My Interview with Dave


As featured in Complex UK

Photos by Courtney Francis

When you sell out your first headline show in under 24 hours, drop one of the tunes of the year with one of your good friends, and have Drake drop some vocals on your song, you know the stars are aligning for you. This is exactly what has happened to south London star Dave, who is coming off the back of a tremendous 2016. The 18-year-old from Streatham is the UK rap scene’s newest hope, dropping deeply intense, personal and introspective lyricism to project a life that has seen its fair share of adversity. In a realm where trap and turn-up rap is the norm, Dave goes against the grain and brings musicality and heart to his every move.

Last September’s brilliant Six Paths EP was a breath of fresh air as he provided a steady balance between melodic rap and hard-hitting live instrumentation (he played the piano throughout the project). Prior to the EP’s release, Dave and AJ Tracey offered up a grime masterclass in “Thiago Silva”, bridging the gap between the scene’s old, gritty style and the abundance of talent within the new generation and showcasing a versatility to his artistry. The icing on the cake came in November, though, when Drizzy took it upon himself to take Dave’s “Wanna Know” and lace it with a couple verses of his own. In what is most definitely a rookie year, he’s notched up a number of achievements that most rappers and musicians aspire to.

Dave has a wisdom beyond his 18 years, which shows in his music and personality. And while he is super grateful for the journey so far, he understands that it’s only the beginning and that he’s just a few moves away from levelling up even more. I caught up with the rising rap star recently, at Foot Locker’s #ItStartsHere event in Shoreditch, London, where he chronicled his musical journey, detailed which of his songs he is most proud of, and which pair of trainers he hates the most.

You’re one of the most hyped and talked-about artists out right now, but what do you think you bring to the music scene?
I don’t know. It would be a bit weird to speak about myself in the third person, but I think I try to bring my own intensity and seriousness about music to the scene. I think, at times, it gets a bit light and trivial and there’s no real depth, but I like to come with a darker, more serious vibe. At the same time though, I like to flip it to things that are completely different. Certain times, it’s just about the vibe, like on “Thiago Silva” and “Wanna Know”, or the concept, like on “Picture Me” and “Panic Attack”.

Would you say you do that differently to any other artist?
I would say my sound is different; like, the type of instrumentation that we use, we’ve made a conscious effort to try and separate ourselves. We do a lot of stuff live, so sonically, we don’t sound like everyone else. For the most part, it’s that, but also lyrics and intensity, and with all that I try to separate myself from everybody else.

How have adjusted to your newfound fame?
I wouldn’t say I’ve adjusted to any kind of fame. It’s just pretty normal support and I appreciate it from everyone. There are certain situations that can be a little bit of a headache, but you have to deal with everything that comes in life. Music makes a slight change and you have to run with it.

So, when you did your Bl@ckbox freestyle, did you imagine it would take you to where you are today?
I had absolutely no idea! I’ve just got to thank God, really. It’s been a huge achievement to get to where we are, but there’s still so much to do. The music scene is ever changing—everyone’s here for a second, and then they’re gone 20 seconds later—so we’re just trying to build a solid foundation and stay here for as long as possible.

What do you think keeps you so grounded as an artist?
Certain people are like that and certain people aren’t. But you just have to stay level-headed, have good friends around you, a good team, and good managers.

How would you describe your musical journey so far?
It’s been exciting; a lot of ups and mids—I wouldn’t say I’ve had crazy downs, though. The downs are only down in comparison to how high the ups are, but it’s funny because it’s been a fun journey, and that’s what it’s about. It’s all about the pressure, the not knowing what’s next, and it’s crazy interesting. There were once things you couldn’t do and, all of a sudden now you can do them—or things that people think you can’t do and then you do them. And then there are things people think you can’t do, and then you just can’t do them. But in every step, I’m just trying to become a better person, a better musician, learn from other musicians—which is crucial—and make the best music possible.

To me, my music always has to reflect my mood and what matters to me. If I’m ever sitting down and trying to make a song for the song’s purpose, then it becomes a job. But when I just sit down and try to narrate what’s going on around me, it just flows naturally and it doesn’t even feel like I’m writing lyrics. I just feel like I’m thinking on a piece of paper and putting it into rhyme and flashy lines in between. If I was to sit down and say, “Argh! You know what? Let me make a song for a party or something that’s emotional”, that’s when it starts to become tiring and you lose inspiration and things start to feel synthetic. So, it’s just keeping that balance and making sure that, at all times, I’m aware that this is more than just a hobby and that I’m taking it as seriously as I can, but also that I can find my genuine interest in what I’m talking about.

And it has to be, and feel, organic.
Yeah, definitely organic.


How did you get into music?  
Just by listening to it, really, and trying to replicate it. Music is a funny thing, because anyone can do it. It’s like sport but different to it at the same time, because you don’t really have to put in a crazy amount of work to get on the same platform that everyone is on. With sport, if you want to be anywhere near a football academy or scouts or the top teams, you have to put in crazy amounts of work and have the right people in your corner. But with music, you can just wake up one day and take a beat off YouTube, which is exactly what I did, and go down to a freestyle platform like a Bl@ckbox—shout out to Bl@ckbox—pay for a freestyle, upload and promote it, and if people like it they can take to you instantly and things can change just like that. That’s what’s so good about it but that’s also what’s so bad about it, because, on the flip side of seeing everybody do well, there’s a crazy over-saturation and headache in music where it’s just super repetitive. So, there’s a good and a bad to it, but that’s how I personally started.

What does being from South London mean to you and how does it shape your artistry?
It’s alright. I wouldn’t say it does anything crazy; it’s just where I’m from and what’s influenced a lot of topics that I talk about. For me as a person, though, it’s just about me. The way I was brought up and the home that I was brought up in, that’s a lot more important to how someone develops as a character. The area is only a little bit of it.

Which artists would you love to collaborate with that you haven’t locked down as yet?
J Hus is really sick, Nines is really sick, Bugzy Malone, Mist—these are four people I rate really highly, because there’s something different to all of them. Those are people I want to collaborate with and may have been speaking to and haven’t mentioned, probably because they’re closer to home. When I hear questions like that, it’s all about people you might not necessarily have direct contact with, and that’s why they seem more elusive. But, you know when you know someone and you can just be in the studio, it’s less exciting to collaborate with them but more accessible, so you’re not thinking in the same way that you need to collaborate with my man. If you know him, you just do it. I guess it goes back to the idea of being organic. It definitely has to be organic. I’m a person who believes in being in the right place, at the right time. So if I’m meant to be around you, it will happen. If people feel your music, they’re going to talk about it, usually. Sometimes they don’t, but you’ll always run into someone if it’s meant to be.

Which of your songs would you say you’re most proud of?
I’ve got a few unreleased songs that I’m really, really happy with. Funnily enough, I have a song called “Samantha” which will probably be the next one I drop. I may have tackled one of the collabs that I’ve been speaking about—I won’t say which one—but it should be interesting to see how it plays out. Hopefully it’s going to be a big song for me. When I sit down and think what song I’m crazy proud of, it would probably be that one… I’m crazy proud of “Thiago Silva” too, though, because it’s an uplifting type of grime song. You know the kind of stuff you can’t really do again? Well, you can, but you can’t get in the same mode or capture the same vibe, that’s “Thiago Silva”. I created “Wanna Know” when I was 15, so seeing that come so far has been great as well. And “Panic Attack”it’s a super in-depth, descriptive, raw and different take on knife crime, and something that is close to home.

I think it was good for me to speak on that type of subject in a way that’s not glorifying it, but is not making it seem distant. A lot of people speak about topics like that and talk down to it and preach to people but, in reality, they’re not in the scenario to be able to give an accurate description of what it’s like to live in that. To have people that are like your friends and enemies turning on you, or to have pride issues, because they’re so removed it doesn’t have the same authenticity. On the flip side, you have people just glorifying it and make it look like that’s what it’s all about. So, I have the kind of neutral standpoint and the ability to float in between the left and the right, the good and the bad, and give the darker side of reality. When I release the music video, it will become more apparent to how important that song is to me, and I think it will be a big moment for me that will capture what we’ve been working so hard on.

On a slightly lighter note, are you a sneakerhead?
Yeah, of course.

Do you remember the first pair of trainers you bought?
I think the first I ever bought were these blue and white, high-top Air Force 1s about four or five years ago. They were like a Size 7 or 8, so they’re gone now.

What are the best pair of trainers you currently own?
I think I love all my trainers equally, but for a while, my favourite pair were the all grey flyknit Air Max 1s—they were reflective and they work with anything. The white flyknit Air Max 1s are a serious pair as well. I’ve got some blue flyknit Air Max 90s as well, and the khaki mid Air Max 90s, and the all black mid Air Max 90s. All very serious pairs. The white and red Air Max flyknits, the khaki Air Max 1 flyknits, the all black Air Max 1 flyknits, the low black Jordan 6’s.

Wow! How many pairs do you actually have?
I wouldn’t say I own that many, you know. It’s all about quality over quantity, so I own around 19-20 pairs of trainers that I can wear any day and feel confident in. I don’t have a shaky pair of trainers; if you’ve got a pair of trainers in your house that you don’t wear, they’re wasted. I’ve got no time for anything in my wardrobe that I’m not wearing or is taking up space.

What are the worst creps you’ve ever seen?
I think AJ [Tracey] had a pair. They were brown and had some kind of Scottish checker thing on them, with blue on the inside, and he called them “the outrageous creps.” [Laughs] I know who gave them to him but they were SHAM-bolic! Dear God.

Things look like they’re heating up for you, but what else do you have planned for 2017?
Just to make more music, more videos, to fly to more places, perform, make new links. We’ve made a whole load of good friends in a lot of good places, so hopefully we can make many more in 2017 and have another year where we can sit back and think, “Wow! This has happened and its skyrocketing.” For me, it’s just about the experiences because they’re what really matter.


What Childish Gambino’s Glo-Up Means to Other Black Nerds

As featured in Noisey

Childish Gambino has come a long way. The man born Donald Glover has gone from nerdy outsider in the rap game to a Golden Globe winner, as the world has opened up to his talents. Not all of us could pull off the transition from largely derided rapper to master of funk (as confirmed with new album Awaken, My Love!), via an absurdist humour TV show – one of 2016’s best. But he was making a more personal impact on his fans years before.

Rewind, for a moment, to 2011. I was a 19-year-old kid on the brink of adulthood, not entirely comfortable in my own skin, when my interest in Glover sparked. Listening to rap and attending an all-boys school in South East London dominated by my hyper-masculine black peers pulled me in one direction, before I was turned the other way when I moved to a predominantly white sixth-form college. There, checked shirts, skinny jeans and crop tops were the norm. I contorted myself to fit into each social environment, attempting to turn my blackness up in school for the acceptance of the majority, while toning it down to prevent intimidating my white counterparts in sixth-form. Earl Sweatshirt summed it up best on 2013’s “Chum“, as being “too black for the white kids and too white for the blacks”.

But 2011 was also the year when Glover released his debut, Camp. Listening to it, his vocals spoke to a similar sense of social anguish. He’d also grown up in a world where he was picked apart for being a little… different. He didn’t fit the traditional young black male stereotype cemented in decades of American pop culture, instead rhyming and singing with a cadence that may not have been considered “manly”. He made references to cult TV shows Freaks and Geeks and Firefly and experimented with EDM. Glover himself was aware of his position, saying in a 2011 interview that “for a long time music was black or white, but now there’s people like Tyler, the Creator making a huge impact. Like me, he’s a middle-class black kid that dressed like a member of Good Charlotte and got called a faggot. I got jumped once simply for having a skateboard.”

Not everyone loved the album. You may remember Camp picking up a 1.6 rating in Pitchfork, in what still feels like a mind-boggling review that accused Glover of using “heavy topics like race, masculinity, relationships, street cred, and ‘real hip-hop’ as props to construct a false outsider persona”. But they weren’t hearing the same story I had. Glover’s weirdness was often read as weakness or an inability to articulate a coherent message, and a major indie publication refuting his multifaceted persona felt like a rejection of being black and weird.

He paid it no mind, though, regrouping for 2013’s Because the Internet – a beautiful, strange and cinematic album that showed where things had changed. Glover sounded emboldened, but his anguish bellowed too. He was an awkward soul, flitting from one identity to another both in life and on record, because it was obvious he was in pain. Similarly, as is the case with so many other kids who grow up with interests that fall outside people’s assumptions, I continued to try and maintain a balance between “too black” and “not black enough”.

Talking to Noisey in 2013, Glover sounded at his darkest: “I tried to kill myself. I was really fucked up… I didn’t feel like I knew what I was doing. I wasn’t living up to my standard, I was living up to other people’s standards, and I just said ‘I don’t see the point’.” People have always attached themselves to music’s misfits in the past, clinging onto their idiosyncrasies for comfort. You only need to look at how fans mourned David Bowie and Prince last year; how they idolised and repackaged the punk aesthetic of The Sex Pistols, The Slits and The Ramones; how they still flock to see Madonna, Springsteen and Iggy Pop, to understand that we gravitate towards people who turn our assumptions on their heads. The “tortured artist” has become cliche because, somewhere at some point, it was rooted in reality. Artists battling inner conflict drew people in.

Addressing his issues only made Glover stronger, and his music became a backdrop onto which he could project the chaos in his head. You can hear it in full, wailing flow on “II. Earth: The Oldest Computer (the Last Night)” and buzzing on “II. Zealots of Stockholm [Free Information]”, both off Because the Internet. It felt like an epiphany for me, where I realised that being unlike what people think you should isn’t a bad thing. Critics took note too, commending Glover’s dedication to the album’s cause, while still accusing him of trying too hard to stand out. This wasn’t him trying – his natural tendency to be different stemmed from the fact that he was different.

Glover laid low for the next few years, carefully crafting what would become FX TV series Atlanta. The show reimagines the boundaries for black American TV – in good company, with the likes of Insecure and Black-ish – and lays out the stereotypes Glover has had to fight while projecting an alternative reality. As a general plot summary, Glover’s character Earn Marks stands on the fringes of success and hip-hop society before becoming the manager of his rapper cousin Paper Boi – and that doesn’t even begin to touch on the comedic devices, bizarre twists and underlying surreality the show develops.

Then we come to the present day and Glover’s December 2016, rap-free album, Awaken, My Love!. Writing for Noisey, Israel Daramola deemed it an album that “feels more like, well, an awakening. Its heavy use of Funkadelic and Sly Stone instrumentation, Bootsy’s wobbly singing style, and high-pitched Prince wails are in service to the love, hopefulness, and, of course, fears about bringing a new life into the world” – alluding to Glover’s recent new role as a dad. The alienated kid from Camp has grown to subvert the various definitions of blackness through his music, slipping from the firm grip of his critics again. He’s shapeshifted once more.

So here I am, aged 25 now, and able to say that Glover empowered me to just be me. Unapologetically. As with all identities our cultures create, there are levels to being black. And, whether you subscribe to the hyper-masculine image of black people that rap overwhelmingly projects, or an alternative kid that isn’t really that, Glover’s evolution has given a voice to those black freaks and geeks who’ve felt they had to compromise who they were for acceptance. But when you learn to throw those assumptions aside, you really kickstart the sort of journey Glover has made. You quiet the voices urging you to be this way or that. You learn to just do you.


I hope 2017 is treating you all super duper.

Just wanted to share my first writings of the year, this time for Complex UK, in a piece called ‘Ones To Watch: 13 British Emcees Destined For A Big 2017’. Watch out for these artists making an impact this year!



The Birmingham rap scene has a new representative in Mist. Quickly becoming one of the premier rappers outside of London last year—helped massively by the hard-as-hell and super catchy track “Karla’s Back”—his low and gruffly voice is now instantly recognisable and almost iconic in the sphere of UK rap.

2016 was Mist’s oyster as he shut down shows across the country and got nominated for a few major awards. And, if you ever wanted a detailed and cinematic account of life on the streets of 0121, look no further than his breakout project M I S to the T. Expect Mist to reach higher heights in 2017.


Dapz On The Map


If you follow grime in the Midlands heavy, the name Dapz On The Map should come as no surprise. Hailing from West Bromwich, Dapz has been on his grind for a good half-decade, but grew into his own last year with a number of stellar releases. “Oh My Days”, “Shinobi Part 1” and “Champion Champion” showcased a hungry and melodic emcee with a wisdom that sets him apart from his peers.

Blessed with an ability to switch his flow and cadence effortlessly, Dapz On The Map continues to demonstrate his varied abilities on record and has big fans in Skepta and Kano because of it.




It feels a bit strange including a lyricist who’s been at it for a good few years but, after a lot of grafting and making a name for himself across the country, Eyez is now ready for the next level.

Born and raised in Derby, he’s repped his city to the fullest on his journey to recognition, with his Mind The Gap mixtape (released last year via Red Bull Studios) being the clearest indicator that the kid’s got bars. In a musical landscape that’s more accepting of non-London rhymers than ever before, Eyez has bided his time in the dungeons of Derby and is now in line to become a household grime name.


My year in articles

Not to sound corny or anything, but 2016 has been a year of progression for me, both personally and professionally, and I branched out to write for some big publications, and got my own radio show.

So, being the end of the year and all, I’ve rounded up a few of my favourite pieces that I wrote, which I have listed below.


Ten of A Tribe Called Quest’s Most Slept-On Songs

Ten of A Tribe Called Quest's Most Slept On Songs

As featured in Cozy Mag

When A Tribe Called Quest recently announced their first album in 18 years, hip-hop heads the world over rejoiced. As their final release as a group the project, aptly titled We Got It From Here, Thank You for Your Service, it includes the likes of Kendrick Lamar, Andre 3000 and, interestingly, Elton John.

The album, their first since 1998’s The Love Movement, includes all four Tribe-members, including the late, great Phife Dawg. A stunning project from beginning to end, the new album represents a final chapter for one of the greatest musical groups of all time.

As much as an occasion like this makes us acknowledge the end, harkening back to the beginning is also a natural thing to do. Looking back on their 1990s heyday, it’s evident that Tribe have produced undeniably classic songs and albums. Everyone remembers ‘Can I Kick It?’ ‘Scenario’, ‘Electric Relaxation’ and the like, but there are scores of other Tribe tracks that don’t get the recognition they should, simply because the monster singles overshadowed them.

Here are 10 of those tracks that deserve some more shine.


Tribe’s fourth album, 1996’s Beats, Rhymes & Life was an effort that polarised the hip-hop community. A very apparent departure from their previous three albums, and incorporating a darker tone and sound, courtesy of The Ummah (Q-Tip, Ali Shaheed Muhammad and Jay Dee aka J Dilla), it took many by surprise. The project is a solid body of work, and one of its highlights is its second track, ’Get A Hold’. A solo effort from Tip, he touches base “over the illest drum rolls” about the prevalent East Coast-West Coast rivalry, a backdrop which probably explains the album’s change of direction. The Abstract has always been slept-on as a rapper in my opinion, but on ‘Get A Hold’ he proves he can more than hold his own with his contemporaries.


The final track from their third, and arguably best album, Midnight Marauders, I get a feeling of triumph from ‘God Lives Through’ – like Tribe knew they had created a classic and were ready to flaunt it. A laid-back number with some sick drum patterns, both Phife and Tip are composed, but it is the former who steals the show. Malik Taylor came into his own throughout this album, but he weaves words together effortlessly here, amounting Tribe’s failure to look good to all of New York not looking good. He really had sky-high confidence at this period and could go up against anyone, and this track proves it.


On People’s Instinctive Travels and the Paths of Rhythm, Tribe were literally and figuratively on a journey towards an Afrocentric paradise. It’s almost goofy in its approach on ‘Footprints’, with a lot of references to feet, but Q-Tip is spitting some real gems from start to finish, showing a wisdom far beyond his 20 years of age at the time. It’s appropriate, and quite fitting, that they sampled ‘Walk Tall’ by the Cannonball Adderley Quartet; a nice touch.

4) ‘HOT SEX’ 

The title of this track, is a little misleading, because its only mentioned in Ali Shaheed Muhammad’s hook. The rest of the track is just a barfest, with both Phife and Tip flexing as only they know how. The Five Foot Assassin comes with the aggressive bars but still sounds cool as hell, while Tip is smooth as silk while speeding up his flow, and he even acknowledges that on record (“I’m the lyrical master blaster, yeah I can do that”). Looking back, this was one of the first songs that drew a line in the sand between what Tribe were doing before and after it, setting the tone for darker, more aggressive material to follow.


Q-Tip showed that he is a master storyteller throughout Tribe’s debut album, People’s Instinctive Travels and the Paths of Rhythm, and that technique is fully realised on the project’s final track. Telling an expansive anecdote about an individual doing foolish things, over a sample of Roy Ayer’s classic ‘Running Away’, Tip serves up a warning to all those who are prone to indulge in the darker side of life, such as domestic abuse, and generally being a bit of a sucker. Its songs like these that help you remember the important messages Tribe initially brought with their music.


Regrouping after Beats, Rhymes and Life, the trio softened the tone slightly for their fifth outing, The Love Movement, and appropriately began with ‘Start It Up’. The song is a minimalist effort, containing hollow drums and wicked synths as Q-Tip adjusts his flow to fit the beat, with devastating effect. Tip has been better on other tracks, but it is his delivery and presence that is impressive, in addition to the fiery instrumental.


A song dedicated to night activity, ‘Midnight’ is further testament to Tip’ s storytelling. He makes you feel like you’re involved, giving superb detail and clever puns to what is essentially a tale about looting in the first verse. In the second, Tip goes on to describe himself and his need to make music, without anyone trying to put a stop to it. The track ends with a dose of the real via the PSA system employed throughout Midnight Marauders, adding perspective to slept-on tune.

8) ‘BUTTER’ 

Phife Dawg goes solo on this cut from Tribe’s immortal sophomore effort, The Low End Theory, and tries his hand telling tales about the ladies. The beat is pure jazz rap genius, incorporating a groovy saxophone riff during the hook to supplement the simplicity of the drums and piano chords. Meanwhile, the Five Footer rides the instrumental as he tries to avoid “someone whose mind is blank, and trying to juice me for my banks” and those who previously rejected him but now want to approach because he’s famous. He doesn’t lose his composure one bit, remaining laid back and collected as always.


One of the best intros to a hip-hop album ever, ‘Excursions’ is the embodiment of what jazz-infused rap was in the early 1990s. The most amazing double bassline begin proceedings, as Q-Tip explains the cyclical nature of music with some hard bars, allowing the drums to kick in. The Abstract continues to reiterate the group’s gospel not to sell out, after a well-placed sample by The Last Poets, and continues to deliver with insightful line after insightful line.


As amazing and innovative as the original ‘Scenario’ is, its remix outdoes it in my opinion. Over a beat that can be considered boom-bap, a stark contrast to what they were doing at the time, it includes Tip, Phife, The Leaders of the New School and newcomer Kid Hood, who was murdered three days after recording his verse. Every emcee meet the harsher instrumental with ferocity and charisma to their bars, particularly Phife and Busta Rhymes, who somehow manage to better their classic original verses. The chemistry is electric on the remix, and it is surely remembered as one of the very best in hip-hop history.