0121 THE RISE OF BIRMINGHAM PT:3

“We’re getting clued up down here, so it’s time to start taking us very seriously.”

Aug 23, 2017

Whilst it’s evident Birmingham is rising, it’s important to ask – in comparison to what exactly? We’ve already established that London, although once was, is now no longer the benchmark to which we should be measuring against. But that doesn’t necessarily mean the place and power is irrelevant to Birmingham’s story, far from it.

Following our in-depth conversations throughout this journey, it’s clear to see the way in which an artist’s perspective develops over time, and ultimately differs, depending on the space they are operating in at any given moment of their career. Those at the top seem to think the time for a competitive mind state, required for progress, is over, and now, it’s more of a collaborative one – between both the statesmen and also the states themselves.

If the first two parts of #0121TheRiseofBirmingham gave us an insight into the history (heart) and the driving force (spine) behind what is the ever-growing Birmingham scene personified, part 3 brings us the mind, the head of the pack, the front line, and it highlights the direction that the scene is heading in.

In the final part of #0121TheRiseofBirmingham we converse with two of the most prominent acts in the scene to date, JayKae and Lotto Boyzz.

JayKae

Following his appearance on Lotto Boyzz ‘Birmingham’ and within days of the release of his Skepta produced single, ‘Every Country’ featuring Murkage Dave, we sat down with Birmingham’s own JayKae. “I feel like I’m just dipping my toe into the water, I don’t feel like I’m doing what I could be doing…” JayKae begins. Yet he’s one of the first names that comes to mind when you talk about Birmingham Grime. “I’ve got a lot more releases to come, and I’m you know, just starting to pick it up again, getting people aware and interested.”

Considering his current position in the scene, JayKae’s success is far from an overnight story. Looking back to his days with Invasion, he pays homage to it as a learning experience, considering it all part of character building. When I ask JayKae how it all started, he reflects, “I was clashing people, in the park, it was like that for months. One day I went down to this set, and when I got there it was like, Lady Leshurr, Dapz, Tazzle, Hitman, Vader, different DJs. All these Invasion people that you might not even been aware of. I went down there, and I just killed it. After that, I was in, and it just went from there.” 

Whilst the collective itself may have suffered significant losses with the departure of JayKae amongst others, it’s evident that the same collective spirit that made these artists gravitate towards each other, is still very much present in the scene today. “I’m following everyone bruv. People that are just starting, on p110, like RK, and others, to people that have been in it a while, like K2 and Tana. Young ones coming up. And then there’s Lotto, MIST, Tempa, Dapz, Safone. There’s chances and opportunities from music that we dreamed of, where we can live off music, that weren’t an option a couple of years ago.”

“We enjoy doing music, that’s what’s kept us going for so long, but now its like a whole different ball game.”

It’s at this point we switch up the focus from what’s going on in Birmingham, to where the city finds itself situated in the bigger picture. The recurring theme throughout this series has been the comparison to London, yet contrary to popular belief, a handful of these 0121 artists don’t perceive London as a direct opponent, but more so, as a general competitor. “When I first got into it, it was more like, we were trying to get noticed by the Londoners, the DJs and the channels that were up there. Causing as much noise as we can until they clock us… but then it got to the point where it died down, down there, and we are the guys now, everyone was watching Birmingham.” 

At this point JayKae paints a clearer picture of how the scene should be examined, “I think the whole game has evolved now, ‘cus people like Stormzy and Skepta have brought a new audience to the scene, which helps everyone. It is back in London now, but it wasn’t before. But we’ve proven ourselves. Now its up to us to see how far we can take it.”

Further emphasising the fact that it’s not necessarily about bypassing London on the way to international success, JayKae expands on it, ”Look at the Hip Hop Scene back in the day for example. NY used to have it, then it was down South that had it. Now Toronto is on fire. I just want Birmingham to be respected and have people like ‘yo, theres some heads down there and they know what they’re doing.’ I want us to chart. I want us to do what London has already done, going Number 1, doing worldwide tours, etc. right now, we don’t really have that here, that person to look up to. We are the people to do it, and then the younger ones coming up, they will surpass us at some point.”

As we wrap up our conversation and Jamie starts taking shots of JayKae, Despa Robinson (his manager), hints that there’s a big secret to be revealed next week. As I scroll through Twitter the following week, I see nothing but JayKae’s name on my timeline featured alongside one of the highest rated US television drama’s, Power. His well-known anthem, ‘Toothache’, is featured in one the final scenes in an episode, resulting in a new level of hype and progress for Jaykae. This is the time where he’s mobilising and capitalising on everything. As the tune is playlisted on radio and Spotify, he makes the announcement of his first headline UK Tour, the Where Have You Been Tour. After all of this, his final words in our interview really strike home…

“Just take note and just listen to what we’re doing down here, ‘Cus its not a joke. It might have been a joke a few years ago, but it’s not that now. There are businessmen now; people are starting to learn what labels can offer you, ways to push yourself independently. We’re getting clued up down here, so it’s time to start taking us very seriously.”

Lotto Boyzz

In the final interview for #0121TheRiseofBirmingham we head to Aston, Birmingham to speak to arguably the hottest in the game right now, Lotto Boyzz. In fact it’s in this very building that Ash and Lucas first met and began to experiment with music almost 7 years ago. The past couple of years for the Lotto Boyzz have been exceptional, releasing a string of hits from ‘Hitlist’, to ‘Bad Gyal’ to their biggest hit to date ‘No Don’. We sit down to talk, just as they wrap up the new remix in a studio session minutes before.

“When it was time, we set up a mind-set where we said to ourselves, ‘listen, if we’re gonna’ do it, we do it properly. By all means’”, Ash begins, as he reflects back on the moment they first started to take their journey into music to the next level. At that time, Ash and Lucas came to the attention of then promoter and now manager, MafDotYou. It was the catalyst that gave them the charge to step their game up, “Maf heard some stuff from us, and he decided to put us on some of his shows. That’s when it got a bit more serious, we started getting more gigs and the gigs got us out there a lot more.” Lucas continues, “We had this car that was moving, we were pushing it but we didn’t know which direction to go in. Maf came in and said ‘listen, let me take control of this car’…, all of us worked as a unit to get the car moving. We had no direction, we were on autopilot, but he brought guidance to the movement.”

After Maf joined the pair, the release of ‘Hitlist’ and ‘Bad Gyal’, catapulted them to widespread popularity. Objectively speaking, Ash explains how, “It takes someone else to recognise what you have, for you to understand. When you’re in it, you just don’t see what’s going on on the outside. Maf helped us see that.” After ‘No Don’, Lotto Boyzz started receiving offers from various labels. It was a deal with Pitched Up/Columbia that ultimately felt like the right one. “The deal itself came in after ‘No Don’” Ash continues, “from ‘Hitlist’ there was offers on the table, but we took our time, and made sure, all three of us, understood what was best for us. The people at Sony are good people, and I never feel uncomfortable around them”.

When it comes Birmingham, Lotto Boyzz are singing loud and proud about their city metaphorically, but also, literally, with the release of their single ‘Birmingham (Anthem)’ featuring fellow 0121 MC JayKae. Ash talks about how the whole thing came about, “It was definitely planned. We were kinda’ saying thank you. In Birmingham, we don’t understand the power we actually have. We are so underrated in a sense. We see how good London’s doing and think negatively about ourselves. But music is music, if it’s good, they will support you. There’s never a point where you should feel underrated” speaking on the release. It helped us to set in stone, like, this is where our sound is coming from.”

“Lotto Boyzz is from Birmingham. We did it in our way. It’s that Afrobashment sound, mixed with Grime, with our flavour, our spice…”

From a similar perspective to JayKae, Lotto Boyzz seemingly agree that whilst there is a huge amount of focus on the Birmingham scene right now, it’s less about competition between the cities, but more so about collaboration. “I love London, the UK, so I’m looking at the UK. It’s not a thing like, London is doing so well, lets focus on Brum for a minute now, its more of a collective thing like, ‘hey look, London, I’m from Birmingham, but we’re trying to get UK music as a whole popping’”.

The pair were also willing to offer their criticism to the scene however. “In a way, we should take a leaf out of London’s book” Lucas explains. “When something comes out, they are so quick to embrace and support it to help each other grow, they work together. Here, it seems like everyone is trying to do their own thing instead of building together. If we built together, a lot more would be rising a lot faster. In Brum, it seems that people are more likely to just work in their circle and they are scared to go out of it. Sometimes you have to go outside of your circle and link up, its networking. Grow someone else’s sound, which in turn, will grow you. You’re not just gonna’ work with anyone, but if you see something rising, don’t be scared to give it a push. Be open minded.”

Ash purposefully expands, “We want to be in a position where we can help people grow. Be the direction. But we need to get ourselves in that. Yeah, we’ve got Lotto Boyzz records. We’ve been working on it, but me going to someone now and signing them doesn’t make sense yet. I haven’t made it yet. When I get to a place where the name Lotto Boyzz is an influential thing, a brand itself, that’s when I can start helping people how I want to.”

After what seemed like an extremely in-depth talk, they finish up with the mention of a project that will soon be pleasing our ear drums with their trademark sound which they describe as “Afrobbean, the African bongos, the Carribbean steel pans, mixed with that UK *aggressive grunt*”. 

Ash and Lucas soon head off to a 1Xtra show broadcasting live from Birmingham. Hosted by DJ Target, they premiere their ‘No Don Remix’ featuring Chip & Not3s, whilst joining them on air are JayKae and Lady Leshurr.

The Rise of Birmingham is happening now, and mark these words, the 0121 is not playing.

0121 THE RISE OF BIRMINGHAM PT:2

“The focus is finally here, and so are the right players to maintain and amplify that attention”

Aug 11, 2017

One of the most striking things about the key players in the Birmingham Grime scene, has been their ability to manoeuvre through years of musical and cultural development. The artists who have survived these lengthy periods, have done so by embedding themselves into the crevices of the streets that this music belongs to. Whilst remaining influential and akin to the rising stars on the frontline, these players hold themselves in high regard despite the humbleness they seemingly display on camera.

After several discussions with the artists who could be regarded as the spine of this growing scene that is Grime, it has become increasingly clear that the idea of ‘making it’, the purpose, isn’t necessarily what we all deem it to be. That is however, not to belittle the achievements and future ambitions of these artists.

A conflicting concept of hunger vs contentment is mirrored throughout their thoughts and opinions especially when it comes to addressing the London Complex – a concept that some have already dismissed. The overarching belief is that, Birmingham, along with all the other UK cities contributing to the scene, is doing exactly that, contributing. The capital city no longer feels like the yard stick by which artist should be measuring themselves against.

In Part 2 of the #0121TheRiseofBirmingham series, we converse with Tazzle, Infamous Dimez and Scorpz, to get their views on the scene and where they stand in their respective careers today.

Tazzle

“It’s been a long journey, almost 10 years since I first started getting into it.” Tazzle begins to reflect as we sit down after he wraps up a 3-hour session down at Prime Studios, Digbeth. “That was when the Grime scene really began to pop, and for me, I’m lucky in a sense. For every stage of progression that Birmingham Grime has gone through, I’ve been there and seen it.”

“In my opinion, in terms of talent, Birmingham will be beyond London, if not already”

Talking at a very exciting time for Birmingham as a scene, it’s clear Tazzle feels a similar way to how the majority of artists are feeling at this moment. “It’s a very exciting moment here. We’re fortunate enough to be in positions where we have a chance to go onto mainstream platforms, festivals, shows, getting access, and it’s a blessing to be there, as a key player or even a potential key player. The focus is finally here, and so are the right players to maintain and amplify that attention”

“In my opinion, in terms of talent, Birmingham will be beyond London, if not already” he answers confidently with little show of hesitancy, when quizzed on the tendency to compare Birmingham’s scene with London. “If you’re talking infrastructure, radio, labels etc, then of course, it’s understandable, London is the capital, the origins and where attention is drawn to, but in terms of content, nah. When you are in cities like here, or even surrounding areas, and other cities like Wolverhampton, it’s easy to get that London Complex, but we can see the development. You don’t have to physically go somewhere to impact the market. It’s about having the right brand, believing in it, and marketing it well.”

With Tazzle focused and working towards good quality music, it’s clear that his visions are set for the scene as a whole. It’s not necessarily about viewing cities in different lights; it’s about the art itself. “Respect the artists, and the city will grow.”

Infamous Dimez

Whilst the spotlight is being shared by a handful of Brummie MCs, one could argue that it’s those artists lurking in the shadows of the scene, who are more privileged. Given their extended time in the scene, it has given them to opportunity to see everything, every first, every development. Originally from Birmingham but now Wolverhampton-based, Infamous Dimez is an artist who proclaims this. His time is imminent, and it’s long over-due.

“Being on 1Xtra this year, for the Wolves takeover, that was one of the biggest things for me so far. I’ve always wanted to be there at one point, because I could go in there and bar. A lot of people aren’t too aware of me being able to spit, but I can spit.”

We meet up in the middle of Digbeth’s infamous Custard Factory, an area synonymous with the old school, Grime and live music events that Dimez was so privileged to experience. “It was in this place, where we’re sitting right now, where it all happened,” he reflected. “Birmz is Grime, Rainbow Venues, the first time they got Ghetts down here. These are the things I’ll never forget, I was there. A couple of years back, when Grime was still, you know, Grime…” nodding profusely. “With no disrespect to those doing it now, there was so much culture, clashing, so much for us to get hold of.”

Know who you are, who you’re creating for and what you represent. Your brand isn’t just a name, it’s everything about you.

I ask about the supposed inconsistency of the scene as a whole in Birmingham, and his wisdom and experience shines through, providing an insightful input. “It’s not about what artists are bringing, it’s about what people are accepting…in my opinion. People have achieved greatness in a short period of time because they’ve given the public what they wanted. It’s a balancing act, not about conforming, but creating…and be quick with it, really quick. I’ve seen it happen. You can be the shit on Friday, and a nobody on Sunday.”

Scorpz

“Livewire was a movement, originally, it was Me, Hecki and Choppa, you know, when it got serious, and to be honest, a couple man were more on it than others” Scorpz begins reminiscing after I ask him how he started. “Dapz was always on it 100% fully focused, Choppa as well. Some of us weren’t as consistent, but I feel like now I’m addressing that.”

Fast forward to 2017, Scorpz has made quite the name for himself, and recently dropped an extremely strong project in ‘Bits and Bobs’, leading with the single, ‘Deebo’. “That’s mans surroundings sometimes. Theres stages where things are happening and it’s not as bright outside… but then there’s also tunes like ‘Due Time’ as well; it’s still for that street element”, he responds when quizzed on the aggression of his latest efforts. “The concept of it was basically, bits and bobs of me, what I do. Each song was a bit of me and then I followed that up with ‘Views’, even though ‘Views’ was technically done before that project, it got resurged into life, play-listed, sync deal, everything.”

It’s becoming increasingly clear when looking through the eyes of various artists that Birmingham is perceived as a working project, almost a future hub of the Grime scene. Scorpz’s opinion is no different. “I definitely see us as a leader and with a bright future as a city. We ain’t stopping, and if none of us are stopping, it’s not gonna’ fall flat. Even if a few of us make it, it will build opportunities, it will build belief. It will make those younger artists who have an inherently negative view, as if to say, “ahh I’m from Brum I can’t make it”.

If more of us make it, it will happen. Belief is necessary, you have to believe in yourself.

Having recently been named a part of Birmingham-based Punch Records’ Next level programme, Scorpz is hoping to build strong relationships and perhaps more excitingly, build a project that could be coming towards the end of this year. “With Bits and Bobs, I didn’t fully understand what I was going into. Now, I get it, I know what they want. I know what works and what energy to go with. Give it a few years and I’ll get there. I’m excited.”

0121 THE RISE & RISE OF BIRMINGHAM MC’S

“I’m spitting for Birmingham. Someone’s gotta’ show identity from our city.”

Jul 28, 2017

The national explosion of Grime is undeniable to practically anyone remotely interested in music, from the invasion of the Official UK Charts to taking over mainstream Summer festivals such as Glastonbury, Reading and Leeds. It was in the early to mid-2000s although, where we began to see the first traces of Grime music seep through the veins of major cities outside of London in the UK.

Birmingham’s Grime scene has been on simmer for years now, but the cultural mixing-pot of this younger city, bursting with younger people, is about to boil over, and what is emerging as a result is a line-up of the most ravenous, sharp and ferocious talent that the UK currently has to offer. Yet, whilst this new wave of artists is only now seemingly heading to the frontline, in reality, 0121 has had the presence of a heavyweight in the scene for 10 years or more.

Mike Skinner’s 2003 EP, ‘All Got Our Runnins’, featured a handful of Grime MCs on remixes, while the historic 2006 Lord of The Mics clash between Skepta and Devilman, brought about the London-MCs stinging ‘Nasty’ anthem, and has till now, racked up over 11 million YouTube plays. In fact, it’s almost as if Birmingham’s own have developed a taste for stealing the spotlight in prominent moments of greatness. A year prior to the rising of the infamous Rainbow Warehouse live Grime events in Digbeth, south of the city centre, came what was considered of the scenes most flipped instrumentals, ‘Woooo Riddim’, produced by S-X. These footsteps of a Brummie producer have been inflated by one of the hottest producers in the game right now, Swifta Beater, who is responsible for some of the most listened to tracks in the scene from JME & Giggs’ ‘Man Don’t Care’, to Kano’s ‘3 Wheel-ups’.

Now with it’s own defined sound, Birmingham’s new generation of Grime artists, from Jaykae and Dapz On The Map to Lady Leshurr, have made incredible leaps and bounds for the genre and scene in the UK’s second city. The same manner in which the diverse demographics of this city lend to the unique fusing of sounds amongst the raw talent that there is to offer, Birmingham has delivered some kind of ineffable intensity to the game, that arguably, London, the city known as the birthplace of Grime, hasn’t delivered.

Regardless of these efforts however, it’s no secret that Birmingham has, musically, remained beneath the shadows of The Big Smoke up till now. As you explore the emotions and streets of 0121 through the organic, contentious abilities that these artists bring, you can’t help but feel as if the energy in every bar being spat, originates from a place of grievance, frustration, almost animosity. It’s the London Complex – the idea, better yet, the assumption, that one can only go so far, or develop to a certain point, in this city, until they can no longer progress without making the big move. It’s not a new thought, but in recent times, it’s seemingly losing its eminence amongst the local artists’ thought process, seeing the international heights that their very own have achieved from their back yard.

Birmingham is on the rise, and it’s time to show it. In Part 1 of our new series we speak to Tempa and Dapz On The Map ahead of MADE festival.

Tempa

Tempa’s recent release of ‘Gimme Respect‘ coupled with the long-term artist-producer relationship he shares with Swifta, has truly allowed Birmingham’s Tempa to put his stamp on the scene, declaring his presence and what’s to come. “Gimme Respect was for everyone, it represents everyone here (in Birmingham), and we aren’t just talkin’ to the listeners, it’s aimed at the industry as a whole. Give us respect! Give me respect! Everyone that is spitting, and putting in actual work, and getting the ball rolling” Tempa explained in my recent #0121TheRiseofBirmingham sit down with him.

When questioned on his opinions towards the London Complex however, his tone opposed the view that has kept so many artists from outside of the big city restrained for so long. “You don’t need to be there initially. Nothing is stopping you from becoming established before taking it to the next stage, your music and your hard work will do that. It’s just when you have to do certain things, for example, attending an interview on 1xtra.”

Birmingham is on the come up. We’re building, everyone is building.

Birmingham compared to London, may be regarded to be a city low on infrastructure and resources when it comes to supporting up and coming artists, Tempa doesn’t disagree. “Definitely. We need more things going on, more radio stations that are willing to play Grime and urban music, more people that are willing to be part of the scene. There’s enough MCs, but we need others, we need the whole machine. We have MADE festival coming up, and it’s good for Birmingham, but we need more like it. It goes to show, people enjoy this type of music, we need it to be showcased more like this. Birmingham is on the come up. We’re building, everyone is building. Scorpz, Dapz, JayKae, Lotto Boyzz, MIST, Choppa, everyone. It’s time. I’ve been away for a while and because of that, my next project is most likely going to be a mixtape, a longer project with more tracks, and I’d go very heavy with the collaborations. There will be something this year.”

Dapz On The Map

“JayKae had a show at Stormzy’s Merky Festival in Ibiza and he pulled me through, the experience was amazing, it was a taster of what’s to come for me” Dapz reflected as we began our hour-long conversation covering everything from his early beginnings, deciphering bars from his latest single ‘Mini Valet’ and the upcoming project, ‘Champion Settings’.

“I’ve been on music since young, man, but 2009 was when I took the brave move to do it full time. It gave me the energy, the juices I need now. It was almost like every 2 years was a big step, the next stage. 2011 was when I started to incorporate the singing into my music, with Okay. 2013 was the tour and Magaluf with Skepta. 2014 was Froggy (ft. JayKae). 2015 was Murdah. 2016 I had the headline show in my hometown. Every one year something has happened. 2017, what I’m about to do this year, it’s not over yet.” And it’s true, Dapz On the Map, is a real contender for the 0121 crown, managing to engage his growing fan base with a string of bangers.

However, it was with the 2015 effort ‘Murdah’ when he realised the potential of this aggressive sound, tapping into a new, Grime-centric fan base. “…What I failed to realise during that time was that by doing all of these tunes, I gave them all my powers, and I didn’t have anything to follow each one up with. There was no project. The momentum was there, but there was nothing to fall back on.”

Enter ‘Spring Clean’, a collection of all his big tunes, released and done with time to create his new project, ‘Champion Settings’. There’s a prominent line in ‘Mini Valet’, where Dapz says “…from Oxygen rooms to in the o2”. It screams loud for Birmingham, in fact it feels like Dapz is firmly putting Birmingham on the map. “I’m all about speaking for Birmingham fam. I appreciate everyone, but with that, it’s kinda like if you’re not from Brum, tough luck. You don’t know about Oxygen Rooms if you’re not from here.”

“I’m spitting for Birmingham. Someone’s gotta’ show identity from our city.”

In a similar fashion to Tempa, Dapz agrees that whilst the music industry infrastructure of Birmingham is lacking, there is no stopping an artist from elevating in their hometown. “It’s down to the artists’ mind state”, he calmly explains. “If I was from London, I probably wouldn’t have stood out like I am now, and it would’ve taken away form the nostalgia of what I do. I’m not going to change the way I speak or deliver myself or move differently, it’s organic.”

On appearing live at MADE Festival 2017, which has seen consecutive growth each year in both size and artists, Dapz is clear about what it means to bring the local music scene to a festival stage; “MADE festival is the biggest Birmingham has to offer, so to be on the main stage of my city, it’s an honour.” Speaking prior to his performance at MADE, Dapz has one clear statement – “I proclaim this, I’m trying to be a pioneer for my city. I’m so glad they see what we see, and best believe I’m going to go in with it.”

It’s evident that the current state of Birmingham Grime is one to be rivalled, and the talents emerging are not to be dismissed in the face of London acts which have achieved international stardom and success. Yes it’s about Grime, but in the words of Dapz, “a good song is a good song”. Pigeon-holing everything we do can limit creativity. It’s an exciting time for Birmingham and we can’t wait to see what the future holds.

Part 2 coming soon #0121TheRiseofBirmingham