NC Grey is a talented UK-based musician and voice actor known for her captivating performances in the jazz and soul genres.

She has achieved significant success in voice acting, securing high-profile gigs with organizations like the World Health Organization and the United Nations.

Besides her thriving music and voice acting careers, NC Grey is also an author, with her latest book being Your Vocal Goldmine, an eBook designed to help aspiring voice actors.

Please introduce yourself …
I’m NC Grey, a British-Nigerian singer and voice actor.

Describe your life right now in a word or one sentence …
I’d describe my life right now as learning to walk on a rope.

Which came first the music or the voice acting and where and how did the two cross over?
The music came first; I’d been living and performing in Ireland for years and only fell into voice acting when the world closed during lockdown. With no shows to play, I had to find another creative outlet.

Telling your relevant close ones that you wanted to pursue a career in the arts was like?
I’m Nigerian. You can only imagine the look on my mum’s face. My family fought it for a while. There was a point I was threatened to be disowned. However, I was able to prove that I could balance creativity with doing well at uni. It also helped when my mum came to see me live and finally believed I could “actually sing“.

Your bio says you went from recording in an IKEA Wardrobe to booking significant jobs with big brands please share that journey …
My journey into voice acting happened over lockdown. I believed the first few jobs were a fluke so I didn’t want to invest a lot of money into a home set-up until I was sure it was an actual thing. I started off using spare mattresses my mum had in the shed to build my first booth. And although mattresses work really well for soundproofing, they were quite tedious to set up every other day. At the point I realised I was booking 2-3 small projects a day, I decided it was time to get something more permanent.

The average home studio booth would run me nearly £800 so I did some YouTube-ing and decided to DIY it with a cupboard and some soundproof squares from Amazon. The total set up including glue cost me £150. The quality of my work greatly improved with this setup and I saw that reflected in the calibre of clients that reached out. From that same setup, I was able to work with the British Arts Council, SalesForce and the NHS. I’ve now been able to reinvest in the business and get a top-of-the-range mic and plugins that mean I can record with or without my cupboard.

Tell us about your new ebook Your Vocal Goldmine. What’s it about and who’s it for?
As I progressed along my journey, I got a lot of DM’s from people wanting to know how they could also get into voice acting. There were a lot of misconceptions like you couldn’t do it without an agent etc. and I found myself repeating the same answers every other day. I started building an FAQ doc in my notes app and with how frequently I opened it to copy and paste, decided it was time to build a resource. Your Vocal Goldmine is my ebook that provides a step-by-step guide on becoming a voice actor. It covers everything I wish I’d known, how to accurately understand your niche and how best to monetise your voice. There are tasks at the end of every chapter with the aim that on completion of the ebook, you’ll be fully set up.

Highs, lows, solutions …
Did I mention I work a full-time job in a tech company? Balancing a full-time career, delivering my booked voice over jobs and writing a book was no small feat. I’m definitely a calendar girlie so I leveraged that and over-indexed on time blocking. There were social functions I had to decline and prioritise content that would deliver immediate impact to the reader as opposed to storytelling. As I began to fine-tune the book, I knew I had to shut down my corporate brain. I took a week off work, went to sunny Malta and spent hours every day completing the book. For efficiency, I leveraged my network; one of my closest friends Marve Anson is an author and helped with the copywriting. Another friend who was a photographer shot the cover photo. It was truly a team effort and I’m super grateful that I have a network I could lean into.

Which project to date do you feel best demonstrates why you do what you do?
Working on the W.H.O. project is one of my career highlights. There is a huge sense of fulfilment working on projects that truly matter and that project focused on the huge lack of investment in healthcare services around the world.

GETTING TO KNOW YOU …

If not this, then what?
That’s a really hard question. I’ve got a career in tech, the music, and then this. So if not this, I’d probably index more on one of the other things I’m doing. I’m a strong believer in leaving no stone unturned so I feel like I’m currently doing all the things I’d want to do in some capacity.

What’s made you Sad, Mad, Glad this week …
Sad, I saw a pastry I really wanted and couldn’t have (I’m currently cutting out gluten to see how I feel). Mad, the news. I mean, there’s nothing on there that wouldn’t make you mad. Glad, I found a gluten-free peanut butter blondie that was so good.

What are you watching right now?
A lot of Nigerian movies on Netflix. I’m trying to work on a really specific Nigerian accent so I’m doing a lot of character analysis and understanding tone. No, there isn’t a specific project I’m working on, but you never know when the opportunity may arise.

What are you reading right now?
I’m really in my black author bag right now and I’ve literally just finished ‘Some Angels Dont See God‘ by Ever Obi. It’s such a gripping read.

The last thing you saw on stage?
MW the Musical. I haven’t laughed that much in a while.

What’s on your bucket list?
To voice an animated character.

Where’s your happy place?
On a beach. I’m my happiest when I’m by water.

Who’s the most important person in your life?
God. And yes, he’s not exactly a person. But with where I am right now, he’s the most consistent.

Celebrate someone else …
I’m super excited for Marve Anson who just got a book deal with Penguin Michael Joseph. I’m a big fan of the Penguin brand and super cool to see someone I know get a signing.

Celebrate yourself …
I’m very proud of the risks I’ve taken to get to where I am. Spinning multiple plates isn’t for everyone and not every venture is a success. But so far, so good.

Whose footsteps are you following in?
I’d like to think I’m following in the footsteps of Issa Rae and Jamie Foxx who are masters of many crafts.

What’s Next?
I’ve begun to lend my expertise to coaching some new voice actors and I’m looking forward to seeing them doing great things in the V/O space.

Where can we find you?
You can find me on Instagram and TikTok – @ncgrey

Where can we find your latest work?
www.ncgrey.com hosts all my projects; both music and voice acting.

Kebidoo (pronounced “kee-bee-doo”) is a South African artist whose music blends various international influences.

Her musical style combines iconic South African hip-hop and kwaito with international genres and music cultures such as UK underground grime, K-pop, and electro-pop. Kebidoo represents a new generation of South African artists incorporating global influences into their music.

Born in Mahikeng, in the North West province of South Africa, Kebidoo’s upbringing was uniquely shaped by her father’s career in the South African Airforce, which led to extensive international travel. These experiences exposed her to diverse cultures, inspiring her to blend genres in her music. Her professional moniker came as a phonetic spoof of the Setswana word for the colour red, “khibidu”, paying homage to her Tswana heritage.

Following her stint at a US-based artist development programme, Kebidoo released her first mixtape under independent music imprint Highlight Music Label, made an experimental hip-hop song with local Afro-Rock legend Tshepang Ramoba, and most recently she has attracted attention from South African record label Ossia Records. Some of her singles include “Agoiweng (Let’s Go)”, “Ke Nna Nna”, and more recently, “Do The Work.”

We spoke to Kebidoo where she opened up about her background, artistry, previous career in advertising, and the cultural nuances that influence her craft.

Your Instagram feed gives off the vibe of you being a girl next door, with an edgy personality. It sets you apart. Is image important to you in your world? 
Image isn’t everything to me personally, but it does seem to be pretty important these days. As an artist, or anyone trying to promote their work, I think it’s necessary to have an “image” of sorts. But you don’t have to be this meticulously well-thought-out thing from the beginning. There’s a lot of pressure to be a version of someone else or to fall neatly into a certain aesthetic. Just be your authentic self and the parts of you that catch the eye or pique people’s interest will naturally form an “image” for you. 

Collaborations seem to be a key part of your journey as an independent artist thus far. Your YouTube Vlog series, The Journey, shares behind-the-scenes footage of these collaborations and how they’ve affected your craft. Can you tell us more about how you approach collaborations and why they’re important? 
Collaboration is a tricky space because it’s trial and error. What works for me might not work for you. So it’s about being clear on what value your work creates and brings to the table so other people may see where they fit in. It’s also important not to be selfish in collaborations. Plans, people and conditions are constantly changing and you have to give room for growing pains. I have been lucky to work with people who see a place for themselves in a far bigger picture, and we collaborate as a means for all of us to realise our own goals simultaneously. I hope to take the lessons that I’ve learned from these projects thus far and apply them to my career path as I diversify and grow moving forward. 

Your voice has been used in television adverts across Southern Africa for brand commercials, and through sync representations, you’re starting to stretch into placing your music on television shows and movies. If you were to choose a series to place one of your songs, which one could it be? 
Locally, I’ve always wanted to get on those Blood & Water episodes. They’re known for very “meme-able” moments so it’ll be cool to see where my songs would fit in the storyline. That show’s soundtrack is really loved and supported by the viewers too so it would be an honour to be on such a platform. Internationally, it has to be Selling Sunset. Mainly because I binge-watch it every season, but also because my music is very bold and confident with lyrics about being ambitious and motivated like a lot of the women on the show navigating their careers in luxury retail. I can imagine my songs playing right after they get into a fight in a multi-million-dollar mansion or something like that. 

COVID-19 was a challenging time for many artists, but you saw it as a catalyst to make a bold commitment to being an artist. Can you share more about this decision and how it has shaped your journey? 
Before 2020, I was working in marketing and advertising, mainly as a researcher and strategist for small companies. The effect of the pandemic on local businesses in South Africa was really harsh, so a lot of people like myself lost work or clients. At first, it was scary, but I realised that there was no better time to hit the reset button on life. With the world changing around me, I felt like if I didn’t try then, I would never get the chance to try again. It has shaped my journey because I’ve had to prove that I am very sure of this decision to pursue a long-term career in music under unfavourable conditions. In terms of decision-making, I move in a way that allows my professional experiences to come into play. I think it’s been helpful in helping me understand the music industry on a global scale and navigating through it as an independent artist in Africa. Also, Rule Number 1 in strategy is “Do Not Rush.” So I think I’m more patient and I don’t put unnecessary pressure on myself because I understand that building takes time. 

Coming from the North West Province in South Africa, known for its strong traditional values, do you feel a tension between embracing your pop star identity, staying true to your roots and navigating this balance? 
It’s not really that hard. I know that Tswana culture loves pageantry. It was very important for the government of Bophutatswana (during Apartheid) to invest in art education because it was valued by the Tswana people across generations. To this day, when you go to any Tswana family function, there are traditional praise singers, marching bands, choirs, spiritual leaders, poets and dancers. We respect the art of performance and we really try to back our artists here (in Bokone Bophirima). My love for performance is only magnified by my Tswana heritage. Tswana women are bold, confident, strong and will tell you everything they need to. As long as I stay true to that essence of gratitude and see my talent through a lens of lineage rather than capitalism, I think I’ll always stay true to my roots even as my visual concepts evolve and change. 

Your live performances are known for their energy and passion. How do you channel your background in digital media to create engaging performances for your audience? 
My main goal in music is to be a powerhouse performer that can fill stadiums around the world. In my head, it’s not just me getting on stage, it’s me what makes up a solid performance. So the wardrobe, sound, graphics, props, fan departments, etc. all need to come together. I think that has made me a “less selfish” performer, in that I understand that everyone needs to feel like they get something out of each performance. I’m still finding my perfect structure and ideal team to really show my full potential. So far it’s been fun experimenting and finding what works for the crowd. I hope that soon I’ll be able to put on my own solo concert or perform full sets at music festivals, so I can do bigger things on stage. 

Social media has played a significant role in your career. How do you use digital platforms to connect with your fans and showcase your music? 
Social media is an easy and convenient way for listeners or consumers to find you and connect with your vibe. Working in digital media, I spent a lot of time on these apps, but I didn’t always put myself out there. So when I started to make music I had to learn to get comfortable sharing more of myself. My producers have hounded me a few times to post more consistently. So I had to change my mentality back to when I was just posting for fun as a kid. Stop looking at the analytics and think about the people who may discover me in the future. I want them to see my authentic life, so I don’t have to keep up any lies or posturing when I get more famous.

You have previously gushed about your love for K-Pop, has it influenced your approach to music? 
I admire how that ecosystem has taken the world by storm while remaining very authentically Korean. I started researching K-pop when it was still a “micro-trend” nearly a decade ago, so I’ve been able to track and witness its expansion as a fan and as an industry professional. What I’ve learned by watching their trajectory is how important structural support is in the global music and media game. You don’t have to bend to the whims of other foreign markets if you make sure that the domestic economy retains involvement and keeps benefitting the local system first. I think K-pop inspires my approach to craft and navigating the industry rather than my music. In South Africa, we don’t have an entertainment company with private facilities or global networks like those in South Korea. In fact, the industry is largely unregulated and the government department which runs it is always in the middle of corruption scandals. So I started to subconsciously look to other markets for inspiration.  I look up to entrepreneurs like JYP (of JYP Entertainment) and Teddy Park (of The Black Label) as inspiration; they both built businesses with so many investors, sales and fans by having their own signature sound that infused global influences with indigenous themes. That’s what I try to bring to my career and music. 

As you continue to evolve as an artist, what are some of the themes you hope to explore in your music? 
I hope to make music for all moments of life. I don’t want to put a limit to what I am or am not willing to express. But I want to my music to be something that always fits on your playlist. Need a song to listen to on your way to a big pitch meeting with a client? I’m there. Need a song as you head out on your way to yet another Bumble date? I got you. Need some lyrics to scream into your pillow on one of those hard days? That too. I hope to work with more producers who are open to experimenting and are interested in creating an eclectic soundscape that really comes alive on stage.

Kebidoo’s music is accessible via Spotify and YouTube.

Peter Edwards is the award-winning Musical Director for the acclaimed Nu Civilisation Orchestra (NCO)

In October 2022, Edwards was announced by the Academy of Motion Picture Arts and Sciences, in partnership with Mercury Studios, as one of two recipients selected for the Jonas Gwangwa Music Composition Initiative, a one-year career development program for Black British musicians interested in composing music for film.

We spoke to him about his journey as a composer and what projects he has coming up next …

Please introduce yourself …

My name’s Peter Edwards. I am a composer and musical director and pianist. I’m musical director of the Nu Civilisation Orchestra. I’m from London and my family are from the Caribbean, Grenzada and  Guyana. I grew up in Harrow and currently living in Walthamstow.

Describe your life right now in a word or one sentence …

Hectic, but in the good sense.

You have been on quite an exciting journey, firstly please tell us how life as a composer has evolved since you won a spot on The Academy’s Jonas Gwangwa Music Composition Initiative alongside Oleta Haffner?

Yeah, my composing career has evolved. It happened very quickly following the Jonas Gangwa Award and I’ve been given lots of opportunities to write for film, which is something I’ve wanted to do for a long time and it’s a very exciting journey. I’ve been introduced to lots of other composers, I’ve had mentoring from composer Segun Akinola. I’m learning how to write music in a very different way. It’s all about storytelling, conveying emotion and collaboration. So that’s been amazing to learn about the whole industry of film making and this opportunity has really stretched me. The mentoring has helped me build my confidence and allowed me to learn more about the craft of writing for film and TV. It has also showed me that a lot of the skills that I already have are quite transferable. And there are other aspects like learning to manage your work but remembering your values. My family life is really important to me – there is more to life than just work. It’s been really helpful to be aware of that going forward.

What was composing life for you like before you were involved with the Jonas Gwangwa initiative?

Well, a lot of my compositions previously were more commission based. I’ve written a lot of things for Nu Civilisation Orchestra and composing for my small band and so I was writing fairly regularly, but mainly for performance purposes. As opposed to writing for screen TV.

Who or what fired up your interest in composing?

I was really curious about how music was put together. I grew up playing in orchestras and was always interested in scores and how composers came up with musical themes and ideas. When I started to see other people like me, like Jason Yarde, then I could see it was possible to have a career in in composing and arranging. Then it was just a case of getting the opportunity. A lot of work came through Tomorrow’s Warriors, lots of opportunities to write things with small bands. Then I went to university to study performance. I had the opportunity to write and do arrangements for larger ensembles. It’s not a huge step to go from arranging music for large ensembles to actually composing. 

You’re currently the Musical Director for  Nu Civilisation Orchestra, tell us more …

Being MD of Nu Civilisation Orchestra, it’s more project to project than it is day-to-day. The projects come together through conversations between myself and the artistic director, Gary Crosby. Between us, we talk about the types of things that we want the orchestra to do, whether it be Charles Mingus projects or doing the Joni Mitchell project. Once we decide what type of project it is, I’ll do some research on that particular album or music or particular artist. The next process is trying to devise a set list. I will speak to the producer of the show, Fish Krish, and we’ll talk about rehearsals, how much time, what resources are needed etc. I think about that period as devising, trying to shape a project. And then in the meantime, I’m thinking about what is it actually going to look like on stage and have we got guest artists? What do they need? Then there’s lots of meetings that are put together to work out how the show’s going to work. Then later along the line I’ll do the arrangement. And over a period of weeks we put together a band. We’ll rehearse the week before the show. Whilst we’re working on one project, another project comes through for later in the year or the following year and so that process starts again. That’s normally how it works. A combination of devising the actual project, doing the actual writing of the music, then doing the performance and make making sure all of that runs really smoothly.

Please tell us about Focus taking place at the Royal Festival Hall, the Southbank Centre in September …

‘Focus’ is an album that myself and Gary Crosby have been talking about for years, and it’s a very famous album featuring tenor saxophonist Stan Getz. It features strings and is something we’ve wanted to use to help develop Nu Civilisation Orchestra string players. The style of music is not 100% jazz or classical music. It’s somewhere in in the middle and the term that’s used for it is Third stream. Which is a really exciting concept that we wanted to incorporate into the orchestra’s repertoire. Particularly seeing as we have string players who are also very interested in improvisation. The prospect of working with Nubya Garcia is exciting, as she is going to be performing in the role of Stan Getz. I worked with her when she was starting out, and it was a really good opportunity to work with her again, seeing how far she’s come.

Lessons learned from working with the legend Gary Crosby OBE?

Lessons I’ve learned from Gary Crosby. I’ve learned to have confidence in in myself and my abilities. And then also to share what I have learned with other younger musicians who are on their way up. And not to forget where you’ve come from. Gary’s motto ‘Each one teach one’ is so important, there’s very much to continue to try and pass on.

How did the performance of ‘Aladdin Sane’ live at Royal Festival Hall in April go?

Aladdin Sane Live went really well. It was a sell out show and there was just an incredible feeling all the way through and the audience were with us. The guest artists were fantastic and I really thought we did a great show. In terms of highlights, I think all the artists brought a completely different approach to Bowie’s music. I think for me, one of the standout moments was Tawiah and her performance of Drive In Saturday which was given a standing ovation. Which happened quite early on into the set. That was amazing. Also seeing Lynks running around stage in the full Bowie costume was pretty amazing. It was great doing the encore with all the artists coming back on stage to sing ‘Rebel Rebel’. It was an amazing night and looking forward to doing something equally innovative next year. 

Highs, lows, solutions …

The highlights and obstacles of putting on Focus – we are at the earliest stages. So right now we’re putting together a string group. I’m trying to create the musical approach that we’re going to take and how we’re going to do our version of the record. And I’m working on the music right now. But I definitely wanted to have our distinctive Nu Civilisation Orchestra stamp on it. Most of the time obstacles or problems get solved during rehearsals. The musicians that we work with are of such a high quality many times they will solve the many musical problems themselves, or we will work them out altogether. Highs points, well I’m looking forward to getting into the rehearsal studio with the musicians and Nubya. For me the high points always in these projects are the actual process of the music making, and the performance for me is always like the cherry on the top. It’s when we get to show everybody what we’ve been working on.

The biggest misconception about being a composer, getting into composing is … ?

The biggest misconception is that you don’t necessarily have to have gone to music college to study composing. Because I never did a degree in composition, I studied performance and was interested in composing and tried to find as many opportunities as I could to compose.  Sometimes there is a worry about not having studied composing, when actually the best way to learn is to just do it and ask lots of questions of people who do have some of these skills. 

Is the world of classical composing becoming more representational?

I’ve seen a few changes. Small changes. I think diversity is now something that is becoming valued more and talked about more. I think there’s still a long way in terms of the culture and music making in the classical composing world. To change that you need to give people from diverse backgrounds more opportunity and support and encourage more diverse audiences. It’s a long term process, it’s not something that will happen in a year or two. We’re talking about 15-20 years. Trying to change things and encourage lots of different people from different backgrounds. It’s going to take time.

GETTING TO KNOW YOU …

What’s your current plan B?

To be honest, I tried Plan B. I worked in the city for a little while, it didn’t suit me. So I went back to Plan A which was to become a musician and composer. So B has been implemented and didn’t work.

What’s made you Sad, Mad, Glad this week?

This week in the news, it was hearing about the deaths on Bournemouth beach. That was really sad. And when Tina Turner passed away, that was really sad. What made me glad is I’ve had the opportunity to meet composers George Fenton and Alexandre Desplat. I was invited to an event and I got to meet them in person and got to speak with him. Both incredible composers and lovely people.

What are you watching right now?

Succession.

What are you reading right now?

How To Be An Anti Racist by Ibrahim X Kendi

What are you listening to right now?

To be honest, I’ve just been listening to Focus album by Stan Getz.

The last thing you saw on stage?

Hamilton.

What’s on your bucket list? 

I’d love to travel to Brazil. I’d love to work on a feature length film. I would love to perform with Nu Civilisation Orchestra at Glastonbury.

Where’s your happy place?

With my family at the dinner table.

Celebrate someone else …

Right now, a composer based player called Renell Shaw. He is someone who’s won awards for composition and is really a fantastic bass player, but also very good musical director and composer.

Whose footsteps are you following in?

I feel like the a lot of the doors that have been opened to me have come from people like Gary Crosby and Jason Yarde. British musicians who have actually forged a path and opened a lot of doors that some of our younger musicians have been able to walk through and have benefited from. There’s other people from the past that I found out about recently. Leslie Jiver Hutchinson, who’s a very celebrated trumpeter and musical director from the 40s and 50s.

What’s Next?

The Focus concert is next. I’m working on three short films and they’re due to come out very soon. Within the next month or two Ted and Noel (Happenstance Films), George the film and The Golden Boy (both from Slick Films ) These have all come from being on the Jonas Gangwa Initiative. 

Where can we find you?

I’m on Twitter and Instagram @peteredwardsmus and I’ve got a website peteredwardsmusic.co.uk

Where can we find your latest work?

You can see and hear my work on my website. There’s that’s the best way to find me.

Focus will take place at Royal Festival Hall, the Southbank Centre on 15th September 2023.

Odessa Chambers was born and raised in South London, and is the  daughter of legendary singer & actor Jimmy Cliff.  

After moving to Jamaica 25 years ago she has gone on to build a name for herself after launching her own media platform O-Access Jamaica, and her podcast series ‘Reasonings with Odessa’.

We spoke to Chambers about how she juggles being a super media mogul …

Please tell us who you are and what you do, and where you’re from …

My name is Odessa Chambers I am an entertainment executive, TV & Film producer & culture curator.

Describe your life right now in a word or one sentence …

Doing what I love.

You’re a podcaster, a journalist and a producer – but what are you working on right now? 

With my partners of 7 LongLane ENT. We have launched what we think is the next global superstar out of the UK called Vincent Darby. I am also producing Jamaica’s top rated talk show daytime LIVE!

With so many strings to your bow how do you juggle delivering your ideas to their best whilst fulfilling all your creative desires?

Because everything I do is what I love its easy to juggle. I have always worked on several projects most of my life.

Being from the UK and living in Jamaica how do you blend cultures when it comes to the work you do – or do you not?

Blending cultures is not what I do, it’s just who I am. Jamaica is far more cosmopolitan than what most people think it is or what is only portrayed.

Your father being the legend Jimmy Cliff – what was that like for you growing up within his shine?

It was really normal for me. I lived a normal life in the UK, in Jamaica it is a bit overwhelming sometimes when people chat to you because of who your father is but I have grown to just take it as all love.

Good and bad what did you learn from having a famous parent in the entertainment industry?

I have learned to be true to yourself, have real knowledge of the culture. Many people are more researchers or hearsay industry people today. Everything I know and learned, I have lived it. I have learned not to take everything personal during production. I have learned to be more patient in a world of needing it now. I have learned that not everyone in the entertainment industry is your friend, it’s just business.

There’s an ongoing conversation about how we as black people don’t preserve our history or honour those who came before us very well – do you agree, when you think about the recognition of your father’s contribution to the arts – and if so how could we do better?

I was taught that I was a likkle Jamaican pickney even though I was born in the UK. I was also taught that I was an African. I think that today’s youth are not taught to honour those before us. They are programmed that way, it’s not their fault either, it is us before them. My generation was taught this, we need to do better to guide and
teach them. With my podcast, my television talk show I produce I make it my duty to do so.

Highs, lows, solutions …

Aside from the norm of people stealing my ideas and the usual ops trying to stop my shine. I take everything as a learning lesson or God telling me it’s not my time.

What’s your current plan B?

Plan C, D or E, you got to learn how to move in a room full of no’s.

What’s made you Sad, Mad, Glad this week?

Sad, not being able to have the time to mourn lost ones as more keep passing. Mad, the government of Jamaica increasing their pay by 200% while teachers, police, solders and nurses still haven’t gotten one. Glad, that my podcast Reasonings With Odessa is now a part of the Revolt TV family by joining their Revolt Podcast Network. This means that I will have more ears and eyes on it.

What are you watching right now?

Mi seh, mi a watch nuff things. If you follow my Tweets you would see. I am watching PowerBook 2, Succession, Young Famous & African, Downton Abbey (I see the side eye but it’s dope) and waiting on Yellowstone to start back.

What are you reading right now?

My Sister The Serial Killer by Oykinan Braithwaite.

What are you listening to right now?

Vincent Darby (finishing off the EP). Jorja Smith’s banger The Little Things, Burna Boy, Rema, Little Sims – love her.

The last thing you saw on stage?

The Harder They Come off Broadway. Big up Natey Jones who played my father’s role of Ivan.

What’s on your bucket list?

Tour of West Africa, I go where I am celebrated.

Celebrate someone else …

I rate anyone who can see more than what is placed in front of them. IYKYK

Celebrate yourself …

Bwoy. I am just proud of being me. Nah switch, nah change. Just simple Odessa from South London.

Whose footsteps are you following in?

I march to my own drum and try to make my own mark.

What’s Next?

Whatever is God’s will.

Where can we find you?

IG @oblessa @reasoningswithodessa @oaccessjamaica Web: www.oaccessjamaica.com

Simi Agbaje is the founder of The Blues Project, a leading R&B / soul media platform. 

Simi launched The Blues Project six years ago now, with the aim to showcase the journeys of emerging R&B and soul-inspired artists. It has since become the leading voice and home of discovery for new-age Soul, R&B, hip-hop Soul and neo-jazz, platforming the best of the scene through their BLUES100 soul cyphers.

Simi’s latest branch of The Blues Project is SENSES a live music event at The Jazz Cafe.

We spoke to Simi about SENSES and her mission to make The Blues Project the leading voice and home of discovery for new-age Soul, R&B, hip-hop Soul and neo-jazz …

Please tell us who you are, what you do and where you’re from …

Gosh, the simplest questions really are always the hardest to answer. ‘Who I am‘ is probably best described as a woman trying to love God, love people and loves music. My love for music, tech and media led me to start The Blues Project, the UK’s leading community-led platform for forward-thinking Soul, R&B and Nu-Jazz. I was born and bred in Nigeria until I moved to the UK at 16.

Describe your life right now in a word or one sentence …

Transition … I feel like I’m in a very transitional time in life right now – I’m about to turn 30 and will also be leaving my full-time job at eBay to focus on growing The Blues Project, doubling down on our content, lived experiences and community engagement, while expanding our partnerships into a community-led agency serving brands, artists and music labels.

Tell us about The Blues Project and your latest project SENSES …

SENSES is our headline live experience series at The Jazz Cafe. SENSES is an invigorating live music experience designed to awaken the senses and showcase the phenomenal UK talent pushing boundaries and the sound of Soul and R&B forward. It features a stellar line-up, a world-class house band and live cyphers. We’re proud to be taking it to Manchester for the first time, as well as bringing it back to London in February 2023.

What’s your role in it?

As Founder, I bring our team together to think carefully about and work hard on making SENSES an incredible night for our community – our goal is for people to leave SENSES and think of it as one of the best live shows of their life. It’s a high bar but the feedback has been that it’s been just that for many so we only ever want to top that.

How did it come about?

In 2020 and 2021, we were lucky to do a number of event partnerships with Somerset House, Sofar Sounds and Soho House, as well as a showcase at Cross The Tracks festival. We knew we were on to something with those – we were proud of the feedback we received and learnt a lot. Our next goal was to create an experience we could really curate in our own voice and style for our community. We were offered the amazing opportunity to do it at the iconic Jazz Cafe and ran with it!

Highs, lows, solutions (tell us the high points, any obstacles to getting the project completed and how you resolved the obstacles)

Live events always bring a myriad of unforeseen mishaps. I love the essence of live experiences but find it nerve-wracking also that you’ll never know what challenges will be thrown your way. We’ve had people (including myself) get COVID close to a date, artist scheduling conflicts, issues coordinating so many diaries for rehearsals, etc. I’ve just learnt to roll with it and think as agile as possible – having a great team helps.

What’s your current plan B? (if it all goes wrong what’s the plan?)

Haha don’t want to think about this. But my career background is in tech and so I guess I would go back to a full-time tech job, preferably in media / social media. I’m a media nerd and love the business of media.

What’s made you Sad, Mad, Glad this week?

Sad – Honestly, running The Blues Project while still in full-time work is stressful.
Mad – Social media! I have a love/hate relationship. I enjoy it thoroughly but the most annoying opinions have a field day on there.
Glad – Started reading Searching For Enough by Tyler Staton and so far I’ve found it to be a delightfully refreshing take on faith and doubt. Would highly recommend it.

What are you watching right now?

I always feel ashamed to say I watch very little traditional TV and watch mostly YouTube. I watch several podcasts and creators on there. My faves are Higher Learning with Van Lathan & Rachel Lindsay, The Holy Post and Kimberly Nicole Foster – For Harriet.

What are you reading right now?

Searching For Enough by Tyler Staton. Can’t recommend it enough!

What are you listening to right now?

Ooo a lot of Ari Lennox, Durand Bernarr, Ojerime, Cleo Sol, Ravyn Lenae.

The last thing you saw on stage?

Til Death Do Us Part. A play that manages to be hilarious while focused on suicide, marital and family troubles directed by my amazing friend Justina Kehinde (who you can currently catch on tour).

What’s on your bucket list?

Another thing to be ashamed of … to learn to drive. I honestly can’t say how I got to about to be 30 without completing a course but here we are. I lovee travelling and want to properly learn to pole dance too.

Celebrate someone else (who do you rate right now?)

Justina Kehinde, actress, director and producer extraordinaire. Sahara Jones is an amazing designer.

Celebrate yourself … (make us proud of you)

I guess I am most proud of how far I’ve been able to take The Blues Project as a “side hustle“. I don’t think it comes across as one and I’m proud of that. I am very proud to have a great team of people who believe in the vision enough to commit to it. We’ve just reached a high of reaching over 650K people in October which is wild to me.

Where can we find you / watch/listen/read your project?

To keep up with us, sign up to our mailing list and follow us on Instagram, TikTok and YouTube.

God Said Give ‘Em Drum Machines is a documentary about the origins of Techno music in the heart of Detroit Michigan in the 1980s.

The contributions of the city to house/electronic music is often overshadowed by its popularity in places around the World such as Europe which has become the hub of the culture. In the documentary Filmmaker, Kristian R. Hill introduces audiences to exactly where the sound was created and developed.

We spoke to Kristian about the documentary and why it was so important for him to shed a light on this sub-genre of house music …

Please introduce yourself …

Kristian Hill, I’m a Filmmaker from the west side of Detroit.

Describe your life right now in a word or one sentence …

Manifesting. Dreaming. Actualizing.

Tell us about your latest project …

God Said Give ‘Em Drum Machines. The story of the African American Dance music coming from Detroit called Techno.

What’s your role on it?

As an independent filmmaker, you have to wear many hats in order to get your film in the theatres and on television and share this film with as many people as you possibly can. I’m the Director, Producer, Writer, Editor, Cinematographer, Researcher, Yoda! My Role is whatever it needs to be to take God Said Give ‘Em Drum Machines to the next level.

What I loved about this film is the reminder that House music came from America – being a Black Brit, we often feel ‘dance’ music and everything under its umbrella is ours/Europe …

I mean, we just wanted to be clear about where black dance music emanates from in terms of the 4×4 beat. For years people knew about Detroit, but there wasn’t anything explaining how Detroit, Chicago, and New York formed a triangle of dance music that impacted the world. Detroit created Techno. One of the most thriving dance music scenes next to House, and in some places more than House.

Documenting the history of dance music from Chicago, Detroit, and New York helps as we talk to our brothers and sisters in London, Paris, and Germany; as we talk to our brothers and sisters in South Africa, and Ghana, they need to know what it looked like from our point of view.

What’s a House song that defines the era for you?

Like This by Chip E. Feat. K Joy

How did you juggle telling the story of the pioneers and getting in as much factual history as possible – as both narratives are so interesting?

That’s a tough question because these guys are part of a bigger scene that’s interconnected to a lot of origin points. We just had to figure out how to make the film impactful. That’s why we chose the picture that was taken by Norman Anderson to narrow our focus of the story that we could tell. The picture became the cover photo for Record Music Magazine in 1988; which was really the first time that Techno had been celebrated as a genre, as a new sound coming from Detroit – so that in itself made it historically relevant. A concrete connection to the rest of the world. It was something coming from Detroit that was published on the cover of a London-based magazine. That’s the story we could kind of use to lift up our whole scene. We spoke to the people in the photo and let them tell the story in their own words.

Highs, lows, solutions (tell us the high points, any obstacles to getting the film completed and how you resolved the obstacles) …

Highs – The standing ovation at Tribeca Film Festival; the sold-out Detroit Free Press Screening at the Michigan Science Center; 3 BFI sold-out screenings, and an Athens sold-out show. Celebrating this film around the world was something I could have never dreamed would be this sweet.

Lows- The business of making historical music documentaries is maddening. Trying to find the right partners. Trying to find grants and finishing funds is a constant quest.

Solution: Doing shows all over the world while we sort out the proper licensing deals internationally. These festivals are one thing but the whole reason for making a film is for it to be seen in theatres, people’s homes and on their phones, wherever it could be able to monetize, you know. People think oh you got into BFI that’s the cherry on
top! No! BFI isn’t the cherry on top, it’s a layer in the whole scheme of things. We want to reach higher heights. Getting this film out so people can see it is the only thing that matters.

Which scene or moment best defined why you worked on this film?

Ritchie Hawtin and Black Coffee in Langa Township, Cape Town, South Africa, 2013. It was a Bridges for Music event through the Cape Town Electronic Music Festival. We learned about the ecosystem of dance music, and in the ecosystem, there are no histories more important than the present.

Sometimes in dance music, you need people to remind you of where this history comes from. And seeing Ritchie Hawtin in Langa telling the story of how he met Derrick, Kevin and Juan on Techno Blvd; and how the Detroit dance music community raised him was one of Executive Producer Jennifer Washington’s keen early decisions that paid off. Going to South Africa all makes sense and is worth it 9 years later. We ended up making 2 films about that
moment, Electric Roots: The Detroit Sound Project and, of course, some of that footage was also in God Said Give ‘Em Drum Machines.

As a filmmaker telling stories in locations around the globe, that scene is the stamp on our career – in terms of how far we’ve gone to tell this story and to illustrate just how important Detroit dance music is to the world.

What’s your current plan B? (if it all goes wrong what’s the plan?)

I’m a motherfu*kin Filmmaker. There is no plan B. It’s shoot, edit, repeat or bust.

What’s made you Sad, Mad, Glad this week?

Leaving London. Ticket prices to get back to London in 10 days. God Said Give’em Drum Machines is back in London from October 29th at 1 pm at the Doc N Roll Film Festival at the Barbican. And November 11th and 12th at the Leeds International Film Festival.

What are you watching right now?

The Cave of Adullam on ESPN

What are you reading right now?

Story by Robert McKee

What are you listening to right now?

Demos from Esa Williams. Roc Marciano & The Alchemist, and some Scan 7,

The last thing you saw on stage?

The Nutcracker

What’s on your bucket list?

Outdoor screenings of God Said Give’em Drum Machines and Electric Roots throughout Europe and Africa.

Celebrate someone else (who do you rate right now?)

I want to celebrate the Detroit Dance Music Scene, I want to Celebrate Mike Huckaby, Greg Tate, Steve Dunbar, Eric Jackson, and Delmar Washington. Jennifer Washington, without her we wouldn’t be here. I want to celebrate my brother Ruben Robert Hill. Without him, I wouldn’t have followed this thread in life with dance music. My older brother had the key to this world that today I value beyond measure. It’s a whole world that now, I’m able to walk through wherever I go in the world because of stuff my older brother exposed to me when I was very young.

Celebrate yourself … (make us proud of you)

Not Yet, it’s too early. There’s so much more work to do.

Where can we find you / watch God Said… ?

Find me on Instagram at @readycinematic Follow the film at God Said Give’em Drum Machines on IG, Twitter, and all other major platforms. Coming to a theatre or Television near you very soon!

What’s next for you?

Meeting the proper investor and partner to help us create the God Said Give ‘Em Drum Machines film franchise. We have part two ready to go!!

Nicole Logan is the Executive Producer of Spotify Original vodcast Nailing It …

Brought to you by award-winning podcast production company Reduced Listening, Nailing It sees comedic trio Adesayo ‘Sayo’ Talabi (simplysayo), Priscilla Anyabu (Love Island) and Wunmi Bello (The Wunmi Bello Show) offering a refreshing take on being a woman in modern day society.

Spearheading the show, Nicole has worked with some of the UK’s leading arts institutions including ATG, BBC 1, ITV, BBC 1Xtra, BBC Sounds, Spotify and Roundhouse London. Breaking down cultural and institutional barriers has always been a part of Nicole’s professional journey and she is currently serving on the boards of diversity and inclusion media charity Multitrack and Bloomsbury Arts Festival. Nicole is utilising her experience as Head of Development at Reduced Listening and founder of Dutchie Club.

We caught up with Nicole to talk about all things podcast and how she coined herself the Shonda Rhimes of the podcasting world …

Please tell us who you are and what you do, and where you’re from [heritage / area] …

Hey I’m Nicole Logan, but my loved ones call me Niccy, I’m a self confessed audio entertainment nerd & a podcast producer/showrunner, I’m Jamaican and a West Indian aunty in training. I’m London born and based but Birmingham raised so will rep 0208 and 0121 forever!

Describe your life right now in a word or one sentence …

Hectic, creative & humorous.

Tell us about your current job and latest project …

I’m currently Head of Development at award winning production company Reduced Listening, as well as the creator and Executive Producer of the brand new Spotify original Nailing It, hosted by the hilarious Adesayo Talabi, glamorous Priscilla Anyabu and the ever witty Wunmi Bello. It’s a show all about the ups and downs of life in your twenties, whether that be work, romance or family.

What’s your role in it?

I’m the creator and Executive Producer but I often describe myself as a showrunner because it best encapsulates the wide variety of my job which is basically creating, casting, crewing and running a podcast production. It is more similar to TV than linear radio and most people understand what someone like Shonda Rhimes or Issa Rae does, so it is a helpful comparison.

How did Nailing It come about?

I developed this show in lockdown, super inspired by all the black women creating brilliant content during a really rubbish time. I also really missed going to the nail salon, it is after all the glamorous babes beauty temple, and I wanted to capture that.

Highs, lows, solutions …

Highs – Launching the show was amazing, Priscilla rented a party bus to do a tour of the billboards across London. All the core production team went and it was such a lovely afternoon.

Lows – The sirens on the road of the salon are always a low light. They are so loud!

Solutions – Various very geeking microphone solutions to kill the ambient noise. Some stunning plugins and an adaptive workflow… Thank you for coming to my ted talk.

What’s your current plan B? (if it all goes wrong what’s the plan?)

What do you mean by Plan B? I don’t know her… (Swishes in Mariah)

What’s made you Sad, Mad, Glad this week …

Sad – Being on what feels like our 50th prime minister this month.
Mad – The rising cost of living in the UK and how black women will often bear the brunt of it.
Glad – My family listened to Nailing It for the first time and may understand what I do for a living … yay!

What are you watching right now?

A League Of Their Own on Amazon Prime – it’s about a women’s baseball team in 1940s America, based on the film – which I love. It stars one of my favourite actresses, Chanté Adams. Such a fun and uplifting series which showcases women chasing their dreams.

What are you reading right now?

Witches Steeped in Gold by Ciannon Smart. It’s a fantasy novel set in an island very much inspired by Jamaica! Two rival witch queens fight for power and cross loyalty lines. The perfect book.

What are you listening to right now?

Podcasts – Nailing It – Obviously! I made this show because I wanted to listen to a show like this, so it’s a massive perk of the job to get to make something you think is great!

Archetypes, the new podcast series from Megan, Duchess of Sussex, is great as well. The episode with Issa Rae & Ziwe is a particular highlight!

Music wise – All Eyes On U – the mixtape from vocalist Jaz Karis is wonderful. I saw her recently at the Laylow and that was such a lovely evening!

The last thing you saw on stage?

The Dylema Collective @ Somerset House, it was part theatre, part art installation, part jazz gig. Really immersive and an uplifting experience from one of my favourite poet and performer’s Dylema.

What’s on your bucket list?

To write a children’s book series, there is honestly nothing I would like to do more! And to visit every Island in the Caribbean, I have spent a lot of time in Jamaica, Cuba & Barbados with my family but would love to explore more.

Celebrate someone else (who do you rate right now?)

Leanne Alie, the podcasting queen herself and the Exec/Presenter of Coiled Podcast – which if you haven’t listened to yet you should. It’s a brilliant multi-award winning documentary on black hair. It’s so entertaining and informative, while revisiting a well trodden subject matter but from an original & entirely British perspective.

She also spearheaded the BBC Audio Lab programme which enabled several emerging audio makers to get their first commissioned podcast series from the BBC, so she manages to uplift others while making fantastic content herself. She is just great!

Celebrate yourself … (make us proud of you)

I am really proud of what I have achieved with this show, this is one of the first brand new /original formats that Spotify UK have commissioned in recent times, and to anchor the show with 3 black women of African heritage I think is a real milestone. It is definitely historic, and we have black women both in front of the camera and behind the scenes, in all editorial and gatekeeping roles from our series producer to the owner of the salon. Black women are at the very heart of this show, it’s made for them, they are our priority and I am so proud that I was able to spearhead it.

I am also incredibly proud of myself for being Head of Development and an Executive Producer in my early thirties. Creative careers are so hard to gain headway in, especially as a black woman. I feel very lucky to be at a production company like Reduced Listening, that is so supportive of creativity and shining a light on overlooked subjects. I feel incredibly privileged and so it’s not something I take for granted

Where can we find listen to Nailing It?

Nailing It is out now on Spotify! You can watch and listen to the podcast for free on your Spotify app.

You can follow us at Nailing it podcast on IG and TikTok. The company is @Reducedlistening – we have other great shows coming over the next couple months and I am on @Niccyniss.

Serge Sainte Rose is a Martinique-born composer and pianist heralded for his versatility and vivid storytelling ability …

These unique qualities were on film display during his fittingly titled concert From Britain To The Caribbean And Back.

In this insightful conversation, the composer shared the inspiration behind his latest work, his upbringing in Martinique and the importance of creating safe spaces for Black people to enjoy classical music.

Please introduce yourself…

Hello! I’m a pianist, composer and music producer from Martinique and I’ve been living in London for the last 16 years.

Please share a word or sentence which best describes your life right now?

Full, although less hectic than 2 weeks ago (in the run up to my concert)!

Congratulations on your concert! I had the pleasure of being in the audience and I was captivated by it’s sound and message. I noticed that you were in the audience too. Are you able to fully switch off and enjoy watching your compositions coming to life or do you approach the experience with a more critical eye?

When I watch a concert, I’m usually very critical and I generally find it hard to switch off – even more so with my own music, and especially if it’s being performed for the first time.

One of the standout features of your concert was that it sought to tell the story of the slave trade in it’s entirety (the pain, struggle and liberation), instead of focusing on enslavement and life on the plantation as Hollywood tends to do. Why did you approach the story in this way?

It’s impossible to tell hundreds of years of history in 1 hour 30 minutes of music, but I wanted to say as much as I could in honour of my ancestors. For the audience to appreciate their story, I wanted to include as many different elements as possible: how the slave trade started, the pain, struggle, hope and the fight for freedom. Also, what happened after the abolition of slavery. I wanted the audience to be immersed in the full story.

Throughout the concert there were multiple languages being used for the songs and spoken word pieces (Creole, English, French and Spanish amongst others), which made the overall experience feel full and well rounded. What inspired you to incorporate all of these languages rather than take the easier route of sticking to one?

All the Caribbean Islands share similar histories. The concert tells the story of the Caribbean people, therefore I wanted to include the main languages that are spoken throughout the region, so that all Caribbean people in the audience would feel a connection to their Island and their ancestors.

Classical music and the rhythms and sounds of the Caribbean are not often heard in the same room, but everything meshed together so seamlessly on the night. Did you find that these sounds naturally complemented each other or was it a challenge to achieve the final outcome?

I’m a perfectionist, so it was a real challenge for me to blend styles at the opposite ends of the spectrum. Music is a universal language, but the words within it still need to go together. I really wanted to find a balance, so that it’s neither a classical concert with a bit of Caribbean spice, nor a Caribbean music concert with some classical flavour, but something where both have an equal place.

When you first picked up the flute as a child in your native Martinique, did you ever think that it would take you this far, in terms of travelling the world and being able to financially support yourself?

No. When I started playing flute, I probably wouldn’t have imagined living in London and travelling around the World. However, when I started to consider a career in music, I was very ambitious and certainly wanted to be a successful musician – probably the same as 90% of all musicians!

I’ve heard you say that Michael Jackson is one of your biggest musical influences. Given that he was predominantly known for his vocal abilities and dancing prowess, and you are celebrated for your composition and mastery of instruments, this might catch a few people off-guard. Could you explain the ways in which his style has influenced yours?

I always admired his innovative ideas, passion and attention to detail. As well as his fantastic song writing. Musically, what probably influenced me most were the brilliant hooks, the cutting-edge production, and the countless details found in the music.

Classical music is often portrayed as being elitist and only open to a select few. How were you able to find your place in this space and are you keen to create environments where people from more diverse backgrounds can enjoy classical music too?

I haven’t found my place yet. As a composer, this is the beginning of my journey (career-wise). I am, however, very ambitious! And yes, I am very keen to create environments where people from more diverse backgrounds can enjoy classical music. This is also why I made the concert, to broaden the perception of what classical music is and make it more accessible.

Given all that you have accomplished so far in your career, what’s still left on your musical bucket list?

Having my music played at the Royal Albert Hall and Carnegie Hall!

GETTING TO KNOW YOU …

A book you have to have in your collection?

That’s difficult, there are so many good books! Recently I’ve been re-reading The Name Of The Wind which I really love!

A song/album that defines the soundtrack of your life to date?

Oh, that’s tough. It would have to be a song or album about growing up in the Caribbean, then living in Europe, talking about the struggles and accomplishments etc. I don’t know any song or album about that!

A film / TV show that you can watch/have watched repeatedly?

The Shawshank Redemption.

The first stage production you saw and what it meant to you (play, dance or concert)? I’m not 100% sure, but one of my earliest memories of a theatre production is Carmen. I remember loving it! The music, performances, stage and set etc. It certainly was a great introduction to how music can blend with/support a story and visuals. No wonder why I love films!

What’s made you sad, mad, and glad this week?

I recently got married and my wife is trying to change her surname here, but since Brexit it’s a lot more complicated. In fact, it’s a nightmare! Last night though, I received some of the footage from the concert. It made me really happy to see it again!

What’s your current plan B? (if it all goes wrong what’s the plan?)

I’ve never really had a plan B, as I cannot see myself doing anything other than music. But if everything goes wrong someday, I’ll find a bit of land in the countryside, live a peaceful life and grow vegetables and animals.

Celebrate someone else (who do you rate right now?) –

John Williams.

Celebrate yourself … (make us proud of you)

I’m proud that I managed to organise the concert, dealing with all aspects from hiring the venue, the performers, gear, promotion etc, all whilst composing and orchestrating the music within 10 months. It was a huge challenge!

Where can we find your latest project?

I am currently mixing the music from the recording of the concert and will be releasing a promo video with snippets of the concert soon. It will be available on my website, sergesainterose.com , YouTube and social media. Watch this space!

Serge Saint Rose’s From Britain To The Caribbean And Back played at St John’s Smith Square.

KJ Spio is one of Africa and the UK’s leading music executives and artist managers …

He has gained international success working with artists from across the globe such as Cadet, Big Narstie, Sarkodie, Efya and Blaq Jerzee. KJ’s strategic mindset has seen him nurture talent and build their global presence within music, TV, sports and entertainment.

He is also the creative director of CEEK, an award-winning developer of premium social virtual reality experiences, a platform that allows musicians and creatives to monetise their work in the form of virtual concerts.

We caught up with KJ Spio to find out more …

Please tell us who you are, what you do, and where you’re from.

I am KJ Spio artist manager/creative director and record executive.

Describe your life right now in a word or one sentence..

Hard work beginning to pay off.

Tell us about your latest project.

My latest project is executive producing and A&R-ing Sarkodie’s new album Jamz out on November 11th.

How did it come about?

It started with a conversation regarding the direction of Afrobeats and the Amapiano influence and wanting to produce a project that has the fusion of Afrobeats, Hip-hop and Amapiano, it’s really a project that came about organically. He records usually in different places. He’s not an artist that goes to the same studio, he records when he’s travelling. The records started feeling cohesive and sounding like an album. They all had Amapiano influence which eventually led to putting together a body of work.

You are also the creative director of award-winning developer seek CEEK can you tell us more about the platform?

CEEK came about from us wanting to provide a platform or an avenue where artists can provide premium content and offer it directly to their fanbase and also get paid. It’s like a Netflix for artists. Initially it started off by us contacting artists, but now we get a lot of artists, management and labels contacting us regarding artists doing virtual concerts or exclusive premium content for their fans. The artist range across all different music genres.

What is your role as curator?

My role is to identity artists that we should work with and come up with concepts and content that works well with different artists; for example, for Sarkodie’s first virtual concert, he performed at the Independent Square in Ghana which had never been done before. The Independent Square is very significant because Ghana was the first African country to gain its independence, and that is the same place our forefathers stood and proclaimed independence. So fast forward to him having a virtual concert there, it was very significant. From that to him doing another virtual concert in the desert. Now we’re about to film a virtual concert with Oxlade. My role is to identify talent and put together something that is great.

What makes CEEK special what does your audience gain from the virtual concerts you put on?

The start of it was like any other start up, just a handful of artists and it grew. The more ground-breaking events that we have, the more talent across different genres we attract. I think what makes what we are doing unique and my role unique, is that we are creating different experiences, having virtual concerts where its so imaginative and you see stuff that you wouldn’t expect to see such as Sarkodie performing in a desert. That was very unusual.

Tell us about any highs you’ve had but also any low points during your career.

High points would be releasing independently and going platinum and the lowest point is the passing of an artist that I manage (RIP Cadet).

What is a memorable moment from your carer that you can share with our audience …

Recording a song and shooting the music video the same day, that was for Cadet x Deno – Advice. Music is something very spiritual. Naturally, if you’re intuitive and you listen to where the energy drives you, you’re able to make decisions or able to do things that happen organically. So during the process of recording the record, we just felt that it was the perfect timing to actually shoot the music video which nobody every does. We went out and shot the video around the recording studio. That’s how it came about.

What’s your current plan B? (if it all goes wrong what’s the plan?)

Plan A, B and C is what I am doing now.

What’s made you Sad, Mad, Glad this week ?

Glad this week is planning the rollout of a very special project.

What are you watching right now?

Raising Kanan.

What are you reading right now?

The Outliers for the second read.

What are you listening to right now?

Bob Marley.

The last thing you saw on stage?

Stomp.

Celebrate someone else (who do you rate right now?) –

Tom Moutchi.

Celebrate yourself … (make us proud of you)

I’m blessed to work with great talent and being able to see ideas come to reality.

Where can we find your latest project?

ceek.com

Sarkodie’s Jamz is out November 11th

Through his work Malaki has transformed and helped disadvantaged and underrepresented young people in his hometown …

Malaki is a musician, music producer, manager and mentor born and raised in Gloucester who has passionately worked to support young people to gain entrance into the music industry from a very young age. In 2021, The Music Works won a Queen’s Award for enterprise for social mobility and Malaki was also nominated for the Inspirational Music Leader Award at the 2021 Youth Music Awards.

The Music Works delivers one-to-one music mentoring, small group work, accredited training, apprenticeships and internships, festivals and events, artist and career development, helping disadvantaged and underrepresented young people access the industry. The Music Works, which won the Association of Youth Offending’s Award for best delivery programme in the UK and became a PRS talent development partner, guides 2,500 young people aged 8-30 on a regular basis and a further 2,000 through its events programme.

We spoke to Malaki about his career, why he chose music (or it chose him) and the reach of the Music Works Charity …

Please tell us who you are and what you do…

My name is Malaki Patterson and I am the Artistic Director of The Music Works, a music charity that supports young people through the engagement of music. I started my career at 17 as a self-taught musician, then started working in the industry as a music producer and recording engineer. I was born in Gloucester but my grandparents are from Jamaica, they migrated to the UK during the Windrush generation.

Describe your life right now in a word or one sentence.

Growth.

Tell us about your latest project.

As the Artistic Director of The Music Works, I support the planning, shaping and implementation of the vision of the organisation. Ensuring young people have a voice in decision-making and that our work is accessible to all young people. Much of my time is looking at how we can remove barriers and provide opportunities for those young people who are underrepresented or those in challenging circumstances.

How did it come about?

Since leaving school, I have always found myself trying to be in spaces where I wasn’t accepted, I didn’t get into music the conventional way, so progression routes and pathways were few and far between. Barriers to accessing music have always been difficult, whether that were due to finances, education, networks or culture. However, once I started to make a career in music I began facilitating music workshops and recording sessions in my local community to help other emerging musicians that were either doing it in an unconventional way or also found barriers to entry.

After years of doing this on my own, I found other people who shared the same passion as me, together we were able to build and develop the organisation which has now resulted in The Music Works.

Tell me about the high points, any obstacles to completing the project, and how you resolved the obstacles.

Highs: The work we do is very rewarding, we have seen the impact music can make in young people’s lives. From personal outcomes where young people build confidence and self-esteem, or to go on to achieve musical outcomes where they have built skills and develop their practice in genres where they may not have otherwise been recognised for their talents.

Lows: There are many barriers to accessing the creative industries and even more young people that face challenges in their lives which will put them at a disadvantage compared to others (i.e low socio-economic background, race, disability, mental health, etc…). We are also facing unprecedented times, the pandemic has been really tough on young people and with the cost of living rising things will only become more difficult for them and their families.

Solutions: There is not one simple solution and our work is a constant continuation of supporting young people, we work with various services such as; Youth Justice, Youth Support, NHS, Schools, as well as community groups and organisations. We are also working with industry bodies such as Warner Chappell Music to help break down barriers and provide more equitable access to the music industry. I have had many knockbacks when things haven’t gone to plan or worked out how I wanted them to, however, sometimes to fail is a part of the process and gives you the necessary experience to succeed.

What’s your current plan B?

I don’t think I’ve ever had a plan B, I have been pretty committed to what I have done since leaving school and it hasn’t been about having a backup plan, but more about doing something I believe in.

What’s made you sad, mad and glad this week…

Sad – Cost of Living Crisis
Mad – Arranging travel for musicians and the realisation of how Brexit has made it difficult for independent artists to tour outside of the UK.
Glad – Spending time with friends and family since recently coming from a two-week residential.

What are you watching right now?

Wu Tang Clan: An American Saga on Netflix.

What are you reading right now?

Holding Change by Adrienne Maree Brown.

What are you listening to right now?

Anthony Hamilton – Everybody.

The last thing you saw on stage?

A local theatre scratch piece curated by a range of local artists collaborating with Breakin Convention.

What’s on your bucket list?

Visit Brazil, Run a marathon, create/finish an album, sky-dive.

Celebrate someone else! Who do you rate right now?

A young artist called Grove who we used to support on our music programme a few years ago. They have achieved so much in a short space of time and it’s amazing to see what they are achieving now, especially as I know the adversities they have had to overcome. They have gone on to do exceptionally well in the music industry (on their own terms) gaining national radio play on BBC Radio Two & BBC Radio 6 Music and performing at Glastonbury.

Celebrate yourself – make us proud of you!

The past two years have been very rewarding. Last year our organisation opened the first fully inclusive music hub in the southwest which houses five studio rooms, a broadcast editing suite, and a 250-cap music venue. In the same year, I was nominated for The Inspirational Music Leader Award by Youth Music. This year I have been accepted onto two major professional development and cultural leadership programmes; Clore Fellowship and PRS Power Up.

Where can we find you and your project?
www.themusicworks.org.uk

Do you have anything else on the horizon that you would like to share with us?

One of our most recent projects about to launch is our brand-new Music Bus; a state-of-the-art mobile recording studio sponsored by Genelec, that will travel out to disadvantaged young people in faraway areas to bring them access to making and recording the music they love. Follow our Instagram for all the latest (@themusicworksglos).