmaker and more specifically Music Video Director for the likes of A$AP Rocky, Mura Masa, Danny Brown and more. Yoni’s been in the mix, living between the realms of Music and Film for a number of years now. From working at Rinse FM to making it at Warner Bros, I caught up with him to discuss his early life, careers breaks, film and passion over profit.

T: As we established from our first conversation. You spent some time growing up between London and New York?

Y: Well, I was born in Israel. I moved to New York when I was 3, and then moved to London when I was 7. And I’ve lived in here sine then; since 1993…


T: So, where about’s did you grow up?

Y: Barnet. Between Whetstone and Southgate in North London. Since January last year I’ve lived in Homerton. I always wanted to live in Hackney and where I live now is like a 5 minute walk from where I shot the video for Love$ick (Mura Masa ft A$AP Rocky)  – which is really coincidental.

T: I’m a bit of British Urban Music snob so I’m not even familiar with the video for Love$ick off the top…

Y: I think it’s the video that I’m probably most proud of so far because even though the concept is very simple, it really represents something I wanted to do for a long time in terms of its execution. The video’s based on my experience’s growing up in London. What it was like as a kid going to school coz I went to school in Camden and that was a real crazy journey…You Know…travelling from the sticks to get there via harringgay…Finsbury Park…Holloway…Kentish Town…Caledonian…In the late 90s and early 2000s. So every day was an adventure.

T: And how old are you??

Y: 31

T: Shiiit… So, you would’ve been going through there when it was rough still…

Y: I look back at it as a bit of a golden age for what London was like back then. I mean, you’d get people trying to jack each other everyday on the buses and in the street…Look at Islip street in Kentish Town for example…Nowadays that’s a really affluent street but back then that was a route to school that was always a major risk. I’d say 50% of the time you’d run into trouble walking down that street. But the trade off was; you had this amazing music and culture just bursting at the seams all over the city and it was so energising, with jungle and ragga, the peak of UK Garage days and the start of Grime…coming as a kid from New York, just being a 90s Hip Hop kid up until then, it was really amazing to me and I was soaking it all up like a sponge, I just really gravitated to it instantly…But I went to a Jewish School in heart of Camden, going through Holloway everyday; we were prime targets *laughs*. Lot of memories taking the 29 and 253 bus from Wood Green, Manor House and Finsbury Park too.


T: Oh yeah, the “back of the bus” culture. As annoying as it would be as an adult, that was a hub…

Y: It was like the Wild West, nothing was really patrolled back then, it was a different time…

29 bus 90s

T: You mentioned ‘Love$sick’, so let’s lets get into how you got into film. What area of film are you obsessed with at this early point in your life? Music Videos, Documentaries, Feature films??

Y: Ever since I was a kid I knew it was like, one of the options I’d say to myself I could be. I never took it that seriously though, but it was one of the things I’d think about becoming. It took a long long time to take it seriously and bring it to the surface.

T: And when you say “a long long time”, are we saying you’re in High School thinking about making Music Videos, or Short Films maybe?

Y: I mean, like a lot of young men get into film through gangster films. Your Scorsese’s, Godfather, Goodfella’s, Reservoir Dogs, those films. And think the realism of those films – the grittiness and the violence, mixed with the beauty of how their shot and tender moments – as a child it leaves an impression on you. It did on me anyway. I was always an observer of people and I think on a subconscious level I always knew that what I wanted to do was find a way of observing people for a living.


– Goodfellas (1990)

T: I know cinematography is a big factor in what you do. At that age, was it a factor then?

Y: It was always about how it was shot (along with everything else) that was important to me. I remember picking up on that very early on. It was everything. The tone, the acting. It was real, but at the same time it was very artistic and surreal at the same time. Then I remember seeing some of Stanley Kubrick’s films like 2001… It was always a language that connected with me. I felt I understood it and was fascinated by it…So it was there, but I went through a decade of being obsessed with Music and not really taking film seriously as a career. It seemed out of reach to me I guess…I definitely tried to get into music first.

T: You were trying out different creative mediums kind of?

Y: Yeah, I saved up for 6 months for all this equipment to make music and I quickly realised that I wasn’t very talented at making music *laughs*, but it was an obsession of mine I knew I could do something else with music even if it wasn’t making it.

T: How old were you when you realised that “my riddims don’t bang” *laughs*?

Y: 23 *laughs* But, it got me into working for a radio station (Rinse FM) and then a record label (Warner Bros.). After Uni I really didn’t know what to do, I was at this crossroads that I think a lot of people go through and was torn. I put Law on hold coz at one point I considered being a Lawyer and my Dad was trying to get me to carry on with academia and get an MA as well. Those were the obvious two choices at one point, because they were clearer, more tangible career paths, but that was never where my heart ultimately was and I knew that deep down. Really I knew I wanted to do something in Music or Film; that was sitting in my stomach and it never truly went away…

T: So, what was the catalyst?

Y: Well, I dropped out of a Philosophy MA in London because I just wasn’t feeling being in a classroom anymore. I wanted to get out and do something, be a part of something happening in the city that excited me. So, I applied to this film ad for a ‘Rotoscoping’ job for this guy who looked like he was doing interesting stuff, it was a total stab in the dark and it came out of a sort of desperation I was feeling at the time to go another way where my life was currently. I dunno if people still do it, but it’s when someone goes in front of a green or in this case, blue screen and they cut them out etc etc to make them appear in front of any other back drop they want. It’s a lofi VFX trick. They needed someone to help out with that and I pretended I knew what I was doing…In reality I didn’t have a fuckin’ clue what I was doing!

T: So you finessed your way in *laughs*

Y: Yeah because it sounded cool and I wanted to be a part of something like that. This was around 2009…Anyway, I was assisting this guy who was an assistant to a really great music video director called Saam Farahmand – in my opinion he’s one of the best music video directors of all time and that was a complete fluke that I ended up there and a brilliant way for me to get a taste of that world and a fresh way of thinking. It was just really creative.

T: Just to cut in it. How you ratin’ Hype Williams, baring in mind he has his own cold style?

Y: In the 90s he was a complete trend setter, one of the pioneers for sure, took music videos to new levels no one had seen before and made hip hop music videos a true art form…


– Busta Rhymes – Gimme Some More (Directed by Hype Williams – 1998)

T; What’s your favourite Hype video?

Y: The early stuff he did with Wu Tang like ‘Can It Be All So Simple’, even though it was him just starting out as a director, I actually like as much as the stuff he did later with Busta that was so out there and iconic. Because the earlier stuff was so raw and defiant in it’s honesty of the music is portrayed. You just immediately felt the person behind those early videos like that for Wu for example, just understood the essence of the music in a deeper way, and that was inspirational to me because that’s how I felt about the music too. The Busta and Missy videos etc. also capture the essence of the music and hip hop culture in a much more flamboyant way, which was equally inspiring I guess…The budgets for music videos back then was crazy. You could build a set and go all out and really experiment. I envy that time in that respect, but then again every-time has it’s advantages and I wouldn’t be able to do what I’m doing now without the limitations I have to work under either. Limitations force a different type of creativity out of you too which can be equally valuable. You have to find the advantages of the times you live in and craft using that I think.

T; But, yeah let’s get back to the story of your journey into film. Got a bit side tracked…

Y; So, I did this experience with this Director and it was a cool time. As soon as I got a taste of that world I was hooked. It felt right and I felt alive.

T: What was the first thing you made knowing that you were showing it to people and were somewhat taking it seriously? Even if it was shit…

Y: Around that time I was working for that Director they asked me to bring something in that I’d made. And I was just fuckin’ around that month and trying to experiment with film, and made a mashup of Gucci Mane & MF Doom. It was a song at first. I found an acapella of Gucci and it had the same tempo as this KMD MF Doom beat.. Then I mixed in this really old black and white film footage of tap dancing and shit; the director found it really funny and said cool, you can work for awhile…But I don’t think they took it very seriously. I think they just thought the effort was cute.

T: Joker! *laughs* Pure creativity.

Y: It awoke me. I was quite depressed at the time from the MA, and moving back home after 3 years of freedom at university. It’s winter time in London, i’m having to take Night Buses to and from Barnet juggling internships and going out in East London etc… But, that immediately awoke me. I felt alive, and I thought, okay, I know I need to leave the MA program now and get into this world. Whether it was music or film, I knew that was the right direction I needed to go in to find fulfilment… I was making something and I was involved in something and that’s all I needed to keep going…

T: I hear that. And that experience gave you the validation you needed to pursue it seriously. So, what kinda stuff were you working with the director at first and what videos from the early days, that you still like?



Y: Well, while doing my terrible telesales job to fund my life…

T: A slave to the wage man…

Y: Yeah *laughs*. But, at the same time I was interning at Rinse Fm as a producer at the studio in Brick Lane. I was working at night, so I’d be getting a Brick Lane bagel around 4am after a shift and getting the Night bus home to Barnet. And the route was awful. 4/5am and it took about an hour and a half every night. But I got to observe people day in day out, and it kinda stuck with me. It really inspired some of the subject matter and what I do… It was horrible and beautiful at the same time, much like the experience of living here I guess…

T: Poetic and true…

Y: But after being at Rinse, I went to Vice for a short while – just working as a receptionist intern. This is back when Vice still felt a little rebellious so I was eager to get a taste of that world too I guess. And to cut a long story short after Vice, one of my friends Ashley from Uni hit me up and he was working at Warner Bros at the time, and he said they were looking for somebody on the PR side and I was working at Vice; doing my club night ‘Prang’ – and it couldn’t have been more perfect timing.


T: Another example of not who you know, and not necessarily what you know…

Y: Yeah, but when I had the interview with the boss at the time. He said, what do you want to do? I know it’s not PR… And I said, I wanna be a Director. I dunno why I said that! Maybe it was already brewing at the time; I’m almost surprised I was saying it that early but I did already know I guess… So he gave me Canon 7D and said go shoot something and I went down to Brick Lane – having been at Rinse and in the area all the time – and I shot something around Brick Lane bagels. I spent a whole night there with some mates capturing the life…It was a total experiment.

T: When he said “Shoot something”, what did he mean? Like a short film?

Y: Nah, it for a music video. A remix by Royal T. I spent a week editing it, this was literally my first time doing everything you needed to do t make a music video so it was my film school in real time. I just ran with it and that was the start of it for me really…Shortly after that, that same friend Ashley started a label and also started to manage an artist called ‘Ifan Dafydd’ and he said I could shoot the video for it (Treehouse).

T: At what point did you make a video that you still like today?

Y: Well I don’t know exactly how to answer that but I can say that I at least knew I could say to my parents this is what I’m going to do for a living after ‘What If I Go by Mura Masa’ came out. I could feel something happened after that, it just connected in a special way.


T: I recall you mentioning having some involvement in the ‘Desiigner X Mura Masa X 67 – All Around The World’ remix. How did that come about?

Y: Well I directed the original video without 67 and I can’t say that I was responsible for the remix lol, because that’s down to the artist, manager etc., I don’t get involved in any of that. But what I will say is i’m a huge 67 fan, and I discovered them through the boy Izzy who plays the main kid and his friend in ‘Love$ick’. I was hanging with him and his friends and they were all on that UK Drill shit by then and that was new and exciting to me and they showed me that! That’s why you hear one of them (Dimz) rapping his own drill verse he wrote in the intro of the video…I felt it represented London at that moment. And then I shared that excitement to Alex (Mura Masa). I remember just telling Mura Masa about 67 and the manager after a show one night. We were talking about UK music and I mentioned “It’s all about 67!” and really gassing it up lol. I think I may have mentioned “Getting 67 on this All Around The World remix!” After a few rums that night lol. Maybe…But I never really thought anything of it and then about a month later Alex sent me the remix and I was absolutely elated…But who knows, maybe that would’ve happened anyway. Alex stays up on everything too. He definitely doesn’t need anyone telling him. His knowledge of music is on another level.



T: Big that up! I rated that song for what it was.

Y: I love their video’s, especially the old ones. I’d really wanna do a 67 video.

T: That would be interesting and something I’d like to see… What you got going on right now? And any plans for the future you’d like to share?

Y: I have this Vogue doc coming out this week or next that I shot in New York and Paris. It’s about a few different models from South Sudan. They all have very interesting stories. I interviewed 4 or 5 – went to where they live. To me it was an identity story. Identity is a theme I keep coming back to at least on a subconscious level. Which I guess is because of my transient upbringing. Other than that…More music videos, photography projects, commercials, docs and eventually a FILM.

Catch Yoni bringing the guest selections on Narx’s show on NTS this Friday @ 1pm.



To me in my earliest memories, Rhiannon was a sleek stylish fixture on the dance floors of the most poppin’ parties frequented in the late naughty noughties; prior to any business endeavours of any kind – out here livin’ life like the rest of us. A friend, and now stylist, and co-founder of – Facebook phenomenon, Fashion brand and retailer Wavey Garms. Rhiannon’s earn’t her style stripes working with the likes of RnB new skool sensation Fatima, Stefflon Don, Sita Abellen, Belly Squad; this list goes on plus a whole whost of Grime Legends for a large publication which’ll be landin soon *hush hush*.

Holdin’ down her seat in the style game while on top of managing the Wavey Garms business operations. Multi talented and multi faceted. From Abbey Wood to Hackney. London to New York. I sat down with Rhiannon to talk about her early life, her current moves, her style, her inspirations and more.


T: Early days in Abbey Wood. So, Thamesmead’s near init… What was life like growing up there? How was school life?

R: Yeah, I mean the first place we lived in was in a block near Abbey Wood train station, which connects to the flyover to Thamesmead. So, that’s why I spent my first 5/6 years.  Then we moved to a house just down the road. It was nice… but, it didn’t start of nice.


– Baby Rhiannon + Mumzy on da block (Abbey Wood – Circa 91)

T: Isn’t it like your Charlton’s and your Bermondsey’s? Your quintessential South London. Old school “White English South London”?

R: I mean yeah… But, Thamesmead was kind of a made up area. I mean it used to be like no land. When it was built in the 60s it was seen like “the best place to live”, and people sold up there houses around these ways like Peckham, Deptford to move there…

T: That was seen to be the modern places to live on those times. And I guess it had an iconic look, a lot of open space – Clockwork Orange was filmed there for instance…

– Thamesmead Estate (SE2)

R: And then 30 years later it’s like one of the worst places to live! *laughs*… But I fuckin’ love it. There’s so much you could do with it.

T: Yeah, it’s got that lake too…

R: I fell in that lake once *laughs*. At an over 13’s disco… weird memories’ drunk on WKD’s *laughs*… But it’s an interesting place, because it boarders Kent. Just down the road and your in Welling. But what’s so weird about the transition is that Abbey Wood when I grew up was Irish Gypsys, Somalians, Working Class British people and in the mid 90s load of African’s were coming over. It was loads of different cultures shoved into this area, and then you walk down the road 5 minutes and your were in Welling; where the BNP head offices were! It was really fuckin’ racist…

T: So, was your area a bit of a battle ground then?

R: Well… I got sent to school in Welling coz I was naughty. Our school was white, and we’d get on the bus, and two stops later was St Pauls; which was a (predominantly) black school, it was was just mad!


– Secondary School Days (Circa 2003)

T: Anyway… moving away from the madness and into what you’re known for. We’ve known each other for almost 10 years through the old BNTL days.

R: Yeah, it’s mad…

T: How do you think your style has evolved over the years?

R: Back then I wore Moschino – way more than I do now, Huaraches, Leggings, a little crop-top, an Eastpak and Supreme wholly hat *laughs*. I don’t really think it’s changed I just think it’s got more sophisticated…

T: Yeah, that’s probably the best way to put it, coz you’ve always had your own style – although I remember leggings were a REAL ting for girls back then…*laughs*. But it’s just developed over the years…

R: Like everyone’s has right?





Life & The Lurkers – 2010/11

T: My style has completely changed!

R: Yeah yeah it has. *laughs* But my style has literally been developing since I was a teenager. I’ve been wearing Moschino since 13 years old with AirMax 97’s, Big Gold earrings and White Wallabees…


– 13th Birthday Party – CIRCA 2000

T: And now? Like any noticeable changes?

R: A nice pair of boots *laughs*….. Less trainers, I still where trainers though…


T: So, you’ve always had the same influences. That Jungle/Garage influence has been consistent…

R: Yeah, that’s always been there. But I remember when I left school – college days – I feel like EVERYONE slipped for a bit when Indie was big. Them dead plimsolls! *laughs*

T: *laughs* Aight let’s  forget those horrible times. Who inspires your style today? Any specific people that you could reference…

R: I’m just inspired by different people. Plus I get into new things and get a little bit obsessed like Selena from the 90s.

T: So, the 90s era, but Selena in particular, right now?

R: I got my hair cut to look just like her’s *laughs*

T: On a sidenote; you gunna bring back dat “girls-showing-boxer-shorts” look? *laughs*

R: Naaah. Not yet anyway…

T: So, the Wavey Garms websites looking nice. What are your contributions to the new editorial/blog going forward?

R: With the blog I’ve got a few things in the pipeline. One of ’em’s with Duplate Mex – Grime OG DJ; he’s one of the old don’s – he comes down to Holdrons Arcade everyday and gets his oxtail soup and I really rate him. He’s touring round the world with Giggs at the moment and he’s still the most normal person. He’s got a mad collection of Iceberg and Moch and stuff…

T: Oh seeeen, that’s cold. So, you’re gunna be rollin’ around blogging about people’s wardrobes/collections that you rate, yeah?


T: Live. Now, what stylists you ratin’ currently?

R: Indiana Roma Voss, Soki Mak and Justin Rose…




T: Top 3 people you’d love to style?

R: I said to myself I wanna do Kali Uchis , IAMDDB & erm… Rhianna?



T: Favourite designer?

R: (Franco) Moschino!

T: What’s on repeat on your blower right now?

R: JD – Call Your Bluff with Katy B…

T: And to close, what you got cookin’ or planned for the future?

R: This year I really wanna work hard – which I am – and travel more. We’ve got a pop-up in Santiago, Chille. A friend of the family – skater – has a store like Wavey Garms, so they said if you wanna do a pop up here we can. With Brazil and New York on the cards…



Arguably – along with Chantelle Fiddy – Hattie Collins is widely considered to be a pioneer and leading light in British Urban Music Journalism of the digital era. Most notable for her work at Touch Magazine, RWD and championing Grime in the scene’s infancy, and highly influential for her contributions to the editorial dimension of building the scene we celebrate so much today, and a personal inspiration of mine.

After accepting an interview I was fortunate enough to head down to iD HQ (where she’s now Features Director) for an in depth conversation about the rough old days, RWD Forum, student life in Liverpool, working with Wiley, new independent media and much more.


T: The wonders of technology today. I actually only got a laptop recently. I used to write posts off my phone. But, back in the day you neeeded a computer! You lived through the hard days man..

H: I don’t even remember my first computer. I was working at ‘Touch Magazine’ with Chantelle Fiddy. I remember Chan had that ooold make – I can’t remember if it was Green or Blue. But I can’t even remember when I got my first computer. I think we used to share a computer. I just remember saving and saving for a big black Macbook…

T: Rah you were into Mac then?

H: Yeah, straight to Mac. And I got it for cheap coz I was in New York on a trip or something, So I got it for like $400/$500; which was a huge amount at the time. But compared to back home that was nothing..

hattie amd fiddy


T: That was when getting things from New York for cheap was a ting!

H*laughs* Yeah!

T: It’s like culturally obsolete now. Times have changed and we’re gunna talk about that somewhat. So, seeing as you spent some time on the Merseyside. So, talking Liverpool. What was it like culturally? Was there anything about Liverpool that stood out about it that you really liked? Because it’s the one place in the UK that I would go next. Like, if London starts failing me, the Merseyside is where I’m going…

H: I think Liverpool was always overshadowed by outside opinion (by Manchester), but actually when you lived in Liverpool, for me it felt like the most vibrant exciting centre of the Earth. I mean, I was young. I just had left home so anywhere I’d gone had maybe felt like that. But what I loved about Liverpool was, like when I got on and the bus driver said “This doesn’t go there girl, but d’you know what, if no one minds I’ll just drop you up there.” and that kinda sums up Liverpool for me. People went out of there way for you… But on the other hand, it was rough!

T: Yeah, but London was rough at the time…

H: Yeah yeah, I mean, I’m from Birmingham so I was used to it.  But what I remember about Liverpool having come from Birmingham was how White it was. I dunno if it’s as White now, but that was something I was acutely aware of. The school I’d gone to was majority Muslim, so for me it was like ‘Woah. This is very very White’. And the two Black guys that were on my course, if I was with them and saw other Black people whether they knew them or not they would say hello. And they explained to me that that was a thing. So, for me at 18 or 19 that was quite eye opening for me, that you could have an immediate connection with some based on culture.

T: Do you feel like there’s a stronger working class in Liverpool. Because I was watching a documentary recently about Liverpool and there was this girl in the queue for the club and she’s like “Yeah, we’ve all got shit jobs! But on the weekend we dress up and go out!” and I felt like that summed up Liverpool.

H: That felt like Birmingham for me as well. I used to work in the Market and get like fifteen quid a day or something like that. And somehow I would go out HARD that night. And I’d still have a few quid left at the end of the night…

T: Somehow!

H: *laughs* Yeah somehow… 





H: … Liverpool’s like that. Girls would go out with not much clothes on. Guys would get super dressed up. We’d go to the clubs like ‘CREAM’ or whatever and it wouldn’t be like “London Dressed Up” necessarily in designer stuff…

T: It was more Style over Fashion?

H: Yeah. In London you had the Moschino and Versace. You got a bit of that in Liverpool, but it was more about getting your own personal sense of style. Customising stuff, like I had a friend who used make all her own clothes. There was just this attitude of ‘Can Do’. I mean there wasn’t much money there, but I did feel like a place of opportunity.

T: Everything was a labour of love in Liverpool?

H: Yeah. It was all a labour of love.


T: Rolling on… RWD Forum!

H: Oh man.*laughs*  The wild west!

T: Yeah, exactly! As 15 year old – with my fellow generation of Grime kids ([particularly producers like myself).. We were all over RWD Forum and I feel like people forget about it because it’s in that 2005/2006 era where Grime died again. There was like a lul after Pow/FWD Riddim…

H: Yeah, basically it got so big that it just killed that site.

T: What, the server couldn’t handle the traffic?

rwd forum

-RWD FORUM [MK 2] (2007)

H: Yeah it was physically so massive, and partly because it got infiltrated by some massive internet Porn ring so the back end of it was a mess…

T: So there were technical issues that were above your head at the time…

H: Yeah. But, everyone was on that forum. Wiley, even MC’s that wouldn’t admit it. Everyone was there…

T: Yeah the whole scene was there. I referred to as a  “Cyber Community” is a prior piece I wrote about the evolution of Grime, and also how RWD was the catalyst for introducing the rest of the UK into the community…

H: Yeah I think at one point it topped a million which at that point was insane. But I think RWD as a business failed to monetise that. But, was special about RWD Forum is that it became a barometer for what was good and what wasn’t. People would be fuckin’ outrageous! They’d called Wiley something, then Wiley would respond saying “Your Mum looks like a Mash Potato” or something like that *laughs*

rwd screenshot 2

 – RWD FORUM [MK2] (2007)

T: This was the beginning of Anonymous commenting and Trolling culture…

H: It was very much about Trolling yeah. People would be getting trolled constantly and we’d have to speak unhappy MC’s and Producers saying “You need to delete that comment!” and then we’d delete the user, but then they’d come back with a new name. It just got more and more out of control, and the abuse…

T: Yeah, the core audience was like my age a the time (15ish) which was probably why it was complete chaos. But that was the great thing about it. Because as a low level Grime producer at the time if you dropped a beat in there you got honest feedback straight away. Either Way, I just feel like it doesn’t get the recognition it deserves. I feel like it gets overlooked coz there’s no reference to it. ‘Mr Slash – Concerto Riddim’ is the only release associated with the era and the platform to some degree. It just seems to get written out of the history books.

H:Yeah, Logan, Wiley, Plastician where all heavily involved in the forum, and often people talk about Channel U which was great, Risky Roadz, Lord Of The Mics; all these differents things which is great. But RWD Mag and the Forum was a big part of that.

T: Couldn’t agree more. So, rolling on! Wiley’s autobiography… what happened? I left a comment on Instagram and this was before we were even connected on instagram and it was about the fact that were meant to edit it, but it subsequently became Wiley’s stream of consciousness (to some degree) and you liked the comment…

H: Yeah yeeeeah, I remember that..


T: I know Wiley is Wiley, so I’m expecting an interesting story here… *laughs*

H: “Wiley is Wiley” is a very good way to put it *laughs*. Basically, I was doing my book (THIS IS GRIME!) at the time and also trying to do Wiley’s. So obviously it was getting a bit much, and there was pressure from both publishers. And Wiley was saying “I feel like I’m being really unfair to you, putting all this pressure on you.” And I told him I really wanted to do it, can we not wait a little bit? But you can’t really tell someone to wait 6 months to put there thing out. So, what I done is, I’d spoken to his Dad and Sister and to him. So I said why don’t I just give you everything and you can do with it what you want and at the end if you need me I can come back and do some editing. Which I believe is why he gave me a really really nice thank you at the end.

T: So, moving on to current affairs. Generation Y in particular and new independent movements. You know when you think about TRENCH, Watson Rose, Wavey Garms (who have now launched their online editorial platform) and even Poundlandbandit whose social influence is steadily on the ascent.. There’s a wave of members of my generation who are creating new independent media platforms to champion our own culture. How do that firstly? And how that’s going to affect the editorial climate?




H: I think it’s nothing that’s not happened before. I mean when we started out we all got into blogging – I didn’t even know what a blospot was at the time. It’s nothing new in terms of journalism. It’s just growth. We’ve seen the move from blogs to fully formed websites. I see the rise of independent platforms as positive thing.

T: Yeah, every brand has its own identity and there’s enough bread to eat..

H: I think it’s good. A lot of magazines have gone since I started out. I mean it’s not good that people have lost jobs – I’ve lost jobs along the way. But I think it’s good that the cream rises to the top, if you like.

T: Yeah, and I guess you need to pass the touch (at some point)…

H: Yeah. It’s the way it is. RWD back in the day was the number one place. Now it’s GRM or LInk Up.  Everything changes and in it’s time TRENCH could be number one, who knows? To me it’s just exciting. And the future is not yet written I don’t think.

T: I also think it’s time for a generation to be empowered on a social level. If you can get a platform to the influence of a GRM or Vice. Then the amount of social progression you can inform is what gives us something to really look forward to.

rated-awards-small-edit101hardy plaque

H: Definitely! That’s how ID started, that’s how RWD started, The Face started, Vice… Just a small group of people that just wanted to tell the truth. Then you get your shareholders and corporate responsibilities and when you get to a certain level, it opens for another thing to come. It’s just the cycle of life. There always needs to be agitators, destructers and new thinkers pushing the older ones.

T: Yeah and it’s good to see the cycle still rolling. And we’re at the beginning of a new one.

H: It’s exciting!




T: So to wrap this up! What’s the plans for the future following the release of ‘This Is Grime’?

H: I still feel like there’s stuff to do with the book. It’s not so much a snapshot in time, rather an evolving thing. So maybe a revised edition.. I’d love to do a Stormzy cover or a JME cover. I mean there’s so many people I didn’t speak to – Mr Slash is one of them…

T: So it could be a ‘This Is Grime Vol. 1’ etc etc…

H: Yeah yeaaah. I’d also love to see it in a visual sense. I mean even outside the book. Film and documentaries something I’d like to pursue in the future. I’m really interested in the people and what they had to say. That’s what drew me to Grime – the people. So, that’s something I intend to continue exploring, inside and outside of Grime.


Full uncut podcast of our candid 50min conversation covering where we also discuss: The Pre-Internet Urban music landscape, Gemma Fox, Katie Pearl, Grime singers in general, UK Drill, ‘The Outrage Marketing Conspiracy’, New UK Festivals & and more below:




Widly regarded as a pioneer in the realms UK Afrobeats and a veteran in his own right. 28 year old Artist a and Blue Borough Bod – Kwame AKA Mista Silva has been championing the sound for the best part of this decade and has been consistently churning out tunes and maintaining his relevance in the scene.

I caught up with Mista Silva early last year for an interview with Hyponik which you can check HERE. We discussed his early Grime days, being sent back to Ghana, discovering Afrobeats, bringin’ it home and the journey so far. Last night we caught up for a candid conversation and follow up “interview” about the journey since our last encounter, naming the UK “Afrowave”, Black empowerment, A&R’s, UK Drill and it’s influence on gang culture and much more.

Here’s how the conversation progressed:

mista silva
T: How do you feel about A&R’s when it comes to making Music? Are you th type of person where I’m gunna take the beat, work with it and vibes? Work in studio with the producer? And/or are you open to an A&R coming in an saying “Yo, I think this producer is right for you. So let’s get in the studio together and work on something?

M: To be honest, I like it to be organic. I’m gunna reach to producers, I’m gunna reach out to people I feel I need to work with. And that’s how I’ve been doing it from day dot. I take action to do something; rather than waiting on an A&R to come along…

T: Not so much waiting… But, I mean if ah’man stepped to you and said “Yo, Silva…”

M: Nah nah nah definitely if it makes sense. IF someone comes to me and their talking the way as me. Someone who actually wants to do work, and brings work to the table – and it’s work that makes sense – then there’s not way that I’m gunna turn it down…

T: I suppose ah’man wouldn’t be in the game as young as you if they weren’t open to new idea’s, still. But moving on… We’re on 2018 now. When I wrote an article for Noisey on the J Hus and the “Afrowave” time ago, and then I did that interview with you last year there was bare different questions being thrown up about this sound.

M: Yeah yeah, go on…

T: Now, you represent UK Afrobeats whatever “they” wanna call it. But, how do you feel about the amount of different names potentially on the table right now. You had ‘Afrohop’ originally coined by Timbo. Traprobeats by Blairy Hendrix and Joshua beats when they produced ‘Dem Boy Paigon’. There’s ‘UK Afrobeats’ from you – which Tim Westwood agree’s with, as he says in an interview with Kojo Funds. You’ve got ‘Afroswing’ coined by Kojo, Afro-Bashment which came from Spotify. And now there’s ‘Afrowave’ which Donaeo mentioned in an interview with Chuckie Online on the #HALFCAST Podcast. It’s an up in the air situation for this sound. So, how do you feel where we’re at with the name?

M: You know what everyones just in it for their own business. That’s what I think. They give it a name and it’s benefitial to them. It’s just a way to market it. For me, I’m confident to a point where I don’t even care about what they call it. I know what I call it and how I came about doing it. You give it a name it’s a deflection from being about to enjoy it for what it is…

T: You’re a pure artist Kwame. But from a journalism perspective. When we try and promote music, and try and explain what’s going on you always have to kinda go down that route. But, we don’t even dictate the names cuz it’s the youngers. It’s the kids in school that decide what it’s called. So, whatever name is said the most is the name, if you know what I mean. But, we’re reaching a point where the name has kinda gotta be finalised..

M: Mm mmm. To me it’s just politics. It’s going on since I started making the sound. “Ah, whats it called?! What’s it called???” There’s idea’s now, but no one can put a name on it… The sames songs on different platforms under different names…


T: But that’s phenomenon bruv! That’s an amazing thing because when it happened with Grime. It wasn’t like there was bare next platforms calling it stuff, people were literally just calling it stuff – on like RWD and MSN. But with different platforms calling it different things, but you have to address the fact that no one knows what to call this ting… yet. And it’ll be interesting to see what people settle on because none of the names really fit… But, the “Afro” is a strong part of the name…

M: Like I said before it’s really simple. It’s the UK, and we’re making Afrobeats. Easy; it’s not hard *laughs*.

T: I feel like we should start the campaign for UK Afrobeats, because on a culturally level it would have positive effect for the Black community.

M: Exactly!

T: (second generation) Jamaican’s are making UK Afrobeats same way…

M: And, they’re African anyway…

T: Yeah, they just got taken away a long time ago…


M: We come from African. We’re making this sound. But we were born in the UK. Mixing all the cultures we have and grew up one. In the one sound.

T: You’re right. You made an argument which is difficult to stand against. Which is that, the most powerful – irrespective of whichever sounds best or whichevers the most popular – is UK Afrobeats because of the cultural impact…

M: Yeah, it’s deeper than just a name.

T: Real talk. But keeping it moving. How do you feel about Donaeo’s new project ‘Party Harder’ and the return to Funky and the potential for Funky to be a more of a popular thing again? It’s about time really….

M: It’s amazing really. And, to honest it’s part of the story.

T: Exactly!

M: It’s a cousin to UK Afrobeats. At the end of the day when Funky House started coming in, it had elements of African sounds encorporated into it. ‘African Warrior’, ‘Party Hard’ – these songs have African movement in them…

T: Donaeo even references his African heritage as an influence directly in his NFTR interview. So, you and Donaeo have validated African influence as a part of Funky. It’s great that it’s coming back.

M: Yeah man it’s amazing and hopefully I can bring out some Funky sounds.

T: Yeah man! This is like going back to school for you: you know what I mean? That’s why I booked you and Funkz to do the Afrobeats and Funky set!

M: C’mon c’mon *laughs*.

T: How we looking for the rest of this year?

M: I got the mixtape coming. Strongbow’s actually one of the first singles. Gunna drop the mixtape in march let it do it’s thing. Drop two-two visuals and just continue to make good music.

You can listen back to the full audio of our conversation covering all the above, plus UK Drill, the inner city violence “epidemic”, art reflecting life and more below:



27 year old – Blue Borough bod – Kofi AKA DJ Funkz, is a young business savvy selector who’s earned his stripes on the ground level as a promoter in his late teens. Booking the likes of J Spades in his humble entry to the game. Since then he’s gone on to lay his stake and majorly contribute to our colourful culture and British music scene; from his early career as DJ/Promoter – booking the likes of Miguel and Wizkid. His early days buckin’ up with man like Don Strapzy, Kenny Allstar and Reeko Squeeze as kids, to the milestone’s moments as project manager at MOVES and Artist manager (Marathon Artists) to man like UK Afrobeats pioneer Mista Silva, and one of London’s leading Dj – Rates Award winning – P Montana.

Last night I had an in depth discussion about his journey so far. Here’s the conversation we had:

funkz o1#img_2785

T: Okay, well this is gunna be an off the cuff conversation. So, you came up off the UK Funky ting, init. So firstly, where did your Journey start as a DJ?

F: I started off in University and I was studying Music Entertainment Industry Management. I’d always liked Music so I was producing – nothing that got any airplay or anything. But, I was actively using Logic, because I studied Music tech at school. What I come to realise really quickly that my strong point was actually promoting Music…

T: Aight I see ya.

F: Yeah, so following that I was in Uni – broke…

T: *laughs* Standard.

F: *laughs* Yeah, so I needed to make some money. So, I got more on the DJing aspect.

T: So, what did you start promoting dances at Uni? Or, in your own endz?

F: Yeah at Uni. Basically I started DJing first – this is like December 2008 I’m looking at how to DJ etc and my first gig was actually a Valentines show with Fis T – who was sick! I had my first show I was gassed off him and whole Funky side of things at the time. So I had my first show at my student Union and that went okay. I didn’t do too great, but I had loads of support from my friends from Uni at the time. So I thought yeah, this is actually kinda sick!

T: Yeah yeah, and EVERYONE’s first bookings beughkey bruv. There aint a DJ out there that can say their first booking was smooth *laughs*

F: Yeah yeah yeah yeah. I was just like cool. Let me cntinue this. So I was practising. When I’m mean’t to be doing my Coursework I’m mixing. And by June my name was around Campus, so then I decided to put on my own night. It was on a Sunday & Tuesday. Free entry before 12, £10 after whatever… But as you know “Black People are always late” *laughs*. So we always sold out and everyone paid their £10, so I was like rah; I can actually see a little money in this.

View this post on Instagram

#TBT – This picture speaks volumes to me! My Discount Ralph Polo from Bicester (This was actually the same polo I nearly lost my life wearing), My first headphones over £20 (my first DJ investment), My £120 Aqua Master upgrade imported from America lol) alongside my best mate from Secondary school @djripla My life has turned up a notch recently and I’ve been on the go constantly and haven’t had the time to take in my journey thus far! The door has been shut on me countless times or opened enough to take in abundance with no reward. However time and time again I’ve managed to get up dust it of smile and keep it moving. The ability to do this has found me in this magical space where progression just happens organically and people just support with love 💙🙏🏾 Anyway this post is to show love to everyone that has supported me in every way even the ppl who’ve closed their door on man coz them tings have brought me here today – moral of the story, don’t stress and don’t be afraid of that closed door, keep kicking it, it’ll eventually open 💙

A post shared by Kofi ‘Funkz’ Kyei 🇬🇭🇬🇧 (@funkzdj) on

T: Okaaay. So thats where you got the taste. The flavour for the game. But when did the transistion from Promoter to Manager come into play?

F: I’d built a bit of a name for myself as a promoter – was doing larger events like 2000 capacity venues, regularly as well. So, what I started doing was bringing Artists over, because my competitor was bringin’ US Artists over, and I couldn’t afford to get US artists and my people were coming out to support me anyway. So, what I started doing was booking the UK guys. Actually before that we were already doing the Funky house raves. So, before I started doing managment, I was doing Funky Raves with Mista Silva. Silva was already doing the Funky ting, and obviously because we’re actually family (related) I was involved in that naturally – but I had my own ting at Uni. Anyway, from there I was always focused on the music. I had brand called ‘Inside’ and we were selling out at Uni..

T: And when you say brand – you mean merchandise?

F: Yeah man. T’s and stuff. The brands still going today!

T: Rah Boy! You smashed it! Cash Cow ya’kna!

F: Yeah it’s still doing well. Still out in Napa every year. But initially I had a brand called Overload. But the brand got so big that the police didn’t like it. I mean I booked J Spades one time, J Spades and Squeeks. This the time when Tinchy Stryder had that record with J Spades. That record came out and Tinchy had a booking at my Uni – which is mad coz I know Tinchy now – but the Friday before he had the show there was a fight. So after that the Police weren’t having it. So, I had to use another name to bring through people…

T: So, you’ve been through the Giggs, K Koke, So Solid – Shutdown – experience…

F: Yeah bro. That shit fucked me up man. So from there I had to go again, still attract the same people, but I had to clean the brand up. So I changed the name to Inside. It came from an MC called Tino I used to work with – he’s still about today – and we were gunna start with a birth bash for him, and he had catchphrase bar that went “Inside! something, something, Inside!” (I can’t fully remember).

T: Seen. So, it was his reload barz like…

F: Yeeah. So I thought you know what, let’s run with it. We were gunna promote a single with it. We did the artwork and everything, the single never came out but the rave popped, we sold out. And with Silva, thats family and we was coming to my gigs. So I saw my nights as an oppurtunity to promote the stuff I liked. So, with Silva, it was easiest way to touch to people…

T: I seee. Your nights were your platform to promote your artists and music…

F: Yeah, that was my GRM or Link Up so to speak *laughs*.

T: Yeah yeah, in the form of a dance!

F: Exactly.

T: So, the progression into managing Mista Silva was just natural.

F: Yeah, but I had P Montana as well. P’s my cousin. So, he came to my Uni a year later. He was coming to my gigs and just liked the whole idea of DJing init. So I gave him my decks. We’re like a year apart (18/19 at the time).

T: Rah Boy! You introduced P to the decks?!

F: What I started doing was doing nights with P as well. So, with P, I worked with him from the conception of the brand. So, it was me opportunity to correct the BS that I’d gone through. So, I’m working with P, I’m working with Silva, we’re doing bits and then I get stabbed at Uni..

T: Woah?! What Uni were you at?!

F: Hertfordshire – Hatfield Campus. It was nonesense. So, what I did was I diverted my attention to Silva and P. Since then I haven’t really focused on myself as a brand. I like DJing, I like playing music, I enjoy it. Any chance and any oppurtunity I get to play music I’m taking it. But, I’m not trying to push myself as a commercial brand in the same way. I’d rather be appreciated for the quality of the things I do. Than being in everyones faces… I’m still busy. I got people who still come out to see me from the beginning. I still do 2 to 3 shows a week. So I get to test out the records, but it’s not a focus.

T: Seen. Well that rolls on nicely into Rah Boy and Red Bull Record Deal situation. Where we at now? How’s things looking for the year ahead?

F: Yeah the whole ‘Rah Boi’ project we dropped last year was dope. Happy with how everything that rolled out. Worked with Dr. Martens, G Shock. We shot some good videos; got deezer to shoot ‘Ama’ as well. So many cool things came from Rah Boy last year…

T: Yeah, I caught the show at Carnival on the Red Bull stage. It was a solid show still.

F: Most of what we achieved last year was off the back of our own relationships…

T: So there wasn’t the “corporate backing” as such?

F: Nah not really. So, not I just wanna grow that. We built a good fanbase in Sweden, The Netherlands and Ghana. And just building on that. Plus we’re working with artists secretly as well.

T: So, you’re recording, but not releasing any info?

F: Yeah, we’re working on songs for ther Album their projects. Produced under P and Juelz. Coz Juelz contrinuted to the Rah Boi project a lot. This year we’re taking the sound to new places. And we’re gunna be a lot more live as well…

T: Will there be dancers? Because, this sound has more of a Dancehall element which allows for a better stageshow. Is that something you’re interested in?

F: Yes and No. Because for ‘Ama’. We worked with a load of dancers. But the key element to the show is that it’s gunna be all Live music. Which is gunna be in April. Can’t say too much though…

T: You covered a lot Funkz. So let’s just take it back to your early years.

F: I spent most of my time in Catford, Deptford.. A lot of the guys my age from Lewisham…

T: So, OGz (P, Black, Dee) there from your sides init…

F: Yeah man. My cousin was in a crew called Top Cat Kids which had Younger Jendor in there and guys like them *laughs*.

T: We can laugh but them tunes were cold back then…

F: Yeah man! ‘Hands In The Air’ that’s my age group in the area.

T: That tunes legendary. Channel U classic.

F: The mandem thought we made it back then. I had a crew bacxk then too. With Don Strapzy, Kenny Allstar and Reeko Squeeze….

T: What?! Kenny used to spray barz!!!

F: Yeeah, but I aint gunna say too much *laughs*

T: He’s doing his ting now, so no one can say nuffin *laughs*. But Rah Boy, you got some history still!



With now 10 years in the game under his belt, JP AKA Joseph Patterson has been a major contributor to youth culture in our rapidly expanding Urban British scene. Hailing from Stockwell – South London – but making his name in his teens as a promoter back in 2007, to not only being a regular on the MOBO Awards committee, but Senior Editor of Complex UK and founder of new editorial platform TRENCH.

I hit JP up to talk the old days, the new days and everything in between. From it making from the Estate to Editor, Influencer and certified Ambassador of British Urban Music.

For those that don’t know, what’s your background? How did you go from doing club nights at EGG, in 2007, to heading up Complex UK and TRENCH today?

I remember you and the BNTL gang used to come to my raves on a regs! Shout out you lot. So I started holding raves, called ChockABlock, in 2007, and then I just started up a blog and when the passion for writing hit, that’s when my journalism journey began. I’d say I wanted a proper career in writing around 2009/2010, and in 2010 I was appointed editor of MTV UK Online’s urban sections. It hasn’t been an easy journey one bit, but I wouldn’t change my story for nothing. I think people like the fact that I’m a young black man—coming from a hood environment—who writes about music for a living and didn’t go down the typical wannabe rapper or top shotter route. I rate all those hustles, though. Get it how you can get it!

Shoutout the BNTL fam, the back of my head and the rest of GANG on the SBTV cameo’s…

Would you agree with the achievements of Link Up and GRM that editorial platforms like ours took steps in the same direction? And assuming you do, what inspired TRENCH?

I love what those platforms have done for British artists over the years, but we definitely do different things; they’re more video-led, while we focus more on strong written editorial. What inspired TRENCH is the lack of representation in mainstream media—or more like the wrong type of representation. Right now, I believe our content levels are up there with some of the biggest publications on road, most of which have been going for decades, and we’ve only been going for about three months. It’s not me being big-headed, it’s just that with mine and [fellow journalist and TRENCH executive editor] Hyperfrank’s experience going on 11 years in this thing, we know how a publication should be ran. So you’ll never see us mistaking people for other people or calling an Afrobeats artist a grime MC. They might be minor things to some, but we pride ourselves in knowing the scene inside out and respecting it to the highest degree. We’re like the Rolling Stone for the UK underground scene… Yeah, I said it! [Laughs] Nah, I’m more humble than this, but when you know you’ve got a good product, there’s nothing wrong with shouting about it from the hills.

With Wavey Garms also launching an independent media platform—with fashion to likely be the core of the brand – Watson Rose focusing on more anti-establishment/youth culture trends and intellectualised music focused content, where do you see TRENCH’s place in this new work? There’s enough bread to eat, and identify our individual brands can only be a good thing, right?

I want everyone to win. I’m excited to see what Wavey Garms come with; their online presence has been strong for a few years now. I see what you’re doing and wishing you all the best with it—again, shout out the BNTL massive! With TRENCH, we just want to show the greatness of today’s young Britain—the best in music, style, and culture—and, so far, so good.

Seeing as independence and empowerment is growing in prevalence in all forms because of social media, and the resources that the internet provides, what else would you like to see happen in the UK scene?

More films and TV shows that depict our culture in an authentic way. I was gassed to hear Top Boy was returning to Netflix, but that’s in 2019 so we’ve got a bit of a wait. The Intent 2 will be out next year, I think, so that’s good too. Things are happening on that side of things; slowly, but it’s happening.

Where do you see TRENCH in three years, and what’s the long-term vision?

I like to take every day as it comes but, from 2018, we’ll be doing a print, zine-style edition of TRENCH four times per year. The first one drops in January with one of the UK music scene’s most respected artists. I’m very excited about that. Events, too! We’re also taking TRENCH live next year.

Seeing as it’s December, and you’re a UK music aficionado, who are your personal top three artists of the year?

What J Hus has achieved this year is incredible, as well as Dave and Jorja Smith. I’m also interested to see what Mabel does next year, and K-Trap, and Fredo, and Harlem Spartans. The British are coming, as they say.