Kathy Ager | Footpatrol Discussions

11.10.23 Footpatrol DiscussionsGeneral



Covering the globe with our Footpatrol Discussions platform, our latest sees us on Canadian waters with artist/painter Kathy Ager. Capturing our attention with her unique blend of Baroque-style artworks with modern streetwear touches, Kathy’s artwork enters a new world of darkness that captures the imagination.

Now with her artwork grabbing the attention of NOCTA, Polo Ralph Lauren and Nike, we had the chance to catch up with Kathy to understand more about this unique style and where these ideas originated from.

Imagery by @Samfidlin

Footpatrol: Kathy! It’s great to finally have the chance to catch up and talk about your work. We’ve long been wanting to feature so it’s good to finally have that chance. First things first though, how’s things? 

Kathy Ager: Things are ok! I just returned to Vancouver after spending the summer in Amsterdam, so I’m still getting things sorted and up and running in my studio. It’s nice to be back though!

FP: I’m sure a lot of our audience would’ve come across your platform given the content you predominantly feature however, for those who may be new to your work, could you give us a bit of background into you and your artwork?

KA: Well, simply put, I’m an oil painter from Vancouver, Canada. I make still lifes that combine historically Baroque-style themes with modern elements. Sorry if that sounds too simple or dry! It’s just hard to sum up what you do when it’s only in hindsight that you can try to explain it and put it into a box. I originally went to school for graphic design and illustration and worked in ad agencies and design studios, doing mostly branding and packaging design. I moved from Vancouver to Barcelona to Amsterdam about 15 years ago, mainly because I loved European design (and I wanted an adventure!). I’m sure I was influenced by the art I saw around me, but it wasn’t until about 8 or 9 years ago that I picked up painting in my spare time. After a couple years of painting, I was picked up by Thinkspace, a gallery in Los Angeles, and from there I began painting full time. That was about 6 years ago! I returned to Vancouver to work on a couple solo shows for Thinkspace, and now I’m mainly working on my own pieces as well as collaborations with larger brands like Nike and Real Skateboards. 

FP: You recently just returned back to your studio in Vancouver after being in Amsterdam for the group show, LAX / AMS’ THINKSPACE X STRAAT, how did it go?

KA: It was a great experience. I used to live in Amsterdam for almost a decade, but only started painting in the last couple years I was there and never felt like I made any inroads into the art scene. This group show happened to coincide with my plans to return to the city for the first time since I left back in 2018. I was so glad I made it to the opening as I got to reconnect with some old friends that are doing some big things in town and to make some new friends and connections in the Amsterdam art scene. It was also great to see the STRAAT Museum because it was still under construction when I left the city years ago. It’s a really impressive space. 

FP: So, let’s get back to your work… ‘Golden Age’ is a term I see people use to describe your work quite often. It’s something we think has multiple meanings whilst referencing the inspiration to your style but we’d love to know what it means to you.

KA: My painting style is heavily influenced by the still life paintings of the Dutch Golden Age which spanned much of the 17th century. It was a time of crazy wealth in the Netherlands, mainly achieve through the exploitation of other places and people, and there was a boom in artists capturing this wealth and excess in still lifes. But within these paintings were also moral and religious messages, as well as an ever looming vibe of imminent decay and impermanence. Similarly, my paintings might appear materially focussed on the surface, but I’m using objects and references that are both personal to me and familiar to the viewer to convey my own feelings and experiences of love, loss and the pain of modern life as an underlying message.

FP: That contrast between modern day objects and vintage still life aesthetic is what really captured our eyes, especially given the footwear choices. Does that feature object decide the rest of the piece or is the rest of the still life the main decision point?

KA: My paintings are usually about my own personal experiences and relationships. Sometimes I’ll reference sneakers that are owned by a specific person, and sometimes there’s something about that specific style or colour way that has an association to something I’m feeling. It’s funny — when you look at still lifes painted back in the 1600s, you see what looks like a lot of antiques and old things, but at the time they were painted, these objects were modern. I think it’s the same with sneakers. They’ve become quite valuable and symbolic to many people, and I’m curious what people will think of that in 400 years. I’m just capturing what’s symbolic to me and my/our times.

FP: You’ve worked with some big names within the industry including NOCTA, Nike and Polo Ralph Lauren. How do you find working on these larger projects, is there still a sense of freedom to bring the pieces to life?

KA: I love working on these larger, commercial projects. It lets me bring in my graphic design background and create things for someone else instead of just for myself. Usually a client comes to me with a specific idea in mind. They usually want to feature one of their more timeless items – Polo shirts for Ralph Lauren, white AF1s for Nike, for example — so that the piece has longevity. I prefer having quite a lot of direction from clients when working on these commissions so that I don’t have to mine my own emotional world like I would for my own works. I don’t always want to be rooting around in my basement. It’s taxing!

FP: Would you have any words of wisdom for any of our audience out there who are hoping to pursue a career within the world of art? Any tips that have helped you perfect your craft?

KA: I’m really glad I went to design school and have that as a solid background. It’s given me the freedom to choose when I paint as opposed to the pressure of NEEDING to paint. I would say don’t feel like you need to jump right into being an artist or going to art school. I was scared of the “starving artist” cliche so I didn’t pursue fine art right out of high school, and to be honest, I didn’t have anything I wanted to say until later in life anyway. Also, my advice is that you have to put in the time and effort. There’s no short cut. It’s not glamours being an artist. It’s a lot of time spent alone, just chipping away at your craft, even if you don’t feel like it. I’m not always happy to be painting, but I’m always happy I painted. 

FP: In regards to your medium, it seems like oil and canvas is the main feature. Has there been any other mediums you’d love to explore for future pieces to further enhance that contrast of styles?

KA: I’m starting to think about creating some 3D pieces. I’ve always loved building things and thinking about things in 3D but haven’t applied that to my art yet.  I’ve been talking to a friend in Portland about a collaboration, possibly to make some decorative tableware or ashtrays or something along those lines. While I was in Europe over the summer, I visited Maria Imaginario, a sweet artist friend in Lisbon, who is making some amazing ceramic pieces and I was inspired! So we’ll see what comes of it all.

FP: As we mentioned previously, there is a heavy focus on footwear. Anywhere from Travis Scotts Air Jordan IV to the Patta Air Jordan VII, to GOLF’s Converse to Nikes Uptempo. So, with us being Footpatrol, we must ask, Is this a showing of love towards sneakers that you own personally or do you just admire from a far.

KA: Like I mentioned earlier, usually the sneakers are related to a specific person, or else there’s something about that particular style that has the right vibe I’m going for. I think one of the biggest things that draws me to sneakers is their graphic colour blocking and logo design. Maybe because of my graphic design background? I also love sports team graphics and jerseys for those same reasons, but I’ve never been a team sports player myself! 

FP: If yes, what makes a good sneaker to you? 

KA: I don’t actually have a sneaker collection myself. I’m so picky, I usually have a hard time even finding one pair I’m into. Lately I’ve loved what New Balance has been doing with skate shoes, as well as some Nike SBs. I like a bit of a preppy look and for the last while I’ve been really attached to my Nike SB Nyjah Free 2s. 

FP: I think that’s it from us… Huge thanks for taking the time to sit with us and talk. This last question is an opportunity to share any wise words with our audience or simply let us know what you’ve got coming up that we need to keep an eye out for.

KA: I’m just getting started coming up with a new series of painting ideas. The past couple of years have been really tough for some personal reason, which means they’ve given me a lot of material to work with, LOL! If I’m brave enough to go there. 

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Tracing the Cultural History of adidas Classics

07.10.23 General



When it comes to subcultural affiliations, few footwear brands can boast a deeper connection than adidas. In fact, the German sportswear behemoth most likely stands alone with the most in that regard, and that’s without even mentioning the sheer variety and longevity of their influence. Now consolidated in the omnipresent ‘Originals’ subsidiary line, it’s easy to forget that the classic styles this collection now includes all initially emerged as high-performance trainers for their respective sports.

The Superstar was introduced in 1969 as a speciality basketball shoe, however quickly became a fashion and lifestyle mainstay by the ‘70s, thanks to its timeless aesthetic and eye-catching rubber ‘shell toe’. The 1980s saw the release of another on-court icon, the adidas Campus, reminiscent of the Superstar with its minimal construction, its large clean panelling allowing for bright colour combinations in either smooth or suede leather.

Fast forward to the eighties, and technical specifications for basketball footwear were developing expeditiously. It was a decade synonymous with iconic court kicks, not least the debut of the Air Jordan series, which adidas would aim to counter Nike’s growing influence by partnering with another outstanding basketball talent, Patrick Ewing. 

Ewing was selected as the number one overall pick in the 1985 NBA Draft, and adidas subsequently signed him to a lucrative sneaker endorsement deal, releasing the Ewing Athletics line of basketball shoes in 1986. Ewing’s shoes helped adidas capitalise on the widespread appeal of athlete-endorsed sneakers such as the Air Jordan line, garnering a dedicated following. Coupled with the adidas Rivalry which launched the same year, the Ewing went on to emphasise the brand’s stature in the production of high-performance court footwear.

As sneakers started to become integrated into the everyday casual uniform of teenagers and young adults around this time, they inevitably took root in several burgeoning youth subcultures. As hip-hop came of age around the tail end of the 1980s, the three stripes became the essential sneaker brand for movers and shakers within the genre.

One of the key factors that contributed to adidas’ influence within hip-hop culture early on was its connection to the b-boy/girl and breakdancing scene. Breakdancers embraced the brand’s footwear, particularly the adidas Superstar, Gazelle and Campus. These sneakers not only provided the necessary comfort and durability for the dynamic dance moves, but also exuded a distinctive urban style that resonated with the hip-hop community, and their sleek designs with the already-iconic three stripes became a symbol of authenticity and self-expression for aspiring b-boys/girls around the world.

But adidas’ impact within hip hop extended beyond the dance floor. As well as their classic sneakers, the brand’s tracksuits, sweatshirts and accessories would all become staples of hip-hop fashion. Pioneering rap group Run-D.M.C. played a pivotal role in popularising the label within the subgenre. In fact, it could be argued the most enduring image associated with the ‘Old-School’ era of hip hop would be that of the Queens, NY group posing in their uniform of adidas Firebird tracksuits, laceless Superstars or Rivalrys, gold rope chains, and classic fedora or Kangol hats. Their groundbreaking 1986 single ‘My Adidas’  further cemented the brand’s status within hip-hop culture and led to the first-ever endorsement deal between a musical artist and a sportswear company.

Moving into the nineties, it was the turn of another trailblazing hip-hop act, the Beastie Boys, to carry the torch for adidas within the subculture. 1992’s ‘Check Your Head’ turned out to be a change of pace for the group not only musically, but also aesthetically. Its iconic album cover, shot by veteran hip-hop photographer Glen E. Freidman, showed Mike D sporting a pair of Campus, sparking legions of hip-hop fans to go out and grab a pair for themselves. Incidentally, Mike D was one of the figures behind streetwear originators XLARGE at the time, an LA-based label who were known for sourcing vintage deadstock adidas models to resell in their stores.

Hip-hop wasn’t America’s only burgeoning youth scene to adopt the three stripes early on. Over on the West Coast, skateboarding was rapidly gaining popularity amongst a section of thrill-seeking kids and young adults. Largely isolated from any official ties to mainstream sports companies, skaters of time had to make do with reappropriating casual footwear, largely styles designed for basketball and tennis, as skate-centric footwear was in limited offering, and harder to attain in a pre-internet retail landscape.

Skateboarders embraced certain adidas models such as the Campus, Stan Smith and the Superstar for their flat soles and robust construction, which made them suitable for the demands of skateboarding. The ridged rubber shell toes of the Superstar in particular, offered an excellent barrier against grip tape. These models’ blank uppers also provided skaters with a canvas to customise and express individuality, some would draw, paint or dye their shoes, or simply thread through phat laces. The brand became so popular that even the new skater-owned, made for skateboarding shoe brands began to rip off classic adidas designs for their own range. Etnies’ rotated ‘E’ logo is a direct reference to the classic Three Stripes branding, and Tim Gavin’s shoe for DVS took blatant design cues from the Stan Smith. 

In the mid-1990s, adidas actively entered the skateboarding market by launching a dedicated skateboarding line under its ‘Equipment’ range. The brand recognised the skate community’s appreciation for Three Stripes’ heritage as well as the ever-evolving needs of skateboarding footwear and began producing skate-specific shoes with enhanced features like extra cushioning, reinforced toe caps, and improved board feel. It also eventually assembled a skate team which included legends Mark Gonzales and Lance Mountain, as well as exciting young pros such as Quim Cardona and Paulo Diaz, adding further credibility to the brand’s official skate venture.

As adidas’ profile within the skate industry expanded, so did its footwear offering. The brand initially made waves with the legendary phat-stripe cupsole styles Adimatic and Norton, but it would be the classics that still resonated strongly with skateboarders. Key ‘90s skate figures like Harold Hunter and Ryan Hickey were still being seen adidas classics like the Campus and Superstar, but this wasn’t going unnoticed at HQ, and the decision was made to revamp some of the icons, make them more skate-friendly, and have them sit alongside the newer, tech shoes the company was also putting out. Superstar became ‘Super Modified’, with rubberised stripes sitting lower down the upper around the ollie area to offer more resistance, whereas the low-key look of the Campus was channelled in the new ‘O’Reardon’ silhouette.

adidas’ skate integrity was cemented as the 2000s rolled around, and by the end of the decade, many riders were favouring a more classic, low-profile sneaker over the chunky silhouettes of the previous decade. This led to a surge in popularity for adidas models such as the Superstar, Stan Smith, Samba and Campus, as well as other indoor sport-referencing styles, which still make up the core skateboarding collection today.  

In Europe, however, the adidas Samba was beginning to spin its unique legacy within subculture. Originating as a football trainer in 1950, the Samba’s sleek design and durable construction made it a preferred choice among sports fans and 1980s terrace culture enthusiasts. Terrace culture, particularly in Britain, was centred around the fashion and social scene surrounding football matches. One iteration of the Samba became synonymous with it, being embraced by football fans who sought to showcase their team loyalty and exhibit a distinct sense of casual style. Its iconic Three Stripes and retro aesthetic perfectly aligned with the minimal sensibilities of terrace fashion of the era, which largely incorporated high-end European labels as well as classic casual staples such as denim and military surplus gear.

This terrace association reinforced the Samba’s counter-culture identity, which had been brewing after being spotted on iconic musicians such as Bob Marley throughout the ‘60s and ‘70s. Along with Trimm Trabb and the Gazelle (1966) model, originally released in ‘68 as a multi-purpose training shoe, the Samba helped form the foundation for what’s now regarded as Europe’s first sneakerhead scene, where casual connoisseurs became avid collectors, hunting for rare and coveted adidas shoe models.

Technological advances in the design of athletic footwear would spell the beginning of a dormant period for terrace culture, however, consumer interest in classic adidas models in the UK would eventually overflow into the 1990s thanks to a link with an exciting new music scene: Britpop. The chart battle between flagship bands Oasis and Blur may have signified a north/south divide in the country but if there was one thing both bands and their listenership had in common, it was a penchant for classic adidas trainers.

The Gallagher brothers’ signature look of an anorak, jeans and adidas classics (Gazelle and the Samba) reverberated around the country during the Cool Britannia era, and the band’s connection with the Three Stripes has been strengthened with both frontmen each designing their own shoe for the Spezial line in recent years. Down south, Blur led the charge for terrace-inspired fashion, teaming pairs of adidas with Harrington jackets, straight-cut jeans and old-school tennis track tops. The group’s love for the brand even extended to at least two lyrical references, including a song titled ‘Trimm Trabb’, on their sixth album, 13, in 1999.

A recent spate of 1990s nostalgia within fashion has brought the adidas classics range back to the forefront of youth culture. In an era where subcultures of the past can coexist thanks to widely available documentation and a seamless connection among like-minded individuals by way of social media, styles like the Samba, Superstar, Rivalry, Gazelle and co. are experiencing a profound renaissance. The perpetual athleisure trend, along with the classic range’s expansive heritage has created a renewed appreciation for the timeless designs and cultural significance of adidas classics, once again making them a staple in today’s fashion sneaker realm.

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South-London based Rachael Anson is a DJ/Future Executive Producer, and is next up on our ‘More than a Sneakerhead’ series.

“I think it’s a great time to be a woman. I feel like there’s so many opportunities, so many initiatives specifically for women to thrive.” Here bringing the good vibes and insight into the female sneaker industry, keep reading to find out Rachael’s views on the future of the industry.

When it comes to levelling the playing field for women, Rachael believes that brands need to “put more women in charge; and if you are using women creatives, give them freedom and the support to do what they need to do, or what they feel they want to do. Let us do what we know we can do.”

We also asked Rachael about her thoughts on the future of the industry… “I won’t be able to say what I think the future is. But one thing I do know is that it doesn’t stop this culture, because I know for me personally, sneakers and streetwear meant a lot to my childhood. So I feel like the cycle will continue; It’s gonna mean something to another kid, another child, and then the legacy continues.

In terms of brands and designers that are exciting to me right now, I have to say Bianca Saunders – she’s killing it – and I love the fact that she’s a black woman killing it in the fashion industry. She’s super dope.

I’m really digging the hype that New Balances is getting. I’m a big fan of the Protection Pack – I’m trying to collect all of them. So New Balance, if you hear this!

I’ve realised how important representation is for young people. When we were growing up, we had the likes of So Solid crew, and it was so sick to see them on TV because we knew that they were from South London. I’m from South London, so, for me, I remember a feeling of like, ‘I want to do that’, or ‘I can be that’, ‘I can do what they’re doing.’

I’m more than a sneakerhead because I’m Rachael and I love sneakers my way, and yeah man, I bring my vibe and I bring my energy. And what more can I say? Women are killing it. Yeah, women are killing it.”

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05.10.23 Footpatrol DiscussionsGeneral



Celebrating the launch of the Air Max 1 86 ‘Obsidian’, we headed on down to pay a visit to London based glass studio, Michael Ruh.

The story of the Air Max 1 86 is a rich one. One that’s steeped in trial, failure and finally success. Something that is all too often when working with a delicate material like glass. Known as ‘Big Bubble’, we took this latest ‘Obsidian’ colour way down to Michael to check out his work and how the connection between his practice and this sneaker are greater than first meets the eye.

Footpatrol: Michael, thanks for letting us come down and visit your studio, it’s great to finally meet you. To kick things off, how are you?

Michael Ruh: Hot! The ambient temperature in the studio is probably around 30 degrees throughout the year.  During the summer months it can get even hotter.

FP: For those members of our audience who may not have come across your work yet, could you give a bit of background to you, your practice and perhaps a bit of your journey to how you got to where you are now? 

MR: I studied fine arts at university. During that time I came across a glass blowing studio. I was mesmerised. A long time later I had the opportunity to attend an applied arts school in Belgium that had a glass department. My work is greatly influenced by my earliest interests from that time. I’ve always been interested by process, the movement and change of light, the changing of the seasons, transience, and anchoring memory to colour, light and landscape. For the most part I make utilitarian objects, but those objects are greatly informed by my memories of colour.

FP: So, glassblowing. Where do we start? A traditional craft that has been explored and experimented with for centuries, we noticed with your work you’re often creating modern art form like pieces with unique, eye-catching shapes. Where do you find your inspirations when tackling a new project?  

MR: Inspiration for new projects? Most of our projects begin with a conversation, the discussion of function or the purpose or use of an object, and how that object will influence the ambience of where it is to be placed. We converse with designers or architects involved in the projects, and often what I am most inspired by are sometimes  just a few words. I love that moment of creating something tangible and visible from a conversation. Making thoughts visible, so to say.

FP: The real reason we’re visiting you is for the latest launch of Nike’s Air Max 1 86 ‘Obsidian’. Known as the ‘Big Bubble’, this shoe originally didn’t launch due to the lack of technology to make its massive Air Unit a thing which led to the iconic Air Max 1. This window led us to think of glassblowing and the technical, delicate skill involved. What are some of the processes involved to make sure each piece is a success? 

MR: Success depends upon teamwork! Glass blowing is rarely a solo pursuit. The assistants in my team are the people who make it happen too. They are auxiliary hands and eyes, so to speak. I’ve got the idea of where I want to go with the piece,and I’m driving the output, but their perspectives on how the piece is developing is essential to know. With glass making, a great assistant makes the piece with me, they will notice what I need next without being told and are with me from start to finish all the way. Success is never an accident, and everyone  involved in the process needs to be fully engaged. Doing things over and over again until physical fluency is gained is paramount and it takes years to gain the necessary skill set. Glassblowing is not only about delicate skill, sometimes it is also just about hauling a heavy, awkward amount of glass around, blowing a big bubble, and stubbornly not quitting until the piece is finished. 

It’s funny the Air Max 1 86 is called ‘Obsidian’ Obsidian is volcanic glass, and any  object made of hollow glass starts its’ life as a “big bubble”.

FP: Previously when we’ve done ‘Footpatrol Discussions’, it’s often included some type of art form. From painters, to illustrators to ceramists but what is it about Glassblowing that made you want to work with glass as your medium? 

MR: The first time I made something in glass, I was completely mesmerised by the material, and the process of glass making. The basic and elemental nature of glass making is very appealing to me. By simple and minimal means glass is made, and that process has remained unchanged since its discovery over two thousand years ago.

FP: Do you intend all of your pieces to have some sort of functionality? From the Birch Community Lights, to Perfumer H flasks to the glassware/pourers, each piece seems to have that secondary element that needs to be throughout.

MR: Initially everything I made was nonfunctional. The more skills I gained, the more functional my work became. I’ve always tried to make work that expresses my interests while answering the remit of a commercial commission. I am quite specific about colour and shape, and always include some process which is not necessarily apparent, but strongly influences the look and outcome of the piece. I did not initially set out to solely focus on on functional ware, but that is how my career has evolved.

FP: When it comes to recycling glass, what is the process of reusing this? We saw on your Instagram you were meticulously picking out the non-coloured glass to the coloured glass. Is it as simple as melting this back down to be reused? Is there a different end effect when using recycled glass?

MR: We separate out the coloured glass from the clear glass, and we simply remelt the clear shards in the  furnace together with the recycled glass lenses we use. When we melt glass in our furnace for production use, it’s brought up to a very high temperature so any air bubbles can work their way to the surface and dissipate. It’s all pretty straight forward.  

We’ve been saving our coloured glass to melt separately. We’re not sure what the resulting colour will look like, but when we do use the coloured glass it will be unique. We need a project that will require us to use lots of glass, like making glass tiles for room dividers, or window treatments.  We are thinking of a range of cast glass serving ware and bar ware to use up our coloured glass. I’ve also got some ideas for a new range of lighting that will utilise the coloured shards we’ve been keeping. Any of your readers out there with some ideas?

FP: Well, I think that that is it from us at Footpatrol. This last question is always left open to the interviewee with an opportunity to share any words of wisdom with our audience or a chance to share any upcoming projects you’re working on so again, thank you for having us and look forward to seeing more of your work!

MR: Words of wisdom? Ha ha…stay humble!

Try to accept failure, and learn the lesson it teaches you. Just stick with your work and keep going, it’s not always joyful inspiration and effortless expression. Some days are just a hard slog. You cannot be who you are not, and this will be reflected in your work. Speak your own language.

We hope to be able to share with all of you another exciting hotel project we’re working on. It’s going to be beautiful!

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Frequent Players Guest Mix 045 | Timma T

02.10.23 Frequent Players




For our latest Frequent Players, Timma T takes us on a 140bpm ride with the sounds of grime, dubstep and baseline.
Underground radio stations, his own record label and event, Timma T is definitely putting his stamp on Birmingham. We caught up with him to talk everything from his most memorable moments, to what got him into music.

Footpatrol: Hey Timma, Hope you’re good? Thanks for taking the time to chat with us. Could you start by telling us a bit about yourself and what it is you do?

Timma: Yes guys, i’m all good thank you for shouting me to be a part of this. I’m Timma T 27, 0121 born and raised. I’m a DJ and producer, a specialist in 140 bpm music. I’m currently starting a new chapter in life by starting university studying sound engineering and audio production, on the side I work at Size?.

Footpatrol: How did you first get into DJing, and what inspired you to start producing?

Timma: I started djing in 2012/13 all my friends were djing and a couple of them had a radio show on a Birmingham station called Silk City. I would go to the station and just watch and found it amazing so I expressed an interest and they let me play a couple riddims and the rest is history, I got introduced to a whole new world I never knew existed. My good friends Horrickle and Gallah introduced me to the world of underground music, firstly being riddim dubstep and then UK funky. I then put in the practice hours and eventually got my own show and then started playing out in the Birmingham scene. Production is pretty much the same story, Gallah, Horrickle, Anton Stranger and Esstee, I have to big up each of these man for helping me on my production journey, showing me the basics and giving me constructive criticism which has allowed me to be the producer I am today. 

 Footpatrol: Can you describe your favorite or most memorable DJ performance?

Timma: This one is a hard one. I would say I have one favorite and one memorable. My favorite was definitely Outlook UK last year, big shouts to my family Minor Formula who put me on the line up. I was on the Kickers stage and a couple days before i saw a couple of the best Mc’s in scene and asked them if they would be down to come and shell down with me. I started the set and by the 2nd tune i turned around and Logan, Duppy, Joe Fire, JoSoSick, Blacklike Tintz and Doni Rampage were there mic in hand and ready to shell and they did not hold back. Considering it was on the smallest stages at the festival we got the place absolutely jumping and gathered a big crowd. Most Memorable was in Birmingham and a Bacardi event called Casa Bacardi, which was meant to be a simple warm set turned in to something much bigger, The line up was stacked Kojo Funds, Stefflon Don, Swifta Beater, Dapz On The Map and Roxxxan. I did my set and got approached by the promoter asking if i had any of Kojo’s riddims and i had a few, she then asked me if i would be able to play for him. I ran to my studio and downloaded the rest of the riddims i needed headed back and djed for him which was an incredible show i then stayed on decks and warmed up for Stefflon Don. That is one night ill definitely not forget i stayed in contact with the promoter who then got me on their next event where i warmed up for Mr Eazi, Afro B and P Monatana big up Bacardi shout me haha. 

Footpatrol: What is your approach to selecting tracks, do you plan your mixes or do you go off the crowd?

Timma: Wouldn’t really say i have a plan i mostly go off what i’m feeling, i suppose sometimes i think of two tracks that go well together or two tracks that i will be able to chop together to create a whole new track. When i comes to radio i try find new music and try to out them on the show, in the same breath music just comes and goes so fast, so what i like to do is go back and remind people of amazing music that has come out. 

Footpatrol: Can you tell us more about ‘One More Riddim?

Timma: OneMoreRiddim is a brand new record label coming out of Birmingham. It started the end of last year with the first ep being a track i made called ‘Darnce Dun’ and then entrusted that help of my friends, Gallah, Lotus, Felix Dubs, Delta, Horrickle, Robbo & Goosensei who all have made names for themselves in the scene by making amazing music. All of these guys did a remix of the riddim in their own unique style and all being from Birmingham this was the perfect way to start this Birmingham label. 

From then we’ve put out 4 more releases including releases from Demtew, Lotus, Dunman and an upcoming feature from Newbaan, we’ve got one more planned for the end of the year and then we will be in the planning stage for next year. 

We’ve also started getting into the events game, Birmingham being the second city looking at the scene and seeing there wasn’t a 140 event we knew we had to step in and make a change. 17th June we put our first event on at an amazing venue Hare and Hounds, we got arguably the king of grime Sir Spyro in for the first event alongside some amazing local talent. The event was a complete success and the feedback we received from the people that attended the event was incredible. This past weekend we put on our second event with the one and only Coki which again was massively successful. This label and event is exactly what Birmingham needs and we will continue to provide for the city we know and love. 

Our Next event will be a collab in Nottingham with label Certi records and group Anti Social Services 13th October and after that our next solo event will be at the Hare and Hounds Birmingham 30th March so we hope to see you there! 

Footpatrol: Out of all the genres you play, what is your favorite? 

Timma: Well that’s a tough one because i live and breath 140BPM first thing in the morning listening to old Sir Spyro sets, on the way to work or uni listening to Shiverz Da Butcher and then when i’m at home listening to more mellow stuff like Von D it’s always 140 but if I HAD to pick a genre it would be dubstep. Within 140 that was my first love especially the sub genre Riddim that’s what first got me into underground dubstep and still influences me today, as a  whole a feel every genre has different styles and feels within itself but i feel i connect with dubstep on a deeper level as it is so diverse and there’s a riddim out there for any moment or feeling that your having. 

Footpatrol:  We have heard you on your ‘Reprezent’ Radio show, do you have any other shows lined up?

Timma: You can catch me at OneMoreRiddim X Certi Records X Anti Social Services 13th October in Nottingham. I have also just got the next date for OneMoreRiddims next solo show in Birmingham which will be 30th March. Other then that i having got anything planned got some stuff booked in for next year but ill let that come to light closer the time. 

Footpatrol:  Are there any emerging genres that you’re particularly excited about incorporating into your sets in the future?

Timma: I wouldn’t say emerging is more re-emerging. I’m excited about Riddim dubstep being more widely accepted. This sub genre which got me into underground music was kind of a niche sound here in the UK i believe but over in the states and Europe the scene has been going crazy for years and years but now your starting to see more and more DJ’s play it in their sets and the sound is now being accepted for the art form that it is rather than people just saying it’s just a load of noise.  

Footpatrol: A question we saw you asking on social media, you can play one more song, what would it be?

Timma: I think it would have to be Von D ft PhePhe – Show Me this riddim was shown to me by my good friend Horrickle at the very start of my career and it introduced me to beautiful dubstep. I call tracks like that motorway riddims, saying that i’m starting a mix series on my Soundcloud called Motorway Riddims and it’s going to be full of riddims like this just beautiful riddims that have beautiful melodies, sounds, drums with an undertone of greeze. I love at the end of the night when you’re traveling back on the motorway and no one is speaking and no one can be bothered to be a selector. I want people to just put these mixes on and just be in the moment to just feel the music. 

Footpatrol: If you were a shoe, what shoe would you be?

Timma: This one is easy Asics Gel Lyte iii all day this is the shoe that got me into collecting, currently sitting on 18 pairs. The confort on these is crazy, just the look of it is so unique compared to everything else on the market and unlike other brands the quality is always 100%. 

Footpatrol:  We appreciate you taking the time to chat to us, are there any shoutouts or anything coming up you’d like to share with us?

Timma: I appreciate you guys shouting at me and giving me this opportunity to showcase myself. Just big up to everyone that supports me, supports OneMoreRiddim and you can catch me 13th October Nottingham and then for next year 30th March at OneMoreRiddim.

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