UD Music: The Update 2021

UD Music: The update 2021

Gigi Lo at The Great Escape

Photography by Alexis Maryon

udmusic.org

Talent: The journey

Unapologetic about Black music culture

Since laying our foundations in 2000, UD’s mission has been to educate, empower and create life opportunities for young people inspired by the sounds, words and rhythms of Black Music culture.

UD is a London-based music organisation bringing communities together around Black music and Black music culture. With over 20 years of experience in nurturing and supporting Black and culturally diverse artists when they need it most, UD acts as a bridge between burgeoning talent and the music industry.

Step 4 Thought leadership

Consistently evolving our programmes, UD now connects with nearly 2,500 young people a year, with an aim to double this number over the next three years, thanks to a programme of opportunities that coincide with the opening of our new stateof-the-art home, The Talent House.

At UD, we are passionate about excellence, and the potential for excellence in every young person we encounter. Aligning professionalism and business acumen with an understanding of youth and subculture, we run industry-led events, artist development and employment support programmes. Those that have come through our doors can now be found working at institutions including Island Records, Nike, Rinse FM, GRM Daily, Beats and SBTV. Artists we have helped and showcased at early stages of their career

Step 3 Industry insights

Step 1 Music education

Step 2 Artist acceleration

include Wretch32, Little Simz, Ghetts, Andreya Triana, Maverick Sabre, Dyo, Devlin, Labrinth, Skepta and Paigey Cakey.

Since 2000, when UD was co-founded by a group of hip-hop artists, we have understood that young people need the resources and space to create and explore their potential; UD works for a world where young people who make and love Black Music, are recognised as equal to any excellent creative individuals, and are celebrated and supported as such. Whether they’re on their first steps into music, just breaking into notoriously competitive creative environments, or about to make it big, we provide the tools they need: Excellence, confidence, structure, opportunity and networks.

United in development, UD stands for you.

To find out more about our work and projects, please visit → udmusic.org Follow us → @udmusicldn

“UD, a charity which provides support and advice to young people trying to make it in music … while its foundations are philanthropic it’s become a serious music industry player.”

The Guardian

The Talent House

The Talent House includes a 6 room music recording, production and teaching facility featuring studio-wide Dante Audio Over I/P Connectivity via Focusrite’s Rednet, for management of inter-studio audio playback, headphone mixes and recording management.

Facilities

Studio (control room 1) features 24 Recording Channels via an Audient 4816 Console + Focusrite ISA828.

ENTER OUR NEW PIONEERING MUSIC AND DANCE HUB IN EAST LONDON! Welcome to our new home, a state-of-theart £4.1 million building called The Talent House, at 3 Sugar House Lane in Stratford - and you’re all invited.

UD and East London Dance have come together, under one roof, to offer even more opportunities for young people. We proudly present to you Talent House, a pioneering music and dance hub, designed by awardwinning architect Katy Marks. Boasting professional facilities, including digital broadcast capability throughout, it will lift the aspirations of all who use the House.

With five music recording studios, a live room, two vocal booths, a large flexible

rehearsal space, a Mac and tech lab (with 20 workstations for music education), two dance studios, a flexible space for seminars, a shared area for members (including a canteen and hot-desking space), Talent House is going to be THE cultural hub for emerging talent. To top it all off, the central atrium is our main reception and can be used for informal gigs and dance jams.

At UD, we understand that young people need the resources and space to create and explore their potential. The Talent House provides just that while we continue to empower those trying to make it in the music industry to realise they already belong, equipping those who are breaking through into notoriously competitive creative environments with the tools they need: Excellence, structure, confidence, opportunity and networks.

Studio (control room) 2 features up to 32 Recording Channels via an Audient ASP 8024 Heritage Console.

What is The Talent House?

Studio 3 is a podcast production room with integrated vocal booth.

We hope The Talent House will be many things to many people. Among them, it will be; → A home for young Black and culturally diverse talent. → A state-of-the-art studio where tomorrow’s most exciting music will be made.

3 music recording studios

2 music production/ writing rooms

Live room

A 31sq metre live room, with separate vocal booth, connected to 2 independent control rooms.

Tech lab with 21 Mac workstations for music education.

Large flexible events and rehearsal space (50 capacity seated).

→ A rehearsal space where performances of the future will be crafted.

Shared area for members (including a canteen and hotdesking space).

→ A place of sharing, learning and enrichment.

Focusrite’s Rednet system is featured in both control rooms, the live room and the podcast production room, with expandability to the other two production rooms and teaching spaces for facility-wide content production.

→ A home for one of the most vibrant communities in the world.

2 vocal booths

Tech lab (with 21 Mac workstations for music education)

Flexible events/rehearsal space

Member co-working area

Want to become a founding member?

Register your interest at udmusic.co/memberships

Floor plan studios (first floor)

Floor plan teaching spaces (ground floor)

Memberships: Join the UD community at The Talent House

“There is so much talent coming out of the UK but not enough spaces for young people to experiment and develop before they are swept up in success.”

Amahla, singer songwriter and UD alumna

Make me a member!

We’ve created various packages for the artist or entrepreneur in you.

Whether you’re looking for entry level support or to take your career to the next level, our membership programme offers a variety of options for those trying to succeed.

Highlights include: → Free & discounted studio time → Showcasing slots → Co-working space → Meeting room availability → Networking → Masterclasses → Priority event access → One-to-one meet the expert surgeries → Complimentary refreshments → Free tickets → Meet & greets → Business support

Why get a membership?

1. Access to co-working with highspeed broadband and refreshments and meeting room

2. Access to studios and rehearsal space

3. Professional development – seminars, masterclasses, memberonly newsletter, one-to-one meet the expert surgeries

4. Showcasing – performances and website profile

5. Networking

Membership tiers

Tier 1: Basic/youth package £25 per year (upfront fee only)

Tier 2: Enhanced package £100 per year (upfront fee) or £10 per month

Tier 3: Business support package £240 per year (upfront fee) or £25 per month

→ Discounted coworking day pass

→ Hot desk coworking space

→ Hot desk coworking space

→ Discounted studio time

→ 2 hours of free studio time

per month

→ 4 hours of free studio time per month

→ Discounted tickets to all UD

events including Industry Takeovers

and Showcases

Want to get involved?

Register your interest at udmusic.co/memberships

→ Part of the UD members

networking community

→ 2 hours of free meeting room rental per month → Free tickets to UD Industry Takeovers and Showcase events → Meet all our speakers and artists at events backstage → Free tickets to member only advanced

skills master classes to develop creative and

business skills → Member profile on UD website and promotion

on social media

→ 4 hours of free meeting room rental per month → Free tickets to UD Industry Takeovers and Showcase events → Meet all our speakers and artists at events backstage → Free tickets to member only

advanced skills master classes to

develop creative and business skills → Member profile on UD website and

promotion on social media → Support from UD with a 12 month development plan → Showcasing opportunities for artists

and managers → Support to organise gigs and

performances for promoters and producers

Industry Takeover All Dayer 2021 Programme

Image: courtesy of adidas/ TRENCH

BUILDING INDUSTRY ALLIANCES:

UD x TRENCH present...

No Signal No Signal Radio, a station run by a team of young Black creatives, are paving the way for a new age in radio broadcasting and beyond. Appearing at this year’s Industry Takeover All Dayer, don’t be sleeping on London’s hottest newcomer.

Yemi Abiade breaks it down…

In 2020, while most of us were getting to grips with the newly-established constraints of COVID-19 lockdown, No Signal Radio was plotting, seizing an opportunity to make their mark on British radio. Over the course of lockdown, across a diverse range of programming, personalities and truly unforgettable moments, No Signal became the premier listening space for #blackradio, a place of refuge for Black Britons and the African diaspora beyond to come together and exist in a space that is completely theirs. As lockdown has slowly come to pass, it now stands tall as a legitimate and flourishing station to rival other hallmarks of modern British online radio such as NTS, Worldwide FM and Reprezent.

The secret to their success was simple, yet profound.

If you didn’t know who was initially responsible for the #NS10v10 DJ battles, you knew the premise. Pitting two artists (represented by resident DJs) and 10 of their best tracks against each other, with the winner determined by a public vote, the battles caught the imagination of the world, opening the door to No Signal’s rise. Across two seasons so far, the showcases have included Burna Boy vs Popcaan, Drake vs Rihanna and Kano vs Dizzee Rascal and, in early May, a battle between Afrobeats legend Wizkid and dancehall king Vybz Kartel gained the station more than half a million listeners from 99 countries.

The message was clear: No Signal had gone global, a phenomenal achievement despite very humble beginnings.

No Signal was established by brothers Jojo and David Sonubi, a sister platform to their popular club night, Recess. Initially one-off livestreams on their official website, the station’s audience was small but devoted, consisting mainly of loyal frequenters to the various

Recess events. As lockdown swept through the country, forcing the cancellation of planned parties, the Sonubi’s were forced to regroup, reviving No Signal into a fully-fledged radio platform. Dipping into their vast social network, the brothers have employed a full roster of DJs, hosts, programmers and producers, turning it into a dynamic organism knee-deep in all Black everything.

Employing the services of everyone from presenters Henrie Kwushue and Jason ‘Scully’ Kavuma to sex blogger Oloni, No Signal possess nothing but energy and drive in their ranks, nurturing a new generation of Black entertainers. The station has also welcomed as guests a number of titans in Black British culture such as Ian Wright, Julie Adenuga, Ghetts and more, an indication of the growing faith in the station from all corners of the industry and the country at large. All while recording sets, shows and general content from their homes, which is no mean feat.

The radio station has left no stone unturned in its musical tapestry. Playing everything from gospel to reggae, from highlife to drill, a dedicated and ever-growing fanbase have begun to identify the richness of Black music and culture across decades and generations. A newfound appreciation for the music that would play in our homes by our parents any given Sunday morning, breathed new life by a vibrant, young and celebratory platform. At a time when the Black Lives Matter movement has placed itself in the centre of the world stage, where more and more of the viewing public have borne witness to our struggle for equality, No Signal has provided a respite, a reminder of the wealth of Black culture.

In the UK, where genres such as drill, UK rap and Afroswing are the dominant sounds, a young audience is receiving an education on these sounds’ origins via No Signal. Cultural bridges, therefore, are being built between the sounds of today and yesteryear, a full circle moment for many listeners. Outside of music, with No Signal in full support of and giving a platform to initiatives such as the Black Young Professionals Network and The Black

Industry Takeover All Dayer 2021: Showcase: No Signal presents NFT

Curriculum, listeners are given the keys to their history and interconnection in the professional world, proving the station’s MO, at large, lies in the advancement of Black people.

In a short space of time, No Signal has revolutionised the interactive aspect of radio. Its branding has become synonymous with what is brand new, fresh and cool in the music scene, while they have made great use of their social media channels to determine content, to engage with listeners and comment on the topics of the day.

It shows an alertness and a finger on the pulse that mainstream radio can lack, particularly when addressing Black music and culture. Completely organic, No Signal have made radio must-hear content with little to no resources, except endearing imagination and a strive to entertain the masses. Forming a relationship with their audience has proven key in this process, a chapter all radio stations should look to take from their book.

Now that lockdown is over, No Signal are continuing to thrive. In addition to their regularly scheduled programming, partnerships with Spotify, Wray & Nephew and adidas further prove their presence is growing. And with plans to open up a physical broadcast studio, a natural next step, the station wants to transcend its online origins and become a staple of British radio, much like Capital, Heart and other mainstream stations before it.

Hard work is sure to follow, but they are fully up for the challenge. The sky is most certainly the limit for No Signal, and it will be taking the history, dynamism and ultimate resilience of Black people with it all the way to the top.

A version of this article appeared at trenchtrenchtrench.com on August 12th 2020.

Words: Yemi Abiade

Keynote talks RICH CASTILLO (A&R DIRECTOR, ATLANTIC RECORDS) IN CONVERSATION WITH JASMINE DOTIWALA Location: Studio 2 (Main Space) Time: 13.00 — 14.00 Host: Jasmine Dotiwala A true legend in A&R circles, Rich Castillo has been making moves since starting his career with Shalit Global, where he helped to launch and develop the group N Dubz. Having worked for UMTV and All Around The World, Sony/ ATV, Universal Music Canada and Polydor Records, Rich is now A&R Director at Atlantic Records. In conversation with broadcaster Jasmine Dotiwala, will be exploring Rich Costillo’s career journey, being a black executive and his future plans within the music industry.

Showcases HARDY CAPRIO IN CONVERSATION WITH SCULLY Location: Studio 2 (Main Space) Time: 18.00 — 19.00 Host: Scully (presenter, No Signal) A true meeting of minds, Keynote 2 will hear No Signal co-founder Scully in conversation with Hardy Caprio.

A figurehead of the afro-swing movement, Croydon’s own Hardy Caprio had his breakthrough moment in 2017 and has today amassed millions of streams. Also boasting a first class degree in Finance & Accounting, expect to learn about his journey to date, the highs and lows of being a successful recording artist, along with an exclusive look at what’s to come.

One-to-one surgeries

UD MUSIC PRESENTS... TAKEOVER SESSIONS

MEET THE EXPERTS

Location: Studio 2 (Main Space) Time: 14:00 — 14:30 & 16:30 — 17:00 Host: Nadia Jae (presenter & radio DJ, Radio 1Xtra)

Location: Studio 4 Time: 13:00 — 18:00

Performers: Amber Grandidier, Briana, Molly Elizabeth & Nayana We’ve got good new music firmly covered. In the first of our showcasing sessions, UD Music presents some of the finest new talent you’re likely to hear in 2021.

Having all risen through the UD ranks (Flames, Incubator or Accelator courses), expect harmonious soul and contemporary R&B from Amber Grandidier, vocal sensation Briana Williams, singer songwriter Nayana and Molly Elizabeth, who’s new single ‘Please Just Wait’ is out now via UD Music’s imprint, Ingrooves, a new distribution partnership with Island Records.

NO SIGNAL PRESENTS... NFT Location: Studio 2 (Main Space) Time: 19.00 — 20.00 Host: Scully (presenter, No Signal) Performers: EllzBs, Kadiata, La Swave & Additional female artist tbc Where No Signal are concerned, expect one big wavy family affair. Probably the best thing to have been born out of lockdown, No Signal are certifiably doing Black radio like no other. From the airwaves to Protein Studios, No Signal and host Scully will be bringing their friends - and some banging new tunes - along for the party. Be ready for the likes of ElizBs, Kadiata, La Swave and more, with barring, singing, and plenty of skanking to be had.

Amber Casey (Marketing Manager, Parlophone Records, Warner Music) Kosi Sompeta (Marketing Manager, Parlophone Records, Warner Music ) Mali Emeka (A&R Scout, Parlophone Records, Warner Music) Alex Sparks (Senior A&R Manager, Island Records, Universal Music UK) Cian Cooper Davies (A&R MANAGER, 0207 DEF JAM, UNIVERSAL MUSIC UK) Emmanuel Olowojoba (A&R Manager, Universal Music UK) A must for aspiring artists, we have bought together some of the most highly respected A&Rs and Music Executives in the industry for you to meet in your very own 15-minute, one-to-one consultation. You can get personalised advice, professional feedback on your demo, as well as artistic guidance and direction.

Limited slots will be available on a first come, first served basis.

Panel discussions HOW TO STEAL MY JOB Location: Studio 4 Time: 12.00 — 13.00 Chair: Jasmine Dotiwala (journalist, broadcaster & inclusion leader) Speakers Shauni Cabellero (Director G93/Publisher) Ella-Bonai Gordon (Artist manager & A&R consultant) Sharlotte Ritchie (Director Global Communications, Universal Music Group) A staple when it comes to Industry Takeover panels, we revisit the classic ‘How To Steal My Job’ theme for 2021. With all-round music and media go-to Jasmine Dotiwala at the helm, we’ll look at the panelists’ career journeys; the highs and lows, exclusive insights and ultimately, provide you with the information you need to get THAT job and make your mark in the business of music.

J2K PRESENTS… THE MAVERICKS: CARVING YOUR OWN PATH IN THE MUSIC INDUSTRY Location: Studio 2 (Main Space) Time: 14.30 — 15.30 Chair: Nadia Jae (presenter & radio DJ, BBC 1Xtra) Speakers Irene Agbontaen (designer & creative consultant, founder TTYA) J2K (creative director & founder, Crep Protect) Poet (unprofessional poet) DJ Target (Co-music Lead BBC 1Xtra, DJ, author) Curated by Jason Black aka J2K, The Mavericks features some of the top names in the industry who will be focusing on how to carve your own path through the music industry.

J2K is himself a foundation grime artist turned successful entrepreneur, self-made marketer, consultant and all-round ideas man. Quietly becoming one of Britain’s most prolific business minds over the last five years, it’s no surprise that J2K appears on the Powerlist 100 of the most 100 influential Black people in the UK in 2021.

PPL PRESENTS… GET PLAYED, GET PAID

TRENCH PRESENTS... 20 YEARS OF GRIME

Location: Studio 2 Time: 15.30 — 16.30

Location: Studio 2 (Main Space) Time: 17.00 — 18.00

Chair: Chris Cooke (Journalist, co-Founder & MD, CMU)

Chair: Hattie Collins (author, journalist)

Speakers Davina Merchant (artist manager/Tion Wayne & A&R Manager Downtown Music) Gaika (artist) Leo O’Brien (Member Development Executive, PPL) Wale Kalejaiye (Music lawyer, Associate, Music Group Sheridans)

Speakers Jammer (producer, MC, grime pioneer) Yemi Abiade (contributing editor, TRENCH) Janaya Cowie (label manager) Raj Kathwadia (music writer, ex-RWD)

UK music licensing company PPL are supporting this year’s Industry Takeover All Dayer. PPL licenses recorded music in the UK when it’s played in public (shops, bars, nightclubs, offices) or broadcast (BBC, commercial radio, commercial TV), and ensures that revenue flows back to its members. These include both indie and major record labels, together with performers ranging from grassroots artists through to established session musicians and globally recognised talent. In 2020 PPL collected £225.7 million. At Industry Takeover, PPL alongside a panel of experts, will share their knowledge and experience around getting paid in the music industry. We’ll also be exploring the creative elements of developing a radioworthy song.

Exploring 20 years of grime, from RWD to TRENCH... ‘This Is Grime’ author and former RWD editor, Hattie Collins, leads this expert panel with our media partner, TRENCH, dedicated to the past, present and future of Black music culture. We explore the sound and scene that gave London a new global identity, from the early 00’s to now, we’ll also be taking a look to the future of one the UK’s most recognisable DIY sub-cultures.

“UD is a key player in the scene, everyone needs to get involved with what they do” KANO

INTERVIEW:

Who are PPL & how do I get paid?

Industry Takeover All Dayer 2021: Panel discussion: PPL presents Get Played, Get Paid

Chantelle Fiddy goes head-to-head with our Industry Takeover supporters, PPL, in an exclusive long-read, packed with essential information for record label owners, performers, managers and creators…

I often meet artists who don’t understand the difference between PRS and PPL, can you explain this please?

for use of music outside of the UK are made quarterly, in March, June, September and December.

PPL collects and distributes money for the use of recorded music. We do this on behalf of the performers on a recording (such as a guitarist or a singer) and the recording rightsholder (often a record label or a selfreleasing artist).

After 18 or so months without live music and entertainment, artists are due to suffer furthermore as we see performance royalty income decrease. How bad does it look statistically speaking from a PPL point of view?

For anyone dabbling in the UK music business, PPL is a name you definitely need to familiarise yourself with. Do you self-release your music? Have your vocals or instrument-playing ever featured on a single?

Are you performing your music? If you’ve answered yes to any of these, you’re reading the right paper.

PRS for Music collects and distributes money for the use of compositions. It does this on behalf of authors (songwriters, composers, lyricists) and publishers for the use of musical compositions and lyrics.

In 2020 we collected £225.7 million for performers and recording rights holders in 2020; a decrease of £46.1 million (17%) from 2019. However, this is still PPL’s third highest annual collections total and, as COVID-19 restrictions further ease in the UK, we expect our domestic revenues will begin to recover this year, although not yet returning to pre-COVID levels.

From emerging grassroots artists through to established session musicians and globally renowned stars, PPL ensures revenue flows back to its members (in 2020 alone, PPL collected £225.7million for distribution). Committed to working towards a more diverse, equitable and inclusive music landscape, read on to learn about the essential work PPL do and how you can get paid.

Let’s take it back a bit; how and when did PPL start?

What’s the history?

PPL was established in 1934, following a test case that was brought by a record label against a café that was playing one of the label’s records to entertain its customers. The argument was that copyright of a recording includes the “performance” of it (i.e. it being played), not just its copying. This case was successful and established the idea of a “performance right” in the UK and around the world. PPL was set up shortly after to administer the licensing and royalty collection for these rights.

The performance rights for recordings are more specifically referred to as “neighbouring rights”.

Today over 80 countries recognise neighbouring rights, and it began with PPL.

It is possible to be a songwriter, performer and recording rightsholder at the same time, and so be a member of both PPL and PRS for Music and collect royalties from each respectively.

Why is it so important to be a PPL member? How much does it cost?

If you have performed on a recording and/or control the rights for when it is broadcast and played in public, you may be entitled to a share of the royalties collected by PPL. In 2020 we collected a total of £225.7 million for performers and recording rightsholders. Our members receive a fair share of these collections where their recordings are broadcast or used in public in the UK and in various territories around the world. Whether you are a session musician, a festival headliner, a small independent label or a major record company, you can join PPL for free.

How do you get paid?

As a performer, once you have registered with PPL, you can then make claims against the recordings on which you have performed. As a recording rightsholder once you have registered your recordings with PPL, payments will begin if the tracks are broadcast or played in public.

Payments for use of music in the UK are made twice a year, in June and December. For members who have authorised us to represent them internationally, payments

Over the longer term, we remain very positive about this sector’s growth prospects and the income it will create for our members. Between 2009 and 2019, PPL’s annual revenue more than doubled, from £129.6 million to £271.8 million, and we are confident the sector will continue to grow strongly once we have moved beyond the impact of COVID-19.

You have a long-standing working relationship with UD, what makes UD’s work stand out to PPL? UD is very close to its community and works hard to champion and develop young Black talent, spotting potential and empowering them to build a career in the creative industries. PPL is proud to support this work, helping to deliver educational sessions, workshops and 121s that build career pathways into the industry for UD’s community. ppluk.com You can read a longer version of this article at udmusic.org

as well. While the whole grime thing was going on, I’d got really into bassline so I’d be going up to Niche in Sheffield, Leicester, wherever the baseline raves were up north, I’d be there on the regular. That was a big part of my life as well.”

“The London raves were just mad”, he continues. “There used be fashion designers like Cassette Playa stood next to road man, who’d be stood next to art kids … the crowd was just mad, but that’s what made ChockABlock what it was. And it’s probably the reason why people still talk about it today. The vibe was just different. I remember people used to turn up in roller skates and skate around my rave, bruv … on some proper nu-rave stuff. Thinking about artists I used to book, I was the first person to book and interview Giggs. ‘Talkin’ The Hardest’ had just come out and I remember he came to the rave with about 30 man. I was like ‘broooooo, what’s going on here?’. He messaged me about it the other day, actually. Those days were epic man, for real.”

To help chronicle the stories emerging from ChockABlock, JP started his own blog in 2008, which functioned more of a scrapbook than an editorial outlet. He’d post tracks and videos and share flyers from ChockABlock in a simple, as-it-says-on-the-tin blog format; it wasn’t groundbreaking, but it was certainly effective. And as with everything he’s set his mind to in his career so far, he was consistent with it, too. “I used to write terribly”, he says, chuckling to himself, “but I’d use my blog to share flyers and videos and whatever. I’d use words like ‘wagwarn’ and ‘them man’ and ‘dat’, it was all very colloquial but people liked it weirdly enough. After a while, I did naturally find myself starting to take the writing thing more seriously.”

Although not a natural writer — at school, he got an E in his English GCSE — JP had found his vocation in grime and buoyed by how far he’d taken ChockABlock, felt he could make a difference writing about the music he loved too. “I ended up starting to pitch out to editors, but obviously I had no idea what I was doing, I was a novice”, he recounts. “One editor in particular replied like, ‘don’t email me again until you can string a sentence together’.

Over time, I just taught myself. I read articles, spoke to people about their journalism journeys, and really honed in on the writing.”

FEATURE:

UD x Joseph ‘JP Patterson’ x Polymer Zine Meet UD’s Industry Takeover media partner for 2021, TRENCH. A website and magazine dedicated to Black music culture, past, present and future, it’s definitely one to bookmark. Ahead of TRENCH’s 20 years of grime panel, our friend, Polymer Zine, met TRENCH founder Joseph ‘JP’ Patterson to talk grime, church, ChockABlock, MTV’s The Wrap-Up, Complex UK, and how raving opened doors (and his eyes!) to a career in music…

If you’re not familiar with the name Joseph ‘JP’ Patterson, chances are you’ll have visited one of the websites he edits, read one of his articles or been to one of his club nights — whether you realise it or not. An entirely selfmade, self-taught promoter, blogger, writer and now editor, he has taken on a godfather role in UK music media over the last 15 years, and is now a key voice in the black music culture space. From grime and localised, grass-roots scenes through to the A-list artists now occupying the charts, JP is viewed as a trusted voice from all corners of the industry — from PRs and writers to fellow editors and even the artists themselves. However, as our conversation unfolds, it becomes clear that his journey has been far from conventional.

JP was born in the Wandsworth Road area of South London to parents of Guyanese and Jamaican heritage — “..it was kinda in between Stockwell, Brixton, Clapham Junction, Battersea … right in the middle” — and recalls a fairly happy childhood; “I was very much a child, I wasn’t doing any madness”, he acknowledges, “but I did see and hear a lot from watching my older brother and his friends.”

Born into a Christian household — his father is a practising minister with his own church, which JP still attends — he credits church with being a big part of his early life and a major influence on the music he was exposed to as a child. “Obviously, as Christians and the type of Christian my dad is … you know, Pentecostal … it was very strict growing up. We couldn’t really listen to any of music apart from gospel at home, but my sister had a little cassette player that she kept out of sight. We used to go and hide in her room and listen to Mary J. Blige, Aaliyah, Jodeci and all this RnB stuff. My older brother was into hip-hop, but

eventually got into the whole jungle, UK garage thing…

Basically, it meant I was kinda seeing the future of grime without really knowing. He’d always be spitting bars around the house and people used to think he was going a bit loops, but yeah, that’s how it was.”

He ended up moving out of London to Wellingborough, a small town in Northamptonshire, shortly after his 13th birthday — a move that would change the trajectory of his musical life completely. “I moved there with my mum after my parents split up”, he recalls, “so it was just me and my mum at first, although she was pregnant with my little sister at the time. I started at Weavers School in Wellingborough, where I made some friends who were basically all MCs, producers and DJs. I’d never liked grime before because growing up, I’d been very much into RnB and hip-hop, but it was just different there.

I vividly remember just sitting in the corner at my friend Meshach’s house after school and watching people just running sets for hours and thinking, ‘what is this, bro?’.

I think being from a sheltered Christian household, I hadn’t really experienced some of the stuff they were speaking about, even though I’d seen my brother go through certain things. Maybe I was trying to block that out and wasn’t trying to understand, I don’t know.

But moving outside of London changed all that, which is weird because I think a lot of people think that’s where all the madness happens. Moving there taught me a lot of life lessons as a teenager.”

If moving away from London would introduce him to grime, then clubbing would see JP fall in love with it. Recalling the first club night he ever went to at Club Teeze as a fresh-faced 16 year-old back in 2004, he starts to smirk.

“Skepta, D Double E and Flirta D were booked and I think…

I can’t remember but it was a proper grime rave. The vibe was wild, to say the least. I’d never experienced anything like it before but after that, I got into the whole grime thing hard. I never looked back from that night.”

In fact, it was grime promoters taking events outside of London during the early to mid ’00s— the belt of

surrounding cities like Milton Keynes, Swindon and Northampton all played host to brands like Eskimo Dance and Sidewinder — that gave JP crucial, up-close-andpersonal experience of grime in its infancy. Inquisitive and besotted with the music, he became a regular face at Club Teeze and soon started making his own connections.

“I was just hooked on it, bro”, he says matter-of-factly. “It made me wanna try and put on my own rave. So I did.”

Now legendary grime rave ChockABlock was JP’s first brainchild at the age of just 17. His first event in 2007 saw Skepta, Tinchy Stryder, Logan Sama and Bok Bok amongst others touch down at a social club in Northampton; “..and this was before they were all big!”, he’s quick to point out. “It was dingy”, he continues, “and I mean dingy. Two hundred and fifty people all paying £7-10 entry and it was just rammed, which was kinda fitting of the name.”

So just how on earth did a 17 year old kid living in Wellingborough convince some of grime’s biggest names to trudge up to Northampton to play a rave? “I used to go down to Dirty Canvas nights in London quite a bit”, he explains, “which is where I first met Hyperfrank, Chantelle Fiddy, Hattie Collins, Danny Walker, Dan Hancox and others who were documenting the scene at the time.

That must have been towards the end of 2006. I actually ended up interning with Dirty Canvas for a bit when they were putting out this Ruff Sqwad project and I think they wanted me to write some press releases or whatever. It didn’t really work out but that was my first proper thing in music. Aside from that, I was just going to bare grime raves in London and meeting people.”

A matter of weeks after that first club night, JP was contacted by Egg — the iconic 1000-capacity nightclub in Kings Cross — about the possibility of bringing ChockABlock down to London. For JP, it was a no-brainer.

Promoted mostly via MySpace and Facebook, it quickly became one of the capital’s go-to club nights. “...We ran ChockABlock raves there for about three years straight. All the MCs were there, basically every grime artist you can think of, every DJ. A load of bassline heads came through

“My first big breakthrough was actually with SuperSuper Magazine”, JP continues. “I’d pitched a three-page piece on bassline to their editor, Steve Slocombe, and he went for it. I wrote the piece and it got a really good reception, so they decided to offer me a Contributing Editor role, which really propelled me to keep going. From there, I started getting through to places like NME and Mixmag.”

Kept afloat by the success of ChockABlock and a series of jobs — he worked in customer services at TalkTalk for a spell and was on the front desk at a local bank, where his mates would roll up in their tracksuits and laugh at him — JP was able to persevere with writing until he got his first editorial role proper with MTV in 2010. “I was approached by a lady called Arfa Butt”, JP explains. “She just messaged me on Facebook one day and asked if I’d be interested in becoming the new editor of The Wrap-Up, which was MTV’s platform for black music… I went in, had a meeting and got the job on the spot... Everyone in the bits was gassed for me, to the point where some people still call me ‘MTV JP’ to this day.”

It was a shift in focus that saw JP call time on ChockABlock in 2011 and instead invest his energies in writing. Emboldened by his editorship at The Wrap-Up and picking up valuable new experience, his pitches finally started to land in the inboxes of editors receptive to his grasp of the music he was writing about.

His next opportunity would come via now defunct USbased MTV platform, MTV Iggy, where he was offered a retainer contract in 2012 — a job that significantly widened the scope of his work. “MTV Iggy basically covered all types of music from all over the world”, he explains.

“They basically wanted me to write about and commission stories on UK-based stuff as their UK correspondent, which.I did for two years or so. I did a lot of it remotely but I still gained a lot of experience and it set me up nicely for what was to come.”

What was to come would lay the foundations to the career JP has today — and it came via one of the first editors to ever trust in his writing. “Randomly, Steve Slocombe (former SuperSuper editor) just messaged me out of the

blue like, ‘yo JP, how’s it going?’”, he says. “He told me about this new publication launching in the UK called Complex, and obviously I knew they were a big deal and they were looking for someone to head up their music department in the UK and then asked if I could start in the next two weeks. I literally rang my dad, told him about the job and that I needed to find somewhere to stay and that was it. I moved back down to London and got to work. I started as Music Editor in 2014, was made Senior Editor in 2016 and as of a couple of weeks ago, I’m now Editor-InChief, so it’s been a seven-year journey, man.”

While the groundwork was laid at MTV, Complex UK gave JP the opportunity to start building upwards. Separating his roles as a writer and editor for the first time — “I did everything myself a lot at The Wrap-Up because we didn’t have a commissioning budget!” — he identified a core team of writers and contributors to help realise his vision, including long-time friend and fellow grime commentator, Laura ‘Hyperfrank’ Brosnan. Crucially too, he was never subject of any external pressure from his bosses — Complex was to be a home of culture, not clicks. “It was always about building culture, it’s very much a cultural platform”, JP affirms. “I think they see that when I have my time and get to focus that I can produce results. It’s been a blessing in that sense.”

JP’s time at the Complex helm has been just as valuable for writers too, ushering in a new vanguard of journalists that have been crucial in making sure black music — notably grime and more recently, drill — is being documented accurately. The likes of Jesse Bernard, Yemi Abiade and Aniefiok Ekpoudom were all given early breaks under JP’s editorship and are now regular contributors at The Guardian, for example.

While Complex ticked a lot of boxes as a global-leading media brand, JP still felt there was something missing from the UK music media landscape. In response, JP established TRENCH — a powerful and dedicated UKfocused platform that has allowed him to build out his Complex UK vision to its full potential since first launching in 2017. “I’d always wanted to start my own publication”, he explains, “so I just rang up Hypes. We came up with the name and then we worked on the artwork together, managed to secure an investor and a bit of p and it went from there.”

Alongside its journalism, TRENCH has also birthed a number of its own trends including TRENCH Radio — a weekly round-up of the week’s best online DJ mixes from both in-and-outside the conventional dance music canon — and the spike in popularity of archive footage clips, which have been regularly shared across the platform’s social channels since its inception. Overseen by Laura ‘Hyperfrank’ Brosnan, who spends hours trawling through

the internet to find choice clips — from golden-era footage of early grime raves to iconic, long-lost freestyles — these bitesize memories have helped re-affirm where today’s scenes emanated from.

TRENCH also saw its first physical release in 2018, in the form of a limited-run zine covered by grime MC, D Double E.JP and his team now going to print with a new magazine, complete with six different covers, that’s due to drop in September.

Going forward, stability and consistency are key to JP’s vision for both Complex UK and TRENCH but he also hopes to branch into more visual content, specifically podcasts, over the coming years too.

While bad writing still irks him, great music still excites him — and no period more so than the 2014-2016 grime explosion that kicked down doors and made the power and popularity of black music in the UK feel undeniable; without it, JP argues, things would look very different.

“That whole resurgence was sick”, he recalls. “I remember popping off to Radar Radio and all these young MCs would just be shelling whatever time of day it was. I met AJ Tracey down there, Novelist and loads of others, it was a really exciting time. That grime wave has influenced everything that has happened since then. Maybe not sonically, but definitely in terms of being respected, being written about and even getting a look in at chart level.

I mean, don’t forget you had the whole Drake and Boy Better Know thing, that Kanye performance at The BRITS with all the MCs behind him, all of that. It was all a grime thing and so I think we need to put a bit of respect on that period, definitely.”

As our conversation begins to wind down, JP’s reflections are thoughtful and honest. There are no wild ambitions nor any overstated claims about what’s to come — just an acknowledgement of where he’s at and where he’s come from. “I just wanna keep building on everything I’ve achieved so far, man”, he says after a brief pause.

“It’s been a long journey to this point but there’s always more I can do. Aside from work, I just want this pandemic to end so I can go on some dates at Burger & Lobster, find my wife and settle down. I’m giving myself a few more years though, ‘cos I still think I’ve got some shapes to cut at Circoloco.”

The original version of this article appears at Polymer Zine, written by editor, Tomas Fraser.

Web: polymerzine.club Twitter: @Polymer_Zine IG: polymerzine

UD Creatives incubator programme

Black youth music is the future

Our annual outcomes are:

2,470

young people engaged overall

What is the UD Creatives Incubator Programme?

The aim? To develop the creative and business skills for talented, independent musicians emerging in the music industry.

A six-month talent and career development opportunity for 10 exceptional independent artists, making music of Black origin.

The course will include: → Songwriting sessions →

Extensive industry bootcamp covering music law, publishing, major and indie labels, distribution, A&R, live music and digital marketing

→ Hot desking and studio access → Mentoring by industry professionals led by UD A&R, Ella Bonai-Gordon → Showcasing openings including a chance to perform at The Great Escape → Access to financial investment

Unafraid to champion young Black talent UD works for a world where those who make and love Black music, are recognised as equal to any excellent creative individuals, and are celebrated and supported as such.

Recognising talent in a young person is the first step in allowing them to imagine a future, for themselves, that makes use of a unique creative skill that sets them apart. But talent also needs nurturing and the space to thrive. At UD, our various programmes have been created to help facilitate the development of young people, through helping kickstart careers, providing resources and space, vocational training and much, much, more.

At UD we’re unafraid to champion young black talent. We are, and always have been, black-led. Over the past 20 years, UD has built a reputation not only in spotting talent but in helping young, budding professionals to create sustainable careers. Artists we’ve engaged with early on in their careers span genres to include Wretch32, Andreya Triana, Little Simz, Devlin, Labrinth and many more. Individuals we’ve worked with can now be found at companies including Apple, Capital Xtra, Nike, Island Records, SoundCloud and SBTV.

While in recent years we’ve seen an explosion of Black musical success, before these names became prominent, they were once underground, with dreams and skills that needed refining.

In fact, young people and emerging professionals we have supported now work at industry institutions such as Live Nation, Island Records, Warner ADA, Beats by Dr Dre, Outlook Festival and MTV. Artists we have helped and worked with in their early careers such as Ghetts, Devlin, Dyo, Labrinth, Little Simz and Wretch 32 are now household names.

Whether we’ve helped students find their unique creative voices, offered professional development to industry hopefuls, or provided quality skills and artist development for talented artists and producers, UD’s work transforms lives.

Case study: Paigey Cakey Paigey Cakey is a rapper, singer and actress who hails from east London. Since 2012, Paigey has been building an impressive résumé of music releases, sold out events across Europe and has been cast in films and TV shows including ‘Attack the Block’ and ‘Waterloo Road’ for BBC.

UD was there for them and we’re here for you.

Unlock your potential

UD Music supported Paigey through the level 2 Accelerator deal. After receiving funding from PRSF ‘Women in Music’ fund, Paigey released an eighttrack EP, Red Velvet, to critical acclaim. Her music went on to feature in campaigns for Superdry and Dr. Martens.

Nourishing young Black talent, the Incubator Programme for independent artists with exceptional talent, was created by UD to help facilitate the transition of young people from an educational or vocational training environment towards the commercial market or professional workplace.

Whether you create grime, rap, R&B, jazz, hip-hop or drill, we are always supporting the talent of tomorrow. Over six months, 10 high-reaching artists are offered lifechanging skills development, one-to-one mentoring and access to investment, you’ll also receive specialist input on your repertoire, brand and learn about routes to the market from industry professionals.

We will equip participants to succeed in the music industry both in the UK & overseas.

Since laying our foundations in 2000, UD’s mission has been to educate, empower and create life opportunities for young people inspired by the sounds, words and rhythms of Black music culture. Consistently evolving our programmes, UD now connects with nearly 2,500 young people a year.

Over time, Paigey has impressively developed her brand by independently amassing millions of download streams/sales, YouTube views and has grown a following of almost half a million across her social media platforms.

Want to get involved?

Register your interest at udmusic.co/incubator

In 2021, Paigey continues to collaborate with some of the biggest brands and names in sport, fashion and entertainment. “...I always felt like I needed a team around me that could help me build and get to a bigger platform, and so I met UD. After joining forces, I released a mixtape, music videos, a UK tour and a lot of radio.

I had my music put on BBC R1, 1Xtra and I took over Rinse FM as well… I think we’ve done a lot of the groundwork to get to where we wanna get to.

The best thing was headlining the little tour that I done. Yeh I was proud of that…”

Paigey Cakey

70%+

from communities experiencing racial inequality and disadvantage

50:50 gender balance

1,000

participate in taster activity

1,100

young people attending inner-city secondary schools are engaged

870

young people develop new creative and digital skills and music industry knowledge

50

emerging professionals achieve level 4 qualification or are supported into creative employment

600

new audiences reached by artists we develop

Case study: Molly Elizabeth Teague As heard in i-D’s Best New Music playlist and Popjustice’s New Music Friday Edit, Molly Elizabeth is the latest in a long line of UD Music alumni making herself heard.

Finessing her artistry since her early teens, over the last 18-months, Molly’s work has gone on to be included on the soundtrack for Theresa Ikoko’s BAFTA award winning film, Rocks. Having joined the UD Flames Collective, which she credits for building her confidence, Molly soon began expressing herself, musically, on a new level.

The resulting debut single, ‘Please Just Wait,’ produced by fellow rising star, Lauren Faith, was released by UD Music via their Ingrooves distribution partnership in July 2021. A classic break up song that Molly’s now looking forward to performing live, it also comes with a video shot in her Essex hometown. Inspired by strong women with a voice, this is a little taste of what’s to come.

“Molly truly is a force to be reckoned with. She is ready to take over the music scene and her impressive debut proves that she has what it takes” Equate

The future is yours: UD Level 4 courses UD educates, empowers and creates life opportunities for young people inspired by the sounds, words and rhythms of Black music culture.

We are passionate about excellence, and the potential for excellence in every young person we encounter. While it can be difficult to progress with so many barriers in place, entry into music and the music industry shouldn’t be a privilege or reserved for the few. UD is an expert friend to the music industry, and to the music educators who have the best intentions for the young people we work with - we want you to unlock your potential.

At UD, we have the backs of the young people we serve.

Whether your future hopes involve being a successful artist or a professional working in the business of music, our level 4 course (equivalent to the first year of a degree), will help you make your dreams a reality.

From creating and performing material, to the marketing and publishing of the work, this course provides development and understanding about the music industry, from the music industry. Thanks to UD’s extensive contact book and mentoring expertise, you’ll also have regular access to professionals working in record labels, social media, publishing and the live sector.

In January 2022, a new chapter and term - will begin at UD UD Level 4 courses: → → → →

CertHE Music Performance and Production CertHE Music Technology and Production Course Fees: Full-time: £9,250 per year Student Loans: applicable and fundable

Location: The Talent House Level: 4 Study: One Year Full Time Entry Requirements: → →

→ →

112 new UCAS points From A-level: must include pass in A2 in at least 1 subject From BTEC: Extended diploma or diploma From International Baccalaureate: Diploma with 24 points including a minimum of 15 points at Higher Level

About the Course: Equivalent to the first year of a degree and having a bespoke design created by UD to meet our specific audience needs. → → → → →

→

Easy to access Genre and culturally specific Industry delivered Relevant and real Delivered through projects and live industry briefs Portfolio based delivery

*subject to validation

Industry Input and briefs:

The course splits into 2 pathways:

On both the Artist Pathway and the Business pathway you will have regular updates from industry across all areas you need to understand and have an opportunity to question professionals who work across the industry. This will include partners from the following areas:

1. Artist Producer Pathway

→ → → → → → → → → →

Label/ Publishing A&R Professional Songwriter Label Marketing/PR Indie marketing/PR/branding co Social Media/ Digital PR Producer Producer manager Artist manager Product manager (label) Live Music Agent

Portfolios bring together all elements of your project work throughout each year.

You will create an online interactive portfolio which you will continue to update and enhance throughout the course. You will finish with a professional portfolio to showcase your work.

As a singer, writer, performer, DJ, Musician you will work on your own material as part of a portfolio of work for entry to the industry. Alongside industry personnel you will focus on developing the skills and knowledge you need in today’s music industry Modules you will study are: → Collaboration → Music technology → Production → Public Project → Mental Wealth These will be achieved through projects such as; A collaborative song writing/ composition project You will work with peers to create material to real world industry briefs and receive industry feedback on your work.

Deconstruction of your brand You will work out what makes you the artist you are and how this helps you understand the music you make. This will help you think about marketing your brand.

Self-production You will learn to produce demos and recordings of your own to undertake repertoire development and gain feedback from industry professionals along the way.

2. Music Business Pathway As a potential manager, label owner, publisher you will work on the development of artists around you including those from the Artist Pathway to develop careers and also developyour understanding of the mechanics and structure of the Music Industry Modules on both courses are the same but your results will be achieved through projects such as, The Industry Blueprint You will map out the structure of the industry and understand your potential roles within it.

Skills development Having looked at the roles you will identify which strengths you have and which areas you need to work on and plan to develop skills and knowledge from there.

Product Release Using our own label (UD Music Distributed through Ingrooves) you will work on real releases and campaigns to perfect knowledge and skills for your own.

Want to apply to a level 4 course?

Register your interest at udmusic.co/level4courses

“Being a student (at UD) has been one of the most beneficial factors in my career to date. Being given the opportunity to present myself and my work to industry professionals has allowed me to make connections and put me in places I had no idea I’d be in this time last year.”

Adrian Okezie aka Digital Mozart, Student, 2018-19

@udmusicldn

Design: TEMPLO

udmusic.org