Author: Bradley Martinez
Ever-evading definition, RADA seeks to continually metamorphose her sound and image. “I often switch up both, as I don’t like being put in a box. I prefer playing a character or inhabiting an idea which gives me freedom to change.” This natural inclination towards shifting identities aligns with her nomadic upbringing, having been born in London but raised in Russia to parents of Russian and British-Jamaican heritage. She describes her music as eclectic, hectic even, but her third chosen adjective of fantastical reveals the overriding narrative of RADA the artist: a self-professed “sad girl-cum-fairy persona on the quest to remain artistically free.”
With singles like ‘Burn One’ and ‘Above It’, and features on Kish! and Safiyyah tracks, RADA has already made a name for herself in the underground scene – the pinnacle of which so far has been a live performance for Boiler Room TV’s series. Her new EP set for release later this year sees RADA establishing a bedrock of sounds to pull from in the future. “The EP is different elements of what I like,” she tells me. “It flows between soft trap, ethereal RnB, a bit more electronic. And there’s a stripped back song with just guitar. I finished all the songs around September and I feel like I’ve already moved on. But it’s a starter of what I want to explore – that was the point of the EP.”
The EP derives from her current inspirations: “I’m listening to more experimental, kind of electronic, kind of trap-y music. And I’m listening back to noughties punk bands, which has been my vibe recently. Stuff like My Bloody Valentine, Deaftones – very TikTok-y type bands.” They’re the kind of bands her mum would have played in the car, she says. Subliminally knowing one or two tracks but more recently diving into their entire discographies.
Our conversation shifts towards RADA’s lyrical interests, confessing that her mainstay theme is love. This body of work, however, is more of an exploration of mental health. “Each song talks about mental health in a certain way. It’s more intimate. I talk about stepping away from things in the past and being reborn. There’s a lyric in one of the songs which goes, ‘when you find me, I’ll be somewhere you can’t blind me’. It’s like a metaphor for that idea of stepping away from dark things in the past.”
I ask RADA if she finds music a consoling medium through which to face and explore her mental state. “I’m definitely a lot more open to it now. Music is the easiest way to talk about certain topics without people knowing what you’re referring to, without being direct and vulnerable. It could just be a literal lyric. The way I do it in this EP is very symbolic.” On the note of symbolism, she tells me that we can expect elements of Russian folklore in her upcoming EP that pay homage to her heritage, and from which she has also drawn song titles.
“London is my home,” she answers to my question about her sense of belonging, as someone who associates with different cultures and places. “I moved around a lot growing up so I don’t feel connected to a certain place. All the elements of each are within me, but London is where I feel the most at home. It’s so diverse that I feel like I can relate to people without actually relating to their backgrounds. It’s an accepting place, not without its issues of course.”
Looking to the future, RADA wants to focus on creating music rather than building a brand, a set identity – an honourable endeavour in an age of artist consumables. “I haven’t had time to focus on my craft, so I’m doing that now. Being part of an underground scene gives me the freedom to work on my sound.” NAYANA IZ, Eartheater, LOLA and Babyxsosa are among the artists she names when asked who her dream sessions would feature.
We’ll be listening to RADA’s latest singles, ‘Pisces <3 Crybaby’ and ‘Tightrope’ on repeat – with the full knowledge that she is in fact a Gemini – whilst waiting for what promises to be an incredible EP.
Editor – @elliefmuir
Photography – @stuartnimmo_
Photography Assistant – @rhysbawilliams
Words – @angelicawska
Styling – @rachel.parisa
Design – @jack___sharples
Production – @pifivy
Since Footpatrol’s birth 20 years ago, we’ve always had a strong connection to the adidas Originals Campus. Since our first collaboration on the Three Stripe silhouette way back in 2007 on a set of three colour ways, we revisited the silhouette again in 2012 to complete a pack of four and who knows where we’ll take our love for the silhouette in the future.
To celebrate the adidas Originals Campus and our 20th anniversary, we invited down Superstar and Campus collector Dave Robertson who brought down some of his favourite pairs including those four Footpatrol pairs.
Take a closer look below at some unique, rare and simply out there pairs!
Footpatrol: Dave before we get into everything, how are you?
Dave Robertson: I’m good, very well in fact, I have recently moved back to the seaside where I’m channelling my inner seagull.
FP: For people that are unfamiliar with who you are and what you do, could you tell us a little about yourself?
DR: What? Unfamiliar? I have over 25 followers on Instagram don’t you know who I am? I’m 46 going on 12, my Internet name is Lurky and that’s because 15 years ago I used to hang around on Internet message boards but was too shy to post and was branded a lurker. I tweaked it and here I am, not the best nickname but I had to roll with it. I’m also not shy anymore.
FP: How did your love for trainers, specifically adidas, come about?
DR: One word, the Internet. I had no idea about the styles and colourways available, they only sold cricket bats and fishing rods in my local sports shop but the more you find out the more you want. It’s a very dangerous place, I’m sure many of your followers will understand. What I will say is, you don’t have to have every pair, it’s a marathon not a sprint.
FP: Tell me a little bit about your Instagram page endorsed by Dave, what was the motivation behind starting this? We can see a lot of custom tongue tabs there.
DR: Endorsed by Dave came about because I wanted to do something different. I had a fairly successful account but it demanded a lot of my time so I decided to do something fun for myself and be more creative, it was time to take a step back and a break from the old routine. I decided to design Stan Smith-esk tongue badges for shoes that would probably never see the light of day. It was a way of learning Photoshop and I found it very therapeutic. It also gave me pride that I could make something unique instead of showing off with my collection. I get the odd request for personal badges but I always ask that they make a small donation to a charity and that’s usually The Dog’s Trust.
FP: Why is the adidas Campus silhouette special to you?
DR: The superstar is my first love and always will be! But the campus, the campus 80’s in particular comes a very close second. I wanted something for my non shell days. The first time I held one in my hands I knew they were something special, it was about the shape, the construction, the smell and quality. 90% of campus are suede and the majority are made in the Vietnam adidas plant to a very high standard.
FP: We love that you have collected so many pairs of adidas Campus’ from all eras over the years, what era of Campus would you say is your personal favourite in terms of shape, quality and releases?
DR: The French-made pairs from the Mid-eighties are spectacular. They came in a black with silver stripes; Argentinian blue and burgundy; black with red stripes and also a light grey and a light green. For me, they are the best there is, the best there was and the best there ever will be. It’s the same silhouette that Footpatrol used for the original collaboration, there’s some good people behind this eighties reissue.
FP: If you could only wear three pairs of adidas Campus from your collection for the rest of your life, what would they be?
DR: House of Pain from 2008 with its shaggy suede upper, Irish accents and embroidered HOP shield on the tongue, limited to 1000 pairs and released for the US market only, they always get a run out on Saint Patrick’s Day. The simple but effective scarlet Footpatrol is my favourite from the 2007 pack with its very tasteful instep snake stripes and butter suede. The iron greys are great also but crazy hard to come across nowadays.
Olive undefeated/ Bape with a subtle camo hint, super soft suede and stripe free design. Only sold in the adidas flagship shop number 6 and the bape store in the Uk. No doubt they will look great with my pyjama bottoms at the residential care home watching a rerun of Love Joy.
FP: If you could design your own pair, what features would you include?
DR: I have already done it, the pair I’m wearing in the feature, I commissioned with a very good friend. There hadn’t been a campus with a full camouflage upper so we went for duck camouflage fabric and who hunts ducks? The Looney Tunes of Elmer Fudd of course. We featured him and added oily leather lace stays and white heel, tongue and stripes, and some very simple detailing.
FP: To finish off we would like to thank you so much for the interview! Is there anything you would like to share with the Footpatrol friends and family? A message of positivity, whatever you like.
DR: Trainer collecting is fun and it always should be.. As my great grandpa used to say “only buy what you like for retail In your size and wear them”
Thank you so much for having me, it’s been A-blast.
Taking a ride with BXKS
“I’d probably be a Bentley if I was a car,” says BXKS, sitting on a bench surrounded by the retro Porsche and Maserati cars in south London’s ForeverGood. “Because I’ve got a bar that says, ‘Too many thoughts in my head that my forehead looks like the front of a Bentley,’” she laughs.
Through her dexterous wordplay and dulcet rap vocals, Luton rapper BXKS is meticulously developing her own unique take on grime music. From innocently freestyling in her friend’s car, BXKS eventually persuaded herself to experiment in a studio session and embrace her inevitable talent. It wasn’t long until she appeared on a slew of UK rap YouTube channels, and received a promising reception, with praise from the likes of Skepta.
But being seen as an artist who makes grime music is something BXKS has had to work for. Breaking out in 2019 after her ‘Next Up?’ freestyle, she was quickly labelled as a drill rapper. This wasn’t her goal, though – a year-long hiatus from music gave her the space to refine her sound. “It’s not to say that drill isn’t music,” says BXKS. “I just wanted to make music that would make people think ‘This sounds different.’ Like, ‘Packed in!’ sounds like its own thing.”
During her break from music, BXKS began journaling, writing lyrics and laying the groundwork for a successful return. Since then, she’s written through three journals and boasts a weighty discography, including two mixtapes, ‘Full Time Daydreamer’ and ‘Hack the Planet’, in addition to a versatile library of singles and collaborations with artists such as Oscar #Worldpeace and Kish! This work diverts from the past drill label circumscribed to her, as the artist weaves synth-inflected notes with nostalgic jazzy undertones, rapping over melodic soundscapes (‘Work Like’) and gamer-like glitches (‘Must Feel’).
And BXKS’ favourite song she’s written isn’t even out yet. “It’s called Collateral Damage,” she says excitedly. “It’s something very different to everything I’ve put out. It’s where my head is at musically, you can definitely tell I’ve grown up.” And we’re getting it much sooner than we expected: ‘Collateral Damage’ drops on May 11.
Although even now BXKS admits that she struggles to define her sound (“I don’t know…the closest genre for my music is probably grime”), the artist is satisfied that her music sounds ambiguous. She seems nonchalant; as long as it’s different – you can categorise her music however you like.
But behind the ice-cool voice and slick pen-game you hear on her tracks, there is an artist with the energy of a Duracell bunny. When she performs, her infectious stage presence is hypnotic as she bounces from left to right, and this enigmatic personality is no different off stage. BXKS giggles in-between answers and gesticulates with her hands when she’s speaking, sitting wearing a retro track jacket and a pair of black cargoes, not forgetting her signature fisherman style hat.
BXKS’ charm came in handy during her first live show when a technical difficulty arose, which meant she ended up doing a stand-up skit rather than a grime set. “I’m so grateful I’m funny,” laughs the artist, recalling the show. “The mic cut and I had to turn into f*cking Dave Chappelle for like, 30 minutes. And then eventually they got the mic sorted.” Although she doesn’t remember what material she pulled out of the bag on that occasion, her quick wit came out in full force. “All I know is that people were laughing,” she says.
In between doing gigs, interviews, and studio sessions (and commuting to London from where she lives in Northampton), BXKS works a nine to five. Writing down her star-struck encounters and milestones helps her stay on top of her packed-out calendar. And the pages of her journal are getting filled up quickly. “Journaling helps me stay in the moment,” she says. “Yesterday I had a show and now I’m here, it’s almost as if I’ve forgotten what happened yesterday. So, if I write stuff down, it’s like ‘omg that actually happened, I was actually standing next to Mike Skinner yesterday.’”
We take a minute in awe of The Streets’ mastermind before BXKS reveals that Skinner said that her performance was great, “I was like ‘oh sh*t’,” she pauses. “That’s why I’ve got to write stuff down so I can remember it.”
The only time she’s been nervous when performing was when Jorja Smith was in the room, who also told her she was great. And whenever I ask about her inspirations, she has one answer: Skepta. If she was to tour with any artist, it would be Skepta. If she could have someone produce her album, you guessed it, Skepta. I ask if there’s anyone else, and she replies deadpan: “Honestly, no.”
“I’ll think about the other people later.”
Music has been a mainstay in BXKS’ life for as long as she can remember. Her dad was a bass guitarist and engineer in their local church and her mum – a ballerina – had an extensive record collection that would inspire BXKS’ rhythmic versatility and sonic arsenal. Although she doesn’t produce her own music (“I wish I did”), she would concoct beats on an old iMac in her dad’s studio when she was younger. “Day and night, I used to beg ‘can I go on GarageBand’ and I used to make these funky house, Kaytranada type beats,” she says – another testament to her genre warping sound. “I’m sure if I find the time, I’d be able to get back into it [producing].”
While her sound is the product of much consideration, so too is her stage name. “I’m glad you asked me this,” she says decisively like she’s got a point she’s about to make. First using the name ‘Beks’ to put out music in 2018, it was only when she did a collaboration with AB Dollars that she discovered her music was coming up under another artist’s name on streaming platforms.
Like many artists, she mused over how her name would appear visually. She recalls Beyoncé’s 2003 BET performance of ‘Crazy in Love’, where massive, luminous letters spelling out ‘Beyoncé’ filled the stage. “I was watching some old Beyoncé content and she comes down in the middle of the ‘O’. I was imagining my name like ‘Beks’ and thought ‘it doesn’t really look that cool,’ but with the ‘X’ there, it looks cool. I was trying to visualise Beks instead of Beyoncé, but ‘BXKS’ in capitals, now that works,” she nods, grinning.
It was important for BXKS to keep her name, Rebekah. It’s at this point BXKS rolls back the sleeve of the track jacket she’s wearing to reveal her ‘Always be yourself’ tattoo on her left arm. “That’s what I want people to know, to always be yourself.”
Editor – @igweldn
Photography – @rhysbawilliams
Photography Assistant – @stuartnimmo_
Words – @elliefmuir
Styling – @rachel.parisa
Design – @jack___sharples
Production – @pifivy
Images can be purely decorative, but the most powerful ones usually have an idea behind them. And when working commercially, it’s important to be able to tackle client commissions and interpret a brief in your own particular style.
Mark Ward, an acclaimed illustrator, animator and artist who’s been embedded in the UK creative world since Footpatrol’s early days, will give attendees a behind-the-scenes glimpse into the way he works. He’ll cover everything from image concept to graphic techniques, helping attendees unlock their own creative style and potential.
Mark will set a brief for attendees to interpret a slogan from Workshop 1 in graphic form, coaching them as they use their new-found insights to approach the brief and come up with an impactful concept for a t-shirt design.
Having refined their ideas in the workshop, participants will be set a deadline to complete and submit their final design. The best entries will win their creators a place in Workshop 3, where they’ll be taught how to screen print their graphic onto a t-shirt. The brief will also be opened up online so you can create and submit a design even if you can’t attend the workshop in person.
Ultimately, one winning design will be selected from the workshop process to become the next Footpatrol Communi-T release.
To be in with a chance of attending Workshop 2 with us and Mark Ward, you can sign up to attend by CLICKING HERE!
To see more of our re.GENERTAION workshops, click here!
An eclectic Birmingham based fashion start up in 2016, Bene Culture is more than a subcultural fashion brand, it internalises a diverse community that has become a wide part of their inclusive journey and youthful narrative. From a vintage store to a multi-brand retailer, Bene Culture utilises their unique roster of apparel and accessories creating a sense of space and acceptance for marginalised audiences. Focussing on a wide range of designs that are forward thinking, stylistically innovative and a true emblem to their community.
Transforming their physical and digital space into a mecca of budding creatives, has proved the credible way that Bene Culture has connected with its streetwear audience. Hosting over 40 events, from brand pop ups, concerts, exhibitions to listening sessions. Bene Culture is an inaugural fit with Footpatrol due to its vision to do more than sell apparel, becoming a larger part of a society that continues to inspire the masses.
At Footpatrol we have had the pleasure of teaming up with Bene Culture on a space inspired range – one that nods to creatives namely Anna Mills and Stewart Armstrong who have worked with a lengthy catalogue of brands; Blacksmith Store, Axel Arigato, Eytys and many more. To kickstart this exciting collaboration as a true sentiment to our own streetwear community here at Footpatrol, we have created a range of t-shirts, a hoodie and beanie iteration that we think you’ll love.
Our invigorating range of t-shirts come in three lively iterations: ‘Explore’, ‘Celestial’ and ‘Reflections’ all previewed in plush cotton body with space-themed graphic printed on the front and reverse, available in a range of futuristic colour hues (purple, green and pink). The fits are rounded off with a hem stitched detailing.
The FP x Bene Culture Explore hoodie is a stylistic standout, opting for a blacked cotton and recycled polyester mix, adorned with blue spaced-theme lettering on the front, a classic drawstring hood and kangaroo pocket. Plus, the elasticated waistband and cuffs completes this fitted look.
Finalising our range is the beanie, constructed from a plush knitted body embossed with geometric Footpatrol and Bene Culture branding throughout – dressed in a pink hue.
Shop the Beneculture x Footpatrol collection in-store and online here!
To help us celebrate the launch, us and Bene Culture have teamed up with the good people at Keep Hush for an evening of celebrations. Join us on Thursday 28th April from 19:00 at a secret location in Peckham. All you need to do is RSVP here.
Here we are again – it’s that time, the season is upon us and nothing says summer more than our vast range of sneakers, accessories and lively apparel to get you into that vacation mood. Here at Footpatrol we have blessed you with our very own hand-picked styles ranging from New Balance to Crocs; making sure you’re constantly on-point and turning heads of the street-style conscious. We have also added current offerings from our store which would suit any person’s SS wardrobe. Add a spring to your step with silhouettes from Nike, Vans, adidas Originals, ASICS and many more.
Nike Air Force 1 White
One of Nike’s most defining silhouettes, the Air Force 1 has been a major influence on streetwear since its release in ’82. Once the trainer had taken over the courts, it quickly became a streetwear icon with an influence like no other. Slick leather uppers, bold sidewall Swooshing and Air cushioned sole units – this silhouette still makes a statement, and its comfort is never slept on. Being an exclusive sneaker fraternity we stock a wide range of summer-inspired AF1 must-haves from the vibrant L’07 ‘Uno’ iteration, Fontanka, Low QS, WP to the Craft boot and our infamous High Sculpt selection. With many other ubiquitous Nike fits such as the Offline 2.0, Air Max 95, 96 and 97’s into a lengthy range of running inspired silos namely the Vaporfly and Free Run that continue to evolve for the athletically inspired.
Shop our Nike Summer Style picks here.
ASICS x Angelo Baque GEL KAYANO 14
Needing little introduction, former Supreme Brand Director Angelo Baque has shaped New York streetwear over the years. Now, he gets the green light on reimagining the ASICS GEL-KAYANO 14 – elevating the sporty design with bold pops of colour and a plethora of materials. Exaggerated mesh coats the base on the upper of this shoe, with a range of synthetic and leather overlays. Signature branding is on the sidewalls, plus there are patterned strips on the eyestays. Angelo Baque’s official insignia is on the lateral heel and insole for a collaborative touch. As the name suggests, GEL tech is in the sole unit, and this techy-looking lower has daring tones – this is a shoe that doesn’t hold back. The ASICS Gel-Lyte III is the perfect choice that also secures a place in our summer hotlist, featuring a perforated base and soft suede overlays, previewed in a range of colour iterations.
Shop our ASICS Summer Style picks here.
adidas x Pharrell Williams x BBC Ice Cream Hu NMD
adidas Originals joins creative forces with Pharrell Williams design label Billionaire Boys club in the newest rendition of the NMD Hu running inspired range. The fit arrives in a textile ribbed Primeknit in a green hue, while a running dog embroidery pattern features on the forefoot, keeping things unique and innovative. Iconic co-branding coats the heel, plus a super comfy Boost midsole sits underneath. The luxury fit is completed with a semi-translucent lace cage, a crisp white material lined ankle collar and an EVA sole unit for cushioning – it’s a must-have silhouette this season. The Human Race Sichona that is enriched in two stealthy palette iterations, ‘Black’ and ‘Red’ is also an unmistakable seasonal standout.
Shop our adidas Summer Style picks here.
Crocs Classic Clog
First released in 2002, the defining Crocs Classic Clog has revolutionised what comfort means in footwear. They also possess a standalone style that may divide opinion, but its setup remains nothing less than fashion-forward. This icon arrives once again with a standout colouring, while its perforations deliver ventilation like no other. Croslite material ensures premium comfort, and a foam sole cushions each stride – a versatile shoe for loads of environments. Stocking a range of classic clog iterations in a catalogue of hues including marble, vacation pinks, iridescent yellows, purple, whites, and paired with our durable All-Terrain selection.
Shop our Crocs Summer Style picks here.
Lastly, don’t forget your uppers either, stock up on comfy shorts, breezy tees and then top it all off with a crowning bit of headwear. We’ve got plenty of premium collaborations to deliver something unique, while the comfort-focused – and super minimal – Nike NRG Premium Essentials brings certified versatility. Kickstart your summer wardrobe now.
Shop the Summer Styles range here.
Footpatrol Staff Selects
When picking out our summer styles, we sat down with some members of TEAM FP to discuss the fundamentals a sneaker must have when it comes to summer styling. For starters, any option needs to be super comfortable whilst also being ultra lightweight to cope with the warmer months. Secondly, if the silhouette can include the brands history and a story like the classic New Balance 2002r aesthetic or the iconic Air Max then even better… We picked out a few of our favourites below which we think has all of the above!
New Balance 2002R ‘Refined Future Pack’
New Balance’s unprecedented release of the 2002r ‘Refined Future Pack’ range saw designer Yue Wu’s highly coveted collection attain cult-like status with many New Balance enthusiasts . Remastering colour palettes from the brand’s archives, the trio opted for desaturated tones of ‘Steel Blue’, ‘Vintage Orange’ and ‘Dark Navy’. Premium construction of mesh and rough-cut suede is the continuous theme of this erode-inspired capsule. The New Balance 2002R model boasts a lengthy roster of designs including the Salehe Bembury ‘Peace Be The Journey’ iteration, BAPE ‘Apes Together Strong’ collection as well as the Invincible x N.Hoolywood staple grey rendition. Continuing its legacy with a sustainable shoe trailblazer with Copenhagen based designer label GANNI.
Shop our New Balance Summer Style picks here.
Nike Air Max 1 ‘Flamingo’
Reimagining the staple lifestyle trainer, the Air Max 1 Lively Flamingo iteration is a beloved member of the ‘Pink Pack’. Clean, coveted and summer fresh, this silhouette is set apart from past colour combinations used from its early predecessors , making this inner city guise a standout one. This 15-year-old gem remains an animated favourite, noted for its playful contemporary style offering, and constructed from classic mesh and suede, along with iridescent pink detailing accents on the collar, tongue and outsole. Nike Air Max has sported a range of collaborations over the years, including the Atmos ‘Animal Pack’ , ‘Elephant’ and ‘Viotech’; QS Turf Pack, Patta x Parra ‘Cherrywood’ iteration to the Clot ‘Kiss of Death’ collection becoming a firm fan favourite.
Shop our Nike Summer Style picks here.
adidas Originals Consortium 4D x Footpatrol
The synergy between nature and technology was the main inspiration for the adidas Originals Consortium 4D x Footpatrol collaboration. Creating a silhouette defined by natural, tertiary and secondary shades of green – which was meticulously crafted into a knit construction. The fit also included iconic pin-stripe branding, embroidered stitch detail, and a synthetic suede heel,along with our Gasmask logo and a continental rubber outsole. For this immersive collaboration, we also teamed up with London Design Festival, and artist Ben Cullen who delivered an innovative Futurecraft experience. adidas Originals Consortium has expanded its roster of style over the years, with the Packer collegiate inspired colourway being a sought after silo, along with the Taiwanese boutique Invincible collection and their Maroon inspired collaboration with SNS.
Shop our adidas Summer Style picks here.
sacai x Nike
Fresh, coveted and simply unrivalled, Abe makes more than a dual impression with her spanning catalogue of Nike collaborations. From the invigorating release of the laceless Air Max 90 and Vaporwaffles, to their conceited range of Blazers, the Japanese fashion house’ futuristic design never fails to make its ingenious mark on the sneaker world. With Abe’s most intrinsic fits including the sacia x Fragment LD Waffle, the infamous ‘Volt/White’ Air Max 90; the LDV x sacia Daybreak to the signature Nike Blazer Mid that sports a ‘Maize Navy’ and ‘Black Blue’ colour up.
Shop our Nike Summer Style picks here.
Download our Footpatrol launches app here for all the latest news and releases.
Last week saw us bring back our in-store events at our London store! For feels like forever, we had the great opportunity of being the UK’s only stockist of The Hartcopy Journal – Volume 1. To celebrate, we invited down creative lead, Sam Le Roy for an in-store launch and signing event.
Acting as a digital documentation of all things within street culture, especially sneakers, Hartcopy became a go to digital platform where you’d walk away having learned something new! Now for 2022, they enter into the world of print with their first publication… because print definitely isn’t dead!
A massive thank you to all of those who came down for the evening, managed to pick up a book, joined us for a drink and said hello! Not only did we have a display on show of some of the footwear within the book, but you all pulled out the stops with your on foot selections. Take a closer look below and we’ll hopefully see you all again soon.
And for those who missed it, we recently caught up with Sam prior to the launch to learn more about Hartcopys journey and how it all began, CLICK HERE to read more.
A tale of perseverance: Walking down Loshh’s lane
In many stories, there’s a mother who’s the unsung hero of it all. In Loshh’s case, it’s no different. Explaining that although he didn’t realise it as a child, he appreciates the music he once begged for his mum to turn off – his current mission is to update that sound. “Growing up I didn’t think I liked it [Pasuma and Wande Coal], I’d always tell my mum to change it,” says Loshh. “The only challenge for me as an artist is making it modern in today’s society.”
Loshh is doing a great job repurposing music reminiscent of his childhood. Speaking to a diaspora that has reached every corner of the earth, there’s no reason why his music cannot do the same.
On Loshh’s voyage of life that starts in the Netherlands and goes through Dublin and Birmingham, we meet him in the south London studio where he records most of his music, not too far from where he currently resides.
It’s clear why Loshh is so comfortable in this environment, the crackling of the needle onto old school vinyl tracks is the orchestration for the day. Surrounded by a plethora of instruments, it’s easy to see where the enigma gets his inspiration. Whilst music has been a major part of his whole life, “I played instruments at church, so I still play the drums and guitar,” he explains, it’s not until 2020 he released his first single. Now a fully fledged musician, he still looks to extend his abilities as an instrumentalist: “I want to learn how to play the talking drum,” Loshh says.
Even before his days spent on the drums and the guitar, Loshh cites his Mum for really facilitating his interest in music, allowing his mind to be open before making music was even a thought in his head: “Because I was the first born, my mum used to take me everywhere. She showed me all of the music. Prince, Snoop Dogg, Michael Jackson, Yinka Ayefele.” It’s that breadth of artistry that has allowed Loshh to find his own sound: albeit outside the mainstream, it’s distinctive, catchy and includes many influences from close and afar.
Releasing a body of work after only two single releases is a testament to Loshh’s dedication to ripping up the rulebook. “It was just God. I can’t explain it, I really can’t,” Loshh reveals on creating his debut EP. Whilst the experience of creating the work was spiritual, it’s an experience Loshh is aware he needed to help him through a turbulent time on his journey: “There was so much going on in my life as well that was hectic. And then I just got introduced to Santiago [Loshh’s producer] and then from there everything just happened.”
Entitling the project ‘Ífaradá’, which is Yoruba for ‘perseverance’, it speaks to the faith Loshh continued to keep, even through hard times. Deeming lockdown as a “strange blessing” for him, the project is a testimony to mixed feelings, “getting into trouble,” but most important of all, tenacity. “I was sofa surfing before. So during Covid and the pandemic, I just got my place and wasn’t sofa surfing anymore.” When hearing this story, ‘Ífaradá’ requires no explanation, simply serving as a living and breathing example of where perseverance can take you.
Loshh is unapologetic when he laments that his sound is the “future,” alluding to his ability to combine so many elements that manage to possess a certain familiarity. “ It is music of the world, not world music,” he adds. As a Nigerian, I can constantly hear the Fuji influences, a reminder that all my time being forced to hall parties with my family was worth it in the end, and not just for the jollof.
With his music existing quite far removed from the mainstream, Loshh chuckles about the duality of the situations that places him in, realising “Sometimes people take me in because it’s so different, so strange. But I also feel it’s the complete opposite as well.” Focusing purely on making the music he wants to, he’s not fussed about being part of the crowd, and he strongly believes it’s just a matter of time before his sound is increasingly understood. Realising the scene he’s physically most close to, there’s no hard feelings on his side, explaining “There’s something about the UK, it takes them a while to understand something that’s so outside or different from what’s happening in their sphere.” But Loshh also celebrates the fact that it’s allowed him to have a global audience, as his “music of the world” deserves: “The States and Japan, also the Netherlands,” are three nations he quotes that warm to his sound more readily than it’s been on home soil.
“It just takes them [people] a while to understand. That’s just it really, it just takes time,” says Loshh, speaking on potential growth. With a few festivals and shows lined up for the rest of 2022, it seems that time may just become Loshh’s best friend, taking him to new crowds and new heights in this still elementary part of his career.
Interestingly, music isn’t the only art form he explores. Freshly braided hair, two hoops in one ear, two studs in the other are a staple of Loshh’s aesthetic. An unforgettable smile characterised by a gold cap sitting on one of his canines, blackout nails and an infectious energy reintroduce Loshh, who I met many years ago in Shoreditch, and warmed to his eccentricity right away. With a conscious effort behind his aesthetic, he explains how he views himself as “A black man who doesn’t conform,” rebellion being a red thread that pieces Loshh’s journey together.
Describing his body as a “museum”, he dresses it intentionally, citing Liam Hodges and MAXIMILIAN as two of his favourite designers. Running beyond the music, his nonconformity is visualised through multiple tattoos on his skin: “I’d get more but you know African parents,” he laughs. “I have a tattoo that represents one of the seven characters of myself, not seven different personalities per se, but seven different vibes and expressions I like to show” speaking on a doodled tattoo on the right side of his stomach. Tatted in the middle of his chest is a word that’s accumulated in meaning since it’s permanence onto his body. “It’s strange, I got Ífaradá tattooed on me before I even thought of having it as the title of my EP.” And with plans of a new EP drop in summer 2022, perhaps we’ll find that the title is another word somewhere already living on Loshh’s skin.
Beneath the garments he uses to express himself, are tattoos that tell stories of different parts of Loshh. As he skates off into the distance, shades on, looking cool as always, it’s so hard to not want anything but success to be written into Loshh’s story. As someone who’s constantly been on the move but has seemed to have found home south of the Thames, perhaps this is the balance needed to bring turbulent times to an equilibrium.
Editor – @elliefmuir
Photography – @rhysbawilliams
Photography Assistant – @al.vstz
Words – @igweldn
Styling – @rachel.parisa
Design – @jack___sharples
Production – @pifivy
JJESS KNOWS HER PLACE
JJESS’ music has been making waves for many reasons. Her DJ sets feature musical transitions that feel more like spatial shifts, spanning geographies and genres. These mixes create a sonic crosshatch, weaving techno beats with Afro house, big name artists with avant-garde sound.
This multi-genre trademark is the offshoot of creative ingenuity. But it’s also a reflection of Jess’s interdisciplinary approach to work and life, an unwavering tenacity to find her place within a variety of spaces, even those that might feel inaccessible.
Growing up in east London, Jess established her DJ career after leaving university in 2017. Since then, she’s navigated the music industry from all angles, working in radio production, playing clubs and festivals, and curating a professional identity online.
“My background’s in radio,” Jess tells me. “That’s actually how I got into DJing. I was working with [people] that played so many different genres of music. It opened my ears and my mind to all the different sounds out there.”
Despite early exposure to the industry, Jess tells me a sense of belonging took time; “I always wanted to DJ, I just didn’t really know how to start. I still didn’t feel like I could call myself a DJ […] for a few years.” This separation came from a feeling of inaccessibility. As a Black woman navigating a predominantly white cis-male industry, Jess recalls feeling anxious in certain spaces: “It was as though I didn’t really belong [in them].”
But a deep love of music pushed Jess to make accessible what had previously felt exclusive. “I’d never seen [music] as a career […] but I’ve always been surrounded by it. My dad was heavily into collecting CD’s and buying sound systems”.
Starting work in radio production for the BBC was a way in, though Jess describes the constraints it had on her creativity. This encouraged her to navigate the industry on her own; “I wanted to explore how the different sounds in my head could sound to others […] explore my own avenues and work on my own terms.” By carving out spaces that once felt unattainable, Jess has found creative agency and a stronger sense of identity.
“That sense [of not belonging] can sometimes consume you […] but I just remember why I started. I wanted to be the DJ that elicited that same feeling I felt when I was listening to a set.”
Since the pandemic, the spaces which Jess moves in have shifted. Clubs have closed and digital platforms are taking over, forcing creatives to navigate more uncharted territory; “Social media is tricky, because it feels like so many opportunities come from [these spaces],” says Jess. “It’s just another place where I need to present a certain image of myself, and you can get lost in that”.
But despite these shifts, Jess takes new spaces in her stride. I ask her where she feels most creative – playing out in clubs, recording in a studio, or sharing her work online. She tells me she likes a balance. Playing out allows her to build a community: “I want my shows to be […] a place to discover new music”. And in the digital sphere, she cites playlisting as another means of sharing with that audience: “it [allows me] to be that kind of discovery platform for others”.
This open dialogue is something Jess treasures in her work with the Girls Can’t DJ (GCDJ) collective, an initiative showcasing women and non-binary artists by giving them the platforms to network and perform. “Jords, who runs GCDJ, has been amazing at giving women the space to have certain conversations about things we all go through [in this industry],” says Jjess “Having that [space] to share things, it’s super important. It’s just made me feel like I’m where I’m supposed to be.”
Jess recognises the importance of these outlets now more than ever, with the post-pandemic landscape favouring mainstream venues. “Spaces for women, for people in the LGBTQ+ community, it’s just almost non-existent. I’m hoping small clubs will start re-opening but it all comes down to funding”.
We talk about stagnant discussions to this effect. Every year within the music scene, Jess tells me, “We have the same conversation, that there’s not enough women on festival lineups. But nobody’s doing anything about it”.
Despite her evident frustration, Jess maintains a calm demeanour as we talk. I’m struck by this pragmatic sense of hope, a sign Jess hasn’t simply found her place, but is becoming that space for others. “I’ve always said, if anyone has any questions, just ask me. Slide into my DMs. I know that’s really scary, but I want people to feel comfortable enough to talk about these things”.
In this way, JJESS’ music becomes a conversation. Despite the divisions between Jess’s physical, digital, and sonic environments, she’s found ways to bridge the versions of herself that inhabit each space.
“It’s a very interesting thing, the different versions of yourself that exist in different spaces. When I’m DJing, I feel more confident. Whereas day to day, I think I can be pretty reserved.” This confidence ripples into all aspects of Jess’s life, “It affects your day to day mood. Just knowing that you’re talented, you can transfer that into other things.”
“Certain spaces can feel very intimidating. I think there’s still a lot of work to be done for women DJs, unfortunately.” She recalls being typecast as a Black woman, with bookers often expecting her to play rap or R&B. “After a while, you think ‘maybe this is what I’m supposed to play’ but I’ve realised I only want my set to be booked in spaces that will accommodate my sound.”
It’s inspiring talking to Jess, witnessing her steadfast response to adversity. But it’s also a reminder that, in exclusionary spaces, the burden of creating change often falls on the shoulders of those marginalised people. DJ training programs aimed at women and non-binary artists – like Mix Nights in Bristol – are positive signs, but they remain few and far between.
I ask Jess if she thinks industry leaders are doing enough: “Definitely not. Booking agents, the people in charge of festival line-ups, they’re the gatekeepers. They’re the ones who have to be willing to make changes.”
Rebuffing the borders erected by these gatekeepers comes back to JJESS’ multi-spatial, multi-genre sound. She pulls inspiration from everywhere she can, telling me her home city of London is unmatched in its diversity and creative opportunity. And it’s not just music she turns to for motivation; “People who’ve started a brand, and built a community around that brand, I think that’s so cool. I love when people think outside of the box to elevate other projects.”
DJing is ultimately a way for Jess to express herself – in the many forms that entails. “It’s like music. It has different genres, and those come from certain subcultures with their own way of dressing, their own way of living. DJing is definitely an extension of myself, my creativity, and how I portray myself.”
Perhaps most overtly, it’s her upcoming project, ’Code Switch’, that unravels this multi-faceted identity. Spanning various mediums, it’s a reflection of her transcendental sound.
“I wanted to connect to my Nigerian background. I went every year as a kid, but I wanted to find my own way there as an adult. I’ve started going quite frequently by myself.” ‘Code Switch’ draws on this experience of diaspora and identity through soundscape, music and film. Jess describes it as a research project, seeing it as a chance to explore the backstories behind our musical identities. It highlights an inspiring truth: that Jess’s capacity to weave spaces together exists in each of us.
“I’m speaking to people who live in lots of different spaces. Talking about growing up in a certain city, the music, sound, smells that describe that space, and how it’s shaped their creativity.” Jess says completing the project is her biggest goal this year. It certainly feels like a natural next step.
“Everyone’s a DJ” she tells me. Despite my lacking musical talent, I’m inclined to agree. Because for Jess – whose navigated a rigid industry by pushing a composite sound – DJing is more than a technical skill. It means trying to embrace the many versions of yourself that grow from different spaces, and filling those spaces unapologetically. If you ask me, she’s certainly succeeding.
Editor – @igweldn
Photography – @stuartnimmo_
Photography Assistant – @rhysbawilliams
Words – @flobellinger
Styling – @rachel.parisa
Design – @jack___sharples
Production – @pifivy
The written word is often overlooked when thinking of the creative industries. But copy – the written material that conveys an idea – is a key element of nearly every project or campaign.
Led by poet, copywriter and SNKRS Live host Will Stowe, this workshop will open up the specialised field of copy to show that when it comes to ideas, often less is more. This isn’t about paragraphs of long-form copy: what we’re aiming for is the ability to communicate an idea in an impactful way.
Attendees will be guided to create a slogan on the theme of ‘change’, using just a handful of words to get across a big idea.
To be in with a chance of attending Workshop 1 with us and Will Stowe, you can sign up to attend by CLICKING HERE!
To see more of our re.GENERTAION workshops, click here!
