Multidisciplinary DJ, Saxophonist, researcher and soundscape artist Fat-Lïp fell into DJing almost cosmically. From finding themself infatuated as a flatmate mixed on decks one night in their kitchen during their time on Erasmus, Fat-Lip’s childhood musical upbringing nurtured their ability to acclimate to the decks themself. Through sonically exploring sounds from the Caribbean, African continent and beyond for the dancefloor, they create reflecting cultural intersections between generations of Black diasporans across the world. Whether playing live sets that request full embodiment from the crowd or flexing creativity through mixes that take you on a rhythmic journey, they truly create from a place of curiosity. In pieces like ::: GQOM 2/3 SUPER MOON (FULL - BEAVER) :::, opening with the viral “You are not in the UK, you are in Barbados" from a “World’s Strictest Parents” episode that later transitions from Gqom to nostalgic tracks by the likes of Meleka and Stush, their sets feel like conversations between archival practice and the dancefloor. I sat down with Fat-Lïp to talk about how they got into DJing, what makes them tick and their thoughts on London nightlife, as they describe the scene as a place not too dissimilar to the Wild West for better or worse.
What are some of your earliest memories of sound and music?
Music has always been a big part of my expression. I started learning saxophone classically from Year 3; my parents encouraged me to learn. It’s funny, back then people were like:“She’s so small; how is she going to play an instrument that big?!” But music was always around; in my household it was normal for my mum to be singing and my dad to play a lot of music. I think that influences my sound the most. My Dad’s music taste ranged from everything - techno, house, to rocksteady; I feel like him being a diaspora child meant his taste was very eclectic. He had this iPod with 12,000 songs on it. For some reason, I was given it; it felt very personal, everything from Usher to the Pussycat Dolls or Herbie Hancock.
How did you go from saxophonist to DJ?
I studied in the Netherlands back when Erasmus was still a thing. There were lots of international students where I was staying, like 20 people per floor - a lot going on. My friends and I met some Australians; while we’d hang together, they’d whip out decks and play in the kitchen. I’d watch, so transfixed. I remember this specific moment when they turned a Britney Spears track into a techno- kind of beat, and I loved that; I loved the portable nature of just pulling up and playing what you want. While I was in the Netherlands, I bought decks, but when I came home to London, I wasn't feeling it. One day it started to click. I know everyone says this, but I genuinely think you need to feel goosebumps while mixing. When that moment happened to me, I felt ready to DJ.
Your sound is so distinct; what I love most is how you sample in your mixes. What influences your choice to extract from certain TV shows, films or songs?
I love that question. Before you came over, I had “Come Dine With Me” playing in the background. While I was watching, I was thinking I wanted to sample a clip from the episode. There's something so subtle about it being an archive of Black people living in the UK at that time. I’ve always loved sampling and how producers interpolate sounds. I’d say I’m influenced most by how samples are used in jungle and dancehall mixes - the hot queues, symbols, clashes, gun sounds. Playing with sound this way feels like punctuating the music; it's important to the listening experience for me. Sometimes it’s just that something is stuck in my head, or just that it’s something funny to me.
What makes something you hear stand out as something you want to sample?
I remember when doing my first foundation set, I played a clip from an “EastEnders” scene: “You’re going around doing nish I’m out here making moves” I just found that funny, so I put that in. I’ll select intentionally too, but fun is honestly often the main reason, like with using “You’re not from the UK, you’re from Barbados” from “The World’s Strictest Parents”. There was something about it in what it emotes; it can feel like transporting you out of the UK in that moment.
Can you talk about your residency at Oroko Radio?
They’re an example of what community actually looks like for me. Oroko Radio is an online radio station based in Ghana; they support Black DJs with open calls. You could be in touch like, ‘Hey, I'm going to this country; let's link up,” which is amazing for creative cohesion. I ended up playing in Ghana for that reason. That community of people is very important, and as a resident, it was a big part in shaping me into a better DJ. I’m so grateful for the people that brought me on there.
How do you feel about venue closures and the current London nightlife scene?
Personally, I feel hopeful. With closures, it’s depressing, yes, but I’m the kind of person who feels that if something goes up, it must come down. I see it as a sign of revival; that’s what London’s built on. However, we have to stop allowing people to continue perpetuating the same cycles of life at these places.
DJing is the Wild West for better or worse, so a random person can start a party today; you can start your thing tomorrow.
We spoke about the conversation of needing more Black female DJs, which is crazy! We know Black female DJs are here and thriving, but we need to be put on the line-up and on the right line-ups.
How do you feel about dancefloor culture right now?
I think dancefloors today need training in how to move so people can feel free. It’s a societal issue (the lack of dancing) rather than people just not dancing. Sometimes it comes down to feeling like there’s nothing to fucking dance about.
Why do you think that is?
People feel watched. If you’re seen dancing freely, then you might be seen as doing too much. I’m out here dancing because I’ve had a hard week! I’m sure people standing around would love to dance too, but for valid reasons. Maybe they feel like they can’t. Sometimes someone just has to start it. Not everyone needs to be cutting up, but it's important that people feel they can dance if they want to. In London we’re spoiled; there’s so much to do every weekend, people want to party hop; they don’t want to stay in one place. But that goes against the communal aspect of the night. You should be going (to events) because you want to be there, not because of who you’ll see once you get there. Everyone wants to be around one another, but no one's going to be in the same place when we keep party hopping.
Do you feel like you need to DJ for others? How do you balance the relationship between yourself and the audience?
When I play, it’s what I’ve been listening to; hopefully people like it, but if people aren't dancing, no shade - that’s a YOU problem! I’ll take requests, play the song, and so many times the person who asked for the song is in the smoking area or the toilet. Playing a set for someone else benefits no one; when you do that, you might as well just put on a playlist. I play for the girlies, the dancers and myself! Sometimes I ask myself, why am I doing this? - I think it’s important to check in on what you DJ for. You might clear a dancefloor, but you have to trust the sound you're bringing just might not be for that night; it might be loved somewhere else.
Do you feel like DJ is a title that sums up who you are right now?
DJing doesn't feel like the only thing I want to be doing. Everyone I know in London is multifaceted; we’re from multiple places, drawing from different experiences. As DJs, all we do is play other people's music; that’s technically not the skill - it’s in the mix, how we work a room, so I ask myself what else I can be doing creatively to expand the musical world for other people and myself. I keep coming to this quote: The ancestral need to try and create and produce a sound that reflects what you're feeling will always be present. Beyond DJing, whether I’m curating, forming collectives, storytelling through sound, whatever it might be, I’m more than just a DJ. I think when I started this journey, I was very big on identity and diaspora. I do feel we need to be thinking about what we're building for ourselves (as a community) rather than trying to prove ourselves.
Listen to Fat-Lïp here:https://soundcloud.com/savilvpink
And keep up to date with them over on instagram: @fat_lip_____
