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Interview by Passion Dzenga | Photography by James Gallagher | Artworks by James LaceyToday we sit down with James Lacey, the creative force behind Pointless Illustrations and founder of Handy Records. Originally from Cardiff, Wales, and now based in Amsterdam, Lacey’s journey as an artist and music curator is marked by a spirit of collaboration and community. He’s got love for both visual art and music, blending the two worlds seamlessly while staying true to his raw, distinctive style.  From humble beginnings as a mechanic to becoming a celebrated illustrator, Lacey launched Pointless Illustrations and founded Handy—initially a skateboarding-themed apparel brand that later evolved into a dynamic music label. With the label about to drop its seventh release and the Natural Frequencies digital sublabel making waves, it’s time to get familiar with how Lacey’s passion for music and visual art drives his creative vision. Lacey’s got love for collaboration, working with like-minded artists to foster a tight-knit community rooted in personal connections and mutual respect. His creative journey also led to a standout contribution to our SS25 collection and as an Artist in Residence in Patta Magazine Volume One.Beyond the label and fashion projects, Lacey co-runs Lost Groove alongside Retromigration, an underground club night that will return Amsterdam’s Doka for a fresh series of events in 2025. With a focus on sound quality, community vibes, and music over profit, Lost Groove is a celebration of the underground scene. Whether it’s through the decks or the sketchpad, Lacey’s always pushing creative boundaries and making sure real connections stay at the heart of it all.  Get familiar with James Lacey as we dive into his creative process, his journey from Cardiff to Amsterdam via London, and how he balances art, music, and community in unexpected and inspiring ways.How have Cardiff, London, and Amsterdam influenced your personality and what you do?Growing up in Cardiff, it’s not as bustling as metropolitan places like London or Bristol. You develop a sense of community and a mindset of working with your friends to help grow their vision. That mentality stayed with me when I moved to London, which made me approach clients and parties in a way where I wanted to be involved, not just profit from it. In Cardiff and Wales in general, people tend to help each other out more because it’s a smaller scene.Were there any artists or movements in Cardiff that inspired you?I was inspired by local event posters—I used to rip them down off the wall and take them home with me. Ben Arfur, Alexander Sullivan, and Sam Jones were designing for Blue Honey, City Bass, and Rotary Club—local dance events I was a regular at. It inspired me to realize I could do it myself, as it was so accessible. Thankfully, after pestering Ben, he showed me some tips to get me going. Your journey started with a hands-on approach. Can you talk about what you used to do and how that led to founding Handy?I’ve always been hands-on, working in builders’ merchants and eventually becoming a mechanic. I worked for Range Rover and Jaguar, and I was pretty good at it. But after my best friend, who was also a mechanic, passed away, I just couldn’t stay in that world anymore. For escapism, I started drawing for fun as a way to cope and launched an Instagram page called Pointless Illustrations as these drawings I was making didn't mean anything, especially when I began. Eventually, I started Handy as a way to put my art on t-shirts and other skate gear.How did you make your first t-shirts?I was working at a screen printer to make ends meet, so I had access to the equipment. I designed everything in Adobe Illustrator and printed the shirts myself. I was selling them by hand at skate parks like LSP and Spit and Sawdust in Cardiff. It was all done by me—from designing, to printing and even selling.How did you start getting commissions from other people?I reached out to places in my community that I was already connected with. One of the first was Gwdihw, a small jazz bar in Cardiff, where my flyer journey began. I also approached Cardiff Skateboard Club, who started selling my Handy merch. That was a big deal for me—seeing my stuff alongside brands like Independent and Spitfire. I also worked with Freestyle Newport and did posters for club nights like Talk to Frank and Polymer in Swansea. I just wanted to support local places that mattered to me. Working with people who I came from my worlds made the most sense as we understood each other without being lost in translation.Why did you move to London, and how was that experience?My partner at the time lost her job as a fashion designer in Cardiff, and there weren’t many opportunities there, so she wanted to move to London. I saw it as an opportunity to grow and be around more creativity, even though I wasn’t making much money at the time. I just took the leap, worked hard, and eventually made it sustainable. Looking back, it still blows my mind that I managed to pull it off.How did music influence your journey?Music has always been a massive part of my life. Growing up, I was always in bands with friends, playing local gigs at places like TJ’s in Newport. I was an emo kid, always in the mosh pit if not down at the skatepark. Later, I joined a band called Astroid Boys, which was more like a nu-metal/rap crossover. My parents were big into funk and soul, and that shaped my taste too. Music gave me a sense of community and connection that I carried into my creative work. I really think their passion for that music early on resonated with me and lead to my appreciation for music also.Did Cardiff’s music scene influence you in any way?Cardiff had a incredibly strong live music scene when I was growing up. There were also local spots like Clwb Ifor Bach and Bar Fly that fostered a tight-knit music community. Sadly, a lot of those places are gone now, but they were crucial to my journey.What inspired Handy to transition from being a skate-focused brand to a music-centered project?After moving from Cardiff to London, I made a skate video that featured an original track from Earl Jeffers. Although I was still selling to skate shops, the skate community around me began to thin out, and my interests shifted more toward music. My record collection was growing and I was mixing more and more and I was finding myself around the music community more often. Managing a skate brand by myself became tough, whereas music felt more manageable with a small team. It just naturally progressed that way.How did the first music release on Handy come about and how did the first few releases with artists like Adam Curtain, Bobby Casanova, and Retromigration come about?Handy001 started as a passion project with a friend I was living with at the time. I had been doing artwork for labels and collecting records, so I thought of trying it myself. The idea was to keep releases close to friends or music I genuinely loved. It felt like a fun project to work on and see where it could go. Most of the collaborations were with people I already knew through working on artwork or being part of the community. I was doing artwork for Adam Curtain's label, Troublemaker, and we became friends. I loved Bobby Casanova’s track and just reached out to him directly. As for Retromigration, I was doing artwork for his breakthrough EP with another label (Healthy Scratch Records). We connected after I moved to Amsterdam, and it turned out we had similar vibes.What's the concept behind the "naughty and nice" sides of Handy Records releases?It’s about giving artists a platform to explore their full range. Many EPs tend to stick to one sound, but I felt artists often had more to offer. So, we have the “naughty” side for club-focused tracks and the “nice” side for something softer or more experimental. It’s about allowing producers to showcase different shades of their creativity.What led to the creation of the sub-imprint Natural Frequencies, and how does it differ from Handy Records?Handy mainly leans toward house music, but I wanted something more club-focused and accessible after lockdown, which was a time of heavy music saturation and pressing plant issues. Natural Frequencies is more digital and club-ready, not meant to be as precious as vinyl but more functional for DJs. It has an abstract art direction inspired by natural aesthetics. The music itself feels more electronic but with a visual style that evokes something organic and earthy.How do you choose the artists for Natural Frequencies?Natural Frequencies has a broader scope compared to Handy. The first release was from Boulderhead, whose sound felt like a natural extension of Handy's style. Retromigration’s EP showed a different, more electronic side of his production. Marma is a friend from Amsterdam, and Kyra Khladi caught my attention after I attended one of DJ sets and was very impressed. The focus is on pushing fresh, club-ready sounds while still staying true to my taste and community.How did the latest V/A project "Keep It in the Family Volume Two" come together?The first "Keep It in the Family" was a collaboration with Shall Not Fade, combining both labels’ artists. For the second one, I wanted to make it more purely Handy. It features label regulars like Earl Jeffers, Retromigration and Cem Mo, as well as new connections like Zoeplar and Monty DJ. It’s all about working with friends and keeping the community vibe strong because that’s what makes it feel safe and supportive in the music industry.Can you tell us about your passion for collaborating, particularly your recent contributions to Patta’s SS25 collection and your role as an artist in residence in Patta Magazine Volume One? How did these collaborations come about, and what was your creative process like?My first connection with Patta was through Lee Stuart, the former brand director, when I was living in London. In 2021, he messaged me on Christmas Eve, asking if I’d like to work on an upcoming collection themed around ska music. I created some graphics for it, but they didn’t make the final cut. Later, when I moved to the Netherlands, I got back in touch with Lee, and he was super supportive. He even helped me out with some trainers from the shop and introduced me to the right people, which really helped me get established in Amsterdam.After that initial collaboration, how did your relationship with Patta develop?After the ska collection didn’t come out, I became the artist-in-residence for Patta Magazine Volume One. That opened up more opportunities, like making posters for Patta x Nike collaborations and further partnerships with the Amsterdam based brand. Around the same time, Lee also involved me in an exhibition called "We All Need Rest" at OSCAM, where I presented two pieces focused on burnout and self-care. One piece was called "Burning the Candle at Both Ends" and the other was a depiction of self-care, with a bonsai tree and a watering can symbolizing nurturing oneself.How did it feel to be a part of that exhibition at OSCAM?It was an honor, especially as an expat in Amsterdam, where it's not easy to build connections. OSCAM is a community-driven space, and being able to showcase my work there was amazing. The exhibition wasn’t just about art on walls—it was an immersive experience, with live meditation sessions and a real sense of community.Your work has also made its way into fashion through your brand Handy and collaborations with Patta and other brands.How do you approach fashion projects differently compared to your illustrative work?I approach these projects differently because fashion is a physical medium. Seeing my artwork on clothes, windows, or even keyrings feels more tangible than digital art, which often just lives on a screen. I love working with big and small brands alike, as long as they believe in my vision. It’s about creating something lasting that people can wear and experience in real life.You mentioned feeling frustrated with the relationship between art and algorithms. Can you explain that a bit more?Art has become so tied to digital spaces that it feels like we’re creating just to feed algorithms. It’s exhausting and takes away from the essence of making something meaningful. I’m drawn to physical mediums because they feel more genuine. This year, I’m hoping to do more graffiti, painting, and workshops—just getting out there and creating real connections with people.How do you see fashion as a medium for art compared to digital spaces?Designing for print is rooted in authenticity because it’s tangible. You’re not just fighting for attention on a screen. Instead, people choose to wear your art and support you directly. I respect how PA does it—they turn their store into an art space, showcasing work on windows, clothes, and even inside the shop itself. It’s like stepping into a world that represents your art.You’ve also been involved in events like Lost Groove. Can you tell us about that project and what makes it special?Lost Groove is a club night I started, and it’s all about creating a space where people can come together, enjoy music, and just vibe. It’s a reflection of my love for music and community. I’m really excited to bring it back in 2025 and keep building that atmosphere where people can feel at home and just be themselves. Lost Groove actually began as a collective of four people, including myself and Retromigration. It wasn’t about making money—we just wanted a platform to share the music Retromigration makes and Handy releases, and to invite friends to play. We still don’t take money from it; we just reinvest in the party when we can afford it. We split from the original collective and carried on with the name, sticking to our vision of honest parties with good music, good people, and good vibes. What can we expect from the next Lost Groove event?The next one is going to be really special—probably as big as our legendary New Year’s party. This time, we’re collaborating with Suckerpunch Records, run by Papa Nugs, who’s killing it right now with his fun, party-centric sound. We’re also bringing in A for Alpha from Bristol, who’s not only an incredible DJ but also a passionate vinyl digger who never gatekeeps music. She’s someone who truly loves and respects the scene, and I couldn’t be more excited to have her on board. It’s happening on King’s Night, April 25th, at Doka—a venue known for its iconic 4-point sound system.  You mentioned earlier that Lost Groove isn’t about making money. How do you balance passion with financial sustainability?It’s tough, but we stick to our principles. We’re not in it to make a profit; we’re in it to build community and celebrate the music we love. If I walk out of a night and haven’t made money but had a good time, that’s fine by me. It’s about creating a space for people to enjoy music without the pressure of commercial gain.  Its important to me to have a space which champions sharing music. I think gatekeeping is selfish. If someone comes up to me asking for a track, I’ll take their phone and snap a pic of the track title. It’s not my music to hoard—it belongs to the artists who made it. Sharing track names could even help get those artists paid someday. Gatekeeping stops the wheel from turning and keeps music from being appreciated and enjoyed by a wider audience.  You’re a multidisciplinary creative—art, music, and more. How do you see these different creative expressions connecting, if at all?  To me, art dresses music, but they’re separate. There’s a blurred line between them, and it really depends on how much the creator values the visual aspect of their work. I think visual language is crucial, whether it’s music, food, or anything else. It gives identity and context, but not everyone sees it that way.  Looking back, what advice would you give your younger self, skateboarding at 17 and dreaming big?Chill out. Seriously, nothing is as deep as you think it is. Keep your head down, stay true to yourself, and don’t worry about what other people say. Everyone deserves a space at the table—it’s just about finding yours. Don’t chase trends or other people’s approval. Focus on what you love, and the right people will find you.  Finally, is there anything exciting coming up that you’d like to share? Definitely. I’m working on a collaboration with Wax Poetics called the Collector’s Edition, which is about creating collectible items—not just editorial pieces but physical, tangible things. I’m really excited because it’s something I’ve never done before. It’s a new challenge, and I think people are going to love it.It’s clear that James Lacey is driven by more than just creative ambition—he’s fueled by a love for community and genuine connection. Whether he’s screen-printing t-shirts, spinning records at Lost Groove, or crafting album art that tells a story, Lacey’s work is grounded in passion and purpose. His journey from Cardiff to Amsterdam isn’t just about getting caught up in the rat race—it’s about people, friendships, and staying true to what matters. Lacey’s story is a reminder that creativity isn’t just about making things—it’s about making spaces for people to come together and share what they love. Whether through music, art, or the simple act of putting on a great party, he’s all about fostering a sense of belonging. So next time you’re at a Lost Groove night or rocking a Handy tee, know that there’s more to it than meets the eye—it’s built on heart, hustle, and a whole lot of love. 

Interview by Passion DzengaHip-hop has always been more than just music - it’s a movement, a cultural force, and a reflection of its environment. While the U.S. laid the foundation, the UK developed its own voice, shaped by sound system culture, punk rebellion and the raw energy of garage and grime. From Britcore to drill, the evolution of UK Rap has been a story of resilience, reinvention and relentless innovation.Today, we’re joined by David Kane, a writer and cultural historian whose latest work, What Do You Call It? From Grassroots to the Golden Era of UK Rap, charts the first four decades of UK Rap. Through extensive research and exclusive interviews with key figures - from pioneers like Jazzie B, Roots Manuva and Roll Deep to modern trailblazers like Little Simz and CASisDEAD explores how UK Rap carved out its own lane, reflecting British identity and reshaping the global music landscape. If you got love for the culture, this is a conversation you don’t want to miss. David Kane has also been instrumental in the process of bringing the Patta Magazine to life from Volume 1 until now as the editor-in-chief of our seasonal offering. On the eve of the release of Patta Magazine Volume 4, we want to share the thought process and teachings from the brand new book so on a cold Tuesday morning, we met up with him in the heart of Amsterdam to discuss his brand new book.We’ll be breaking down the scene’s defining moments, the role of radio and social media, and the shifts that turned UK Rap from a grassroots movement into a dominant cultural force. So get familiar with David Kane.How does UK Rap reflect British identity?UK Rap has been a powerful medium for exploring British identity, especially for people from diverse backgrounds. Through the book, many artists have discussed what it means to be British in a multicultural society, using music as a platform to engage with complex social issues.There’s often talk about using an authentic British voice in UK Rap. What are your thoughts on that?I think it’s something every country goes through when they first adopt rap music. Early Dutch rap sounded American, for example. After working through the US accent thing, there was a little bit of a North-South divide, but artists like Tricky showed that you could rap in a non-London accent with authenticity and skill.How did UK hip-hop artists approach grime, and how did timing affect their success?In the mid-noughties, I began writing for magazines such as Touch, Big Smoke, Trace, and nascent blogs like UKHH.com. These titles specialised in what was then known as urban music. I tended to write about hip-hop and grime, convinced there was a connection between the two. I interviewed a few UK hip-hop MCs at the time who were not receptive to this and saw grime as a passing fad, while fans were often less kind. Speaking to Juice Aleem about the relationship many years later—his group New Flesh has frequently been described as “proto-grime”—he made a wise point: “There was a disconnect, [it was like] ‘Hey, young man, come off the mic,’ ‘Hey, fuck off, old man.’ And that’s the nature of be-bop to fusion, blues to jazz.” Like many things, timing can be everything. Klashnekoff—who collaborated with Terra Firma and was very positive about grime despite being considered a UK hip-hop MC—could have been huge if he had been born ten years later. He’s a versatile MC with great imagination, but he was probably too raw for the time. Durrty Goodz is another example, albeit coming from a grime background with an openness to hip-hop. Outside the scene, these artists were met with a mostly uninterested music and media industry. It’s changed now. You have someone like Loyle Carner jumping on a track with Unknown T that slaps, someone from hip-hop (or jazz or alt. rap as it's sometimes known) with a drill MC. There are still different scenes in some respects, but the barriers have come down.How did grime evolve from being club music to street music?Garage and jungle were dance genres built for clubs. Towards the end of the halcyon period of garage you had this MC-strain coming through, the aforementioned Heartless and Pay As U Go, plus the humongous (in every sense) So Solid Crew. Grime started in that space, but when MCs moved away from club-oriented themes - aspirations, champagne, heartbreak - and started telling real street stories, that shift happened.What changed when rap became financially viable in the UK?A few records charted in the late 80s, like Street Tuff by Rebel MC (who would later become Congo Natty) and Derek B’s Bad Young Brother, but these were the exceptions rather than the rule, and they didn’t make too much money by all accounts. The UK looked to the U.S. for formulas. Artists realized that by rapping over 95 BPM boom-bap beats and adding a hook, they could replicate the success of American acts like A Tribe Called Quest. British rap was still figuring itself out. It took a few decades before it became financially viable. Although, DJ Target told me a good story about Wiley making six figures in white label releases “easily” in the mid-noughties, and So Solid Crew enjoyed financial success, but even that was relatively fleeting. Around the late 2000s, things began to change. The pendulum started to swing from indie rock to artists like Tinie Tempah, with tracks like Pass Out, blending pop-friendly sounds with grime and drum & bass. Even though it was a bit of messy period—I doubt Skepta or Wiley look back with much creative satisfaction at Rolex Sweep and Wearing my Rolex (although I do maintain Dizzee Rascal’s Bonkers is a bit of a tune)—it helped grime and UK rap reach a bigger audience and find new opportunities.Who were some of the early UK Rap pioneers that inspired you?The earliest UK Rappers that inspired me came from two paths: the first was the garage MCs I went raving to in my late teens, the likes of Bushkin and Mighty Moe from Heartless Crew, Ms. Dynamite, and Pay As U Go, the precursor to Roll Deep, their sound took elements of dancehall, jungle and what we can now describe as proto-grime. It was more about the vibe. On the other path was UK hip-hop, artists like Roots Manuva, Ty, Jehst, and Skinnyman, who were more lyrical. It’s not to say that one is better than the other; I feel fortunate enough to have grown up with both, and it’s a—not-always-easy—relationship that I explore in What Do You Call It?How important was radio for UK street music?In the first 20-30 years of UK Rap, radio was crucial - it could make or break careers. Stations like Capital, Kiss FM, and BBC Radio 1Xtra played a massive role. However, with YouTube and social media creating their own ecosystems, radio lost some influence. The democratization of media meant artists no longer needed gatekeepers to gain exposure.How did hood videos contribute to UK Rap culture?Hood videos were essential in showcasing artists’ environments. They were the pirate radio of video, giving a face to street music. Channel U and, later, video platforms like SBTV & Grime Daily provided a visual to the culture. Before this, people outside of major cities had little exposure to the music beyond pirate radio (which had a limited signal reach), a few live shows and raves that were often shut down by police, and the trickle of mixtape releases available at record shops. (Although, as I write about, Napster certainly helped from an audio perspective).How did social media change UK Rap?The rise of social media and streaming platforms like Spotify created a digital revolution. Artists could connect with fans directly instead of relying on radio stations and magazines for their narrative. This was both a blessing and a curse: It meant fans could get a deeper insight into an artist's lifestyle, but often without the critical context that good music journalism provides.What role did Stormzy play in the recognition of UK Rap?It’s big and has a lot to do with the headline show at Glastonbury in 2019. I’m going to include a short extract from my book to explain why:Whether you like Stormzy’s music or not, it doesn’t matter. Everyone from Adele to Wiley and Jeremy Corbyn lavished the performance with praise. This was UK rap’s Woodstock moment. The culture had entered a new world where it would remain: the realm of superstardom and commerce. But to Big Mike’s credit, his performance was as much about everyone else—the legends of UK rap he thanked and, more importantly, those who lost loved ones after the Grenfell disaster—as himself. Do you think UK Rap will keep evolving?Absolutely. Music always progresses, and the UK scene has moved far. We’re seeing MCs from all over the country breaking through, rapping in a style with storytelling unique to where they’re from; whether it’s Pa Salieu in Coventry or Nemzzz from Manchester, it keeps getting richer. And externally, the influence keeps growing; you have Afrobeats and UK drill shaping sound, language and culture globally. It’s a beautiful thing to see. David Kane has written about music and popular culture for nearly 15 years. Bylines include Esquire, Dazed, CRACK, The Financial Times, and Wax Poetics magazine. He is the editor and publisher of Patta's bi-annual magazine. What Do You Call It?: From Grass Roots to the Golden Era of UK Rap is out now on Velocity Press. You can find an excerpt from the book in our Patta Magazine Volume 4.

Interview by Passion Dzenga | Creative Direction by Rogier de Reiger | Photography by Maria VaroGot love for bass-heavy beats with soulful roots? Get familiar with JAEL, one of the most compelling new talents in Bass and Garage music today. Known for his unique blend of deep bass, 140 bpm and UKG tropes, JAEL is making waves in the scene. On January 31st, he’ll be supporting Sammy Virji at O2 Brixton Academy, the same day he drops his highly anticipated EP Motion Sickness. This project is what he calls a “cocktail of garage, 140 and deep bass,” packed with infectious rhythms and layers of soul.JAEL’s journey is one of reinvention. Formerly known for his R&B and future beats work, he’s now carving out a lane for himself in the world of electronic music. As a long-time member of Soulection, he’s built a global following, touring the world and lighting up stages at Boiler Room Festival and Village Underground. His track Motion Sickness is already a standout, with its skippy, sub-heavy UKG beat and bars from Ghanaian rapper Michael Ekow. And that’s not all – on the same day as the EP release, JAEL’s got a guest mix on Tiffany Calver’s BBC 1Xtra show, giving us even more to be excited about.With Motion Sickness just days away, Jael is not only helping to shape the growing mainstream presence of bass and garage music but is also looking ahead to new projects, remixes, and collaborations—all while maintaining a playful, intuitive approach to music-making. Join us as we unpack Jael’s unique blend of influences, their vision for the future, and what fans can expect from this exciting new chapter.JAEL’s sound is all about balancing his soulful past with his present as an electronic producer. Whether he's performing on massive stages or delivering his music on the radio, it's clear: he’s got love for the culture, the energy, and the people. In this interview, we’re diving into his journey, his influences, and how he’s merging the best of both worlds to create something fresh, real, and full of feeling. Get ready to get familiar with the next wave of JAEL’s already illustrious career.Your new EP Motion Sickness is dropping on January 31st. It’s been described as a mix of Garage, 140, and bass. Can you break that down for us? How would you describe the sound to someone who's never heard it before?For those unfamiliar with the music, it’s got heavy bass with upbeat drums around 137-140 BPM. The 140 track has dubstep influences, with a bit of grimy energy. It’s very rooted in the UK music scene. I grew up listening to UK Garage, 2step beats, and artists like MJ Cole, so it’s that kind of vibe. When I started DJing, I was drawn to that sound, so this project is really me going back to my roots and producing something that resonates with me.You’re from the Netherlands, but your sound has strong UK influences. How prominent was UK dance music like UKG, Dubstep, Grime, and Garage when you were growing up?Well, I’m from Maluku, and in the Netherlands, especially in the Maluku community, everyone loves UK Garage and 2step. Back in the day, at most 2step events, like Speedfreakz, the crowd was mostly Maluku people. It was our sound, and it just stuck with me. That’s why I started DJing in this space, and eventually, I decided to produce it myself.Motion Sickness features Michael Eko, how did that collaboration come about, and what’s it like working with him?I got the vocal topline through my manager and I was like, “This is sick!” I was on a flight to China, didn’t sleep at all, worked on the track, and tested it the same night in the club. That’s when Michael and I got in touch. He’s amazing - his style and vocals are incredible, and he’s into so many different genres. We definitely want to work together more. I didn’t know him before this project, but now we’re planning more tunes together.The blend of your background in UK music and Michael’s international roots is quite a melting pot. What’s it like combining your influences?We both come from different places, and it just works. I think that blend of UK influence, mixed with his roots, really gives the track an exciting energy. It makes total sense for us to work together.Your new EP represents a shift toward more bass-heavy electronic music. What made you decide to make this transition?My DJ sets have always been high-energy, and I’ve played a lot of bass-heavy music. But I never thought about producing it until recently. I was a bit caught between DJing, singing, and producing R&B music. I even made an R&B album in 2021. But I realized I needed to push myself forward as a DJ, so I started focusing on producing electronic music with heavy bass and original tracks. It’s a new direction for me, but it feels right.Do you think your R&B influences will still be present in your new electronic music, or are they separate projects?They’re definitely going to blend. I’m working on a few tracks that mix jungle drums with R&B vocals. So, I’ll be singing on top of those bass-heavy productions. It’s still an experiment, but I have a clear idea of where I want to go with it.How did your time with Soulection shape your current sound and approach to music? Is there anything from that time that you still carry with you today?Soulection was a game-changer for me. I discovered future beats and that whole sound, which was a missing link for me. It opened up my mind to mixing genres. It’s not just about house, R&B, or hip-hop, but combining all of them. Soulection taught me to be open-minded with music, and that’s something I still carry with me today.How do you plan on mixing your soulful background with bass music?Early garage music was all about samples - chopping up vocal bits and pitch-shifting them. What I’m doing with Michael, and what I plan to do in the future, is bringing original soul vocals back into the mix. I love sampling, but I also enjoy recreating samples in a more soulful way, either by playing them live or even sampling myself and my own music. It’s all about layering that soul back into the sound.You’ve got a huge upcoming performance with Sammy Virji at the O2 Brixton Academy. How are you feeling about it, and what can we expect from your set?I’m still trying to wrap my head around it! Sammy Virji is a legend in the UK scene, and I’ve been a fan for so long. It means a lot to me, especially as someone new to this scene. The Brixton Academy is iconic, and I’ve played there before with Soulection, but this is on a whole other level. I’m excited to play a mix of garage, 140, and maybe even some jungle. I want to test the energy and just go with the flow.You’ve also recently played a sold out show at Village Underground in London. There seems to be a strong connection between you and the London crowd. What do you think it is?London has always been a special place for me. I’ve been playing there since I was around 24 or 25, especially during the golden Soundcloud era. I linked up with producers and DJs there, and the crowd always felt right. The UK electronic scene has always inspired me, and when I lived in London for 18 months, I was fully immersed in the scene, doing radio at Rinse and connecting with promoters. It just resonates with me, and the crowd there gives that energy right back.You’ve done some massive performances, including the iconic show at Boiler Room Festival. What does it mean to you to play at these big events?These big shows are crucial. I use them to test new ideas and take risks. For example, at the Boiler Room Festival in London, I played an edit I’d made the night before, and I was nervous since it was a jungle edit in the UK, the birthplace of jungle music. But those moments, where you take risks and see how the crowd reacts, are everything to me. It’s all about pushing myself and challenging myself to grow as a DJ. Even though big crowds can be tough to read, when you hit the right vibe, it’s pure magic.With your improv-heavy sets, how do you prepare for a radio show like your upcoming guest mix for Tiffany Calvin on BBC Radio 1Xtra?For radio shows, I definitely prepare a bit more. For this one, since it’s dropping on the release day of my EP, I focused on tracks that fit the vibe of the EP. I dig for new music, pick tracks that fit the mood, and then create a playlist. I usually go in with about 40 to 50 tracks, even though the set is only 30 minutes. I like having options, so I can freestyle and decide what feels right in the moment.It seems like you're getting quite a lot of support from BBC Radio One and BBC Radio One Extra. How important is radio to you, and how has it influenced your career?It’s huge! Radio is still an amazing platform for me. Not everyone is checking music blogs or streaming platforms, so hearing your track on the radio is a big deal, especially for people who aren’t tuned into the usual platforms. It’s also great for reaching new listeners, which is something I really want to do. Radio still means a lot to me. I’m one of those who only really listens to radio when I’m deep cleaning my house, but when I do, I tune into Jamz Supernova or Benji B. They’ve really supported me a lot, especially with their radio plays and by picking me as the EP of the month.It’s one of the best ways to share and connect with a broader audience. Streaming is big, but radio still plays a big role, especially in reaching those who aren’t as involved in the digital space. The power of taste-makers like Jamz Supernova and Benji B has been key in helping drive music forward. Radio can create entire scenes, just as these taste-makers have shaped the future of festival and club culture. With garage music and bass music making a big comeback in the last five years, what do you think your role is in pushing the genre forward?I’m really excited that garage and bass are making their way into the mainstream. It's something I’ve been watching for years, and I’m so happy to see it getting recognition. As a DJ and producer, I feel like I’m helping introduce new sounds. We were playing things like Brazilian Funk or Amapiano before they hit the mainstream, and it’s exciting to see that movement evolve. As DJs, we’re kind of like educators, introducing new genres to listeners, and when they finally click, it's amazing. I’m always curious about where this scene is going, especially how bass music is blending with other genres. It’s an exciting time.Do you think the mainstream recognition of these genres is beneficial for the culture?Yeah, 100%. It’s great to see these genres get bigger visibility. For young people who only see house or techno parties around them, having bass and garage in the mainstream gives them more options and spaces to explore. It’s important to keep these scenes alive and growing, especially for young, new fans.With all that in mind, can you walk us through your creative process for this EP? Were there any specific rituals or environments that helped you channel your sound?A lot of my inspiration came from festivals I went to last year, like Bass Coast, Lowlands, and Boiler Room in London. I went with the mindset of not just partying, but really observing, absorbing, and getting inspired. I started playing more electronic stuff, which opened up my mind to different sounds. I didn’t want to overthink it like I had in the past. I just wanted to create what I felt. When I was traveling, I’d get super excited about creating something special for the show I was heading to. That energy made its way into the EP.It sounds like you have been really living for the music. With that in mind, what are your long-term goals? Where do you see yourself in five years?My main goal is to keep creating music that resonates with people, whether it's electronic, soulful, or even commercial music down the line. I just want to continue making music from the heart that connects with my fans. Right now, I’m diving deep into bass and electronic music, but I’m also combining it with my soulful side. Who knows where it will go, but I’m open to any style of music. It’s all about evolving and growing, both as an artist and as a person.If you could speak to your younger self, the one who was listening to D'Angelo, what would you say?I’d tell that younger me to keep going and not stop. All that time spent listening closely, soaking in every part of the music, that’s what helped shape the artist I am today. Don’t give up, just keep doing what you're doing, and believe in yourself.That’s some solid advice. One last question—your music comes from such a genuine, soulful place. Do you think that no matter where your sound goes in the future, that joy and soul will always be there?Yeah, definitely. Whatever direction I go in, that soul and joy will always be there. It’s the heart of my music. Whether I’m making bass, garage, or even something completely different, that energy will always be there because it’s part of who I am.Before we wrap up, anyone you want to shout out or thank for this project?Definitely. Shout out to Killing Skills, who’s been mastering my music for the last five years. He’s been a huge part of the sound of my work. Thanks to him for always making my music sound amazing.On January 31st, not only is he dropping his brand new self released EP Motion Sickness, but he’s also supporting Sammy Virji at O2 Academy Brixton - a night you don’t want to miss! This EP is packed with percussive rhythms and soulful layers, blending garage, deep bass, and 140 beats in ways you’ve never heard before from the artist. But that's not all - catch JAEL on BBC 1Xtra that same day, where he'll be dropping a guest mix for Tiffany Calver. Talk about a day full of pure music! With years of global touring and a signature style that merges soulful R&B vibes with electronic beats, JAEL is about to take over. His journey from Soulection member to electronic innovator is just getting started, and Motion Sickness is the perfect introduction to the next chapter of his career. So, what are you waiting for? Stream the EP, grab your tickets to see him live at Brixton, and get familiar with the magic of JAEL. Let the Motion Sickness take over - you won’t regret it. 

Interview by Candy Reding & Passion Dzenga | Moving Images & Film Stills by Safi GraauwGet familiar with Safi Graauw, a filmmaker whose work is anything but ordinary. Safi’s unique approach blends his scientific background with a passion for purpose-driven storytelling. With a background in Earth Sciences, Safi has a keen ability to look at the world through a socio-economic lens, always asking not just what people want to see, but what they need to see. This perspective infuses his projects with a deeper meaning, whether he's creating a visually striking commercial or tackling complex environmental and social themes in his documentaries.From his groundbreaking work on the Patta x Alpha Industries campaign to his innovative exploration of identity, belonging and diaspora, Safi has continuously pushed the boundaries of storytelling. His projects are known for their emotional depth, where aesthetic mastery is paired with a profound sense of purpose. Safi is also a director who understands the power of collaboration - believing in synergy and giving his team ownership in crafting the vibe of each project. It's clear that every film he creates has got love for the story, the culture, and the message it carries.In this interview, Safi opens up about his journey - from his early career challenges to the filmmakers who inspire him - and reflects on how film can shape a more empathetic and informed world. Get ready to dive into the world of a director who doesn't just want to entertain, but to ignite a shift in perspective and leave a lasting impact.Your campaign video for Patta x Alpha Industries showcases a distinct narrative. Can you walk us through how you approached this project, and what specific message you wanted to convey. When it comes to projects, I always try to be as collaborative as I can. I’m not the type of director that completely sets their vision in stone. The creative process to me is a fluent thing. We started thinking in different directions and ended up with the idea of uniting the four cities Patta has landed in through language and using wind as a metaphor. We wanted to show where Patta started by starting our verse in Surinamese, and wanted to create a full-circle moment by ending the film in Nigeria. Sort of as a homecoming of the diaspora. As a connective tissue, I was looking to use point-cloud animation to transition us from space to space, creating the aesthetic we have now. Your background in Earth Sciences has clearly influenced your storytelling. How did your experience in academia shape your views on communication, and how do you bring that into your work as a filmmaker?My background in science, is a lynchpin to everything I do. Creativity is a very subjective thing, and when being confronted with the creativity of others one can easily get lost in the sauce of what seems relevant. My scientific background keeps me grounded because I always try and approach a project from a socio-economic perspective. I’m the kind of director that doesn’t look for what people want to see, but what people need to see. And to get there, I look at society in a scientific way. You’ve mentioned that you prefer to work from a purpose-driven perspective rather than focusing on aesthetic or medium. How do you go about finding the right form or style for each project?The purpose driven perspective comes from a deep desire to make sure my work adds something positive to the real-life perspective of the viewer. In the case of the Patta x Alpha industries project we aimed for a sense of pride and belonging. There’s so many aesthetic directors, and I love looking at visually pleasing imagery. But to me, at the heart of storytelling lies purpose. Purpose to me is much like a sense of belonging, it creates a goal that is higher than just the work. I need that as a director. I don’t want the work to be about me or my skill. So before I find the right form, I must find the heart of the work, which is essentially its purpose. You emphasize the importance of breaking away from expectations. How do you navigate balancing creative risks with the need to engage an audience and meet commercial objectives?Balancing between creative risk and commercial objectives is an internal conversation about ego. It’s about understanding who you are working for. It’s a conversation that comes before I say yes to a project. I know what I’m working for, I know why I’m working for the brand and its commercial/social objectives then merge with mine. Once that internal conversation is done, it’s all about finding the most interesting angle. In your view, what role does film play in shaping positive narratives in society? How do you ensure that your work adds something meaningful or impactful to the conversation?As someone with a scientific background I am convinced that we live in an age of information. If we look at subjects such as the environment, the research has been done, the scientific consensus is there and the information is widely available. Yet we’re still seeing too little change. This is because the information we share, has little to no emotional value. And that’s where film comes in. Films about nature, make sure we build a love for our natural surroundings and a will to protect it. Because how do we protect that which we do not love? In my work, I try to build just that inside the viewer, an intrinsic love for whatever project they just saw. As a self-taught director, what challenges did you face early on in your career, and how did you overcome them? How did your journey as a filmmaker differ from those who formally studied film?Haha you got time? It’s the insecurities, trying to stand out but not losing your core, being too humble and shy. Early in my career, this idea of having purpose did not exist in the industry. Most of it was about being aesthetically pleasing or comedic. So as someone that wanted to change or influence the perspective of a viewer, there was no space. I think my stubbornness is what saved me. Sticking with my plan, even though being made fun of. Constantly looking for ways to hone my craft. The big difference between me and people who formally studied film, is that failure was always my starting condition. There was no safety switch in the projects I did, and failure could lead to a career end. I got comfortable with the idea that failure was always looking over my shoulder. And as soon as that happened, I started understanding what taking a risk really meant. Pop culture is a key carrier for the social and environmental stories you tell. How do you choose which aspects of pop culture to incorporate, and how do you ensure these stories resonate with a broad audience?Popular culture, has an enormous carrying capacity for a purposeful message. I always try to indulge myself in aspects of popular culture by being part of it. Consuming it, studying it constantly. The aspects of popular culture I choose are mostly linked within the scope of my own interests. And with pop culture, comes that broader audience most brands are looking for, but only if the right story is told.  Making sure these stories resonate is much less about the visual part of storytelling, but much more about understanding its mechanics. It’s about understanding the way we as human beings are moved by stories and hitting the right tone for a broad audience to feel something. Your work blends environmental and social themes with commercial and fiction filmmaking. What unique challenges does this blend of purpose-driven storytelling and commercial work present?Filmmaking for most directors is something done intuitively. Navigating environmental and social themes in documentary, fiction and commercial projects requires a relatively in-depth knowledge of storytelling and environmental/social themes. I’m lucky enough to have obtained a master’s degree in earth-sciences which gives me the tools to navigate these spaces whilst being able to fact-check myself whilst doing so. It also makes me a director that thrives when we get off the beaten path. There’s no standard set of rules I apply when coming up with ideas. It’s about finding the core of a project but still having the tools to make sure you are on the right track. The unique challenges I have are more about staying up-to-date with new developments within these subjects and constantly understanding the very core and nature of the project I’m doing. I personally think the challenge is setting aside your ego and understand you’re always learning.  Looking at your body of work, there’s a clear sense of consistency in your approach to filmmaking. How do you maintain this coherence while still ensuring each project feels fresh and unique?That’s a very hard thing to describe, but I think it has a lot to do with the projects I choose to work on. I think my enthusiasm is the connective tissue in my body of work. The projects I work on are often an extension of who I am, or want to be. Culture-wise and aesthetically I have certain things I love about storytelling. I think when looking at my body of work you can feel the things in the world I gravitate towards and you can feel them in the different forms I have created them in. How do you see the evolution of film as a medium? Do you think we’re at a turning point where storytelling can transcend traditional boundaries and break even further from conventions?At this point, we’re kind of in a no-man’s land when it comes to film. There’s the development of new tools such as AI on one side. And then on the other hand there’s the focus on fast-paced imagery. I honestly feel like directors are focusing too hard on creating visual impact and developing an aesthetic muscle. We’re being bombarded with aesthetically pleasing shots every day and actually telling a story seems to be left aside more often. But the most important aspect of being a director, is understanding story first. And after that, it’s about understanding shots. If we do not break this convention, directing (commercial) film will become much more like photography.  The Patta x Alpha Industries campaign video has such a unique vibe. What’s your process for developing a ‘vibe’ or tone for a project, and how does it inform your decisions about visuals, sound, and pacing?This comes back to finding the heartbeat of a project. What is this really about, aside from a well made jacket. We found this is a project about belonging. It’s about how a brand coming from the minds of the diaspora found its way back home. Using that as our starting point, the conversation clearly stated what we should do. From there, we use our aesthetic muscle and create a vibe around that. Creating that vibe is not just something I do, it’s something that comes from the whole team, from the styling (Esmeralda Tan) to hair and make-up (Gladys Ferro) and art-direction (Floris Eysink-Smeets). I always try and create a synergy between the people I’m working with and make sure there’s a sense of aesthetic ownership within the team. You’ve stated that film as a medium should introduce a new perspective. What do you think audiences often miss when watching mainstream films, and how do you work to highlight those missed elements in your own work?Films (whether its feature film or episodic TV) are supposed to be conversations with our own humanity. The characters we create resemble us, but don’t make the choices we would. They explore possible ideas and mechanisms within humans. Too often do I find a mainstream film that tries to resemble reality too much. I know this is subjective but I feel that’s a missed chance. The Coen brothers nicely wrote; “We all love hearing stories about ourselves. So long as the people in the stories are us, but not us”.  I personally try to put my characters in situations that we aren’t familiar with, I try to create a world around them that resembles ours but isn’t. And in the process of doing that, I hope to create something magical and serve some perspective. You’ve built a reputation for creating films that are anything but ordinary. Are there any particular filmmakers or creators who have inspired your approach or worldview?Oh yes! This will be a long answer so brace yourselves: There’s so many but to give you the tip of the iceberg, Guillermo del Toro is a director that makes fairy tales for adults. His work inspires me to my core. Then there’s Guy Ritchie and Edgar Wright, their fast-paced crazy worlds are filled with impossibilities. But these makers always know how to make it believable. I mean, in Snatch, Guy Ritchie literally makes a character travel from America to England in one sentence of dialogue and we eat it like raspberry pie. Then there’s Steve McQueen and Barry Jenkins way of telling black stories, which is one I’ve studied and carried with me forever. In documentary, Yann Arthus Bertrand, an ecologist and director has inspired me to make films that show the grandeur and essence of us as human beings. I’ve learned tonnes of his approach on filmmaking. Ava Duvernay and Spike Lee are the directors I see as an example when it comes to being great examples to others and powerful leaders both on and off set. In my style of directing, I learn from and look at Greta Gerwig. Then there’s Jeymes Samuel, his eclectic personality, excitement, musical taste and the fact that he made The Harder They Fall. Inspires me to the bone. And one day, I hope to live up to the words of Chadwick Boseman. If I could be half of the man he was, I’ve lived a good life. “Take your time, but never waste your time”.Filmmaking has the potential to bring about change, but that’s a significant responsibility. How do you stay grounded and true to your purpose while navigating the pressures of the industry?I like to see myself as someone that truly shows what I stand for in the most honest way I can, so that the industry gravitates towards me, instead of the other way around. How do you want audiences to feel after watching one of your films? Do you aim for specific emotions, or do you hope they walk away with new ideas and perspectives?When starting the edit of a film or TV-series, I always say “We zagen ze door de helft!” which literally translates to: “Let’s cut them in half!”. By saying that, I state that my intention in creating the film or an episode of a TV is cutting right through the emotions of the viewer. I always try to convey honest emotion within the viewer. I want them to experience everything in between laughing and crying so that the film they watched is the sum of an actual human experience. Finally, looking ahead, what projects or stories are you most excited to explore? Are there any themes or concepts that you're eager to tackle in the future.There’s so many things in store at this point. I’m the showrunner and main director of a series in currently the biggest crime-franchise in the Netherlands. I’m working with awesome writers to create a new direction. I’m currently working on a very interesting short documentary about the Second World War. That’s been an amazing journey up until now. There’s feature films hopefully being commissioned at the time of writing. But there’s one thing I’ve been really excited about. It’s a lot smaller than most of the things I summed up until now, but I’m going to work on a children’s book with a very good friend of mine (Jerrold). It’s a small endeavour but I’m really excited about it and hopefully I one day get to develop that into an animated feature for you to see. To commemorate this landmark year, we’re releasing a limited-edition collaboration with Alpha Industries, the iconic MA-1 Bomber Jacket. The Patta x Alpha Industries MA-1 is a timeless piece that blends Patta’s signature style with Alpha Industries’ heritage, creating a jacket that’s as bold and authentic as the cities we represent.The Patta x Alpha Industries MA-1 Bomber Jacket will be available on Friday, December 20th at 13:00 CET on patta.nl, patta.co, pattaclothing.us and the Patta mobile app.

Interview by Passion Dzenga | Photography by Andrea AmponsahIn anticipation of the brand new Patta x Alpha Industries collaboration for 2024, we sit down with one of the talents from the campaign, Epoque, an artist whose unique blend of Afro sounds, R&B melodies and rap is reshaping the music scene in Italy. Raised in Paris, Brussels, and Italy, her multicultural upbringing has played a significant role in shaping her sound and artistic vision. From her deep connection to her Congolese roots to her collaborations with some of the biggest names in music, Epoque has quickly become a trailblazer for second-generation artists in the industry. In our conversation, Epoque shares insights into her musical journey, the challenges she faces as an emerging artist in Italy, and the influences that have helped shape her style. She also opens up about the importance of authenticity in her lyrics, the impact of Afrobeats on her sound, and her hopes for the future of the genre in Italy. Get familiar with the artist behind Tram 83, as she talks about her creative process, personal growth, and the exciting projects that lie ahead. Epoque, your upbringing in Paris, Brussels, and Italy has clearly shaped your musical journey. How has living in these different cities influenced your sound and artistic vision?  Living abroad certainly helped me appreciate a lot of different music, which allowed my style to emerge and evolve. Above all, it helped me make my music credible in the Italian language, which may seem obvious, but it’s not easy.  Your music blends Afro sounds, R&B melodies, and rap. How did you first get into these genres, and how did they come together in your own unique style?Ever since I was a little girl who loved listening to music, I wasn’t allowed to go out much, so I closed myself off by listening to music all day. My older brothers had CDs of rap, R&B, and hip-hop, so I listened to a lot of that non-stop. My parents also loved listening to traditional Congolese music on Sundays, and we had small parties with traditional food to liven up our days when we were all free. Then, as I grew up, I started listening to reggae, Michael Jackson, Gorillaz, and soft rock, which were a bit of a departure from what I had always listened to. In my opinion, this broad musical background allowed me to create my own style.  You mix Italian, French and Lingala in your lyrics. What is the significance of these languages in your music, and how do they help express your identity?In everyday life, I tend to mix the languages I know and have learned. When I started singing, I wanted to do the same, but I also believe that musically, I did it to stay close to my roots and complete the identity of the genre I’m working in.  Can you tell us a bit about the moment you realized music would be your calling? Was there a specific artist or event that inspired you to pursue this path?  When I was little, I certainly loved Michael Jackson, because in addition to his music, which moved me deeply and gave me many emotions, he always wanted to give a message. And for me, this is very important. On the other hand, at the beginning, I wasn’t aware of where I could go with music, given my background and the type of music that is generally listened to in Italy. But it was certainly the positive response from people that made me realize I could do something serious with music.  You’ve worked with big names like Ernia, Jovanotti, Villabanks, and Irama. What have these collaborations taught you about the music industry, and how have they helped you evolve as an artist?I never went to a music school. I started this journey from my hobby and personal background, so working with big artists helped me shape my songs in a different way. It taught me to look for influences suited to my genre in the right places and to have a more productive approach in the studio. It helped me believe in what I do, regardless of the results, and to give the right weight to everything. I’m very grateful for this.  In December 2022, you were part of the exclusive opening event for the World’s First Jordan Store in Milan, alongside Lazza. How was that experience, and how did it feel to be recognized at such a high-profile event?When the invitation arrived, it was hard to believe. I’m very grateful and felt a great sense of responsibility at that event. I didn’t want to mess anything up. As a Black artist who makes Afrobeats in Italy, being invited to an event like that means a lot to me. It shows that things are changing.  You were also featured in the Fred Perry Subculture campaign, where you shared the influence of alternative music on your style. What was it like to represent a brand that celebrates individuality and youth culture?  The collaboration with Fred Perry was very important. I wanted to give a voice to all the second-generation people with talent who have something to say and bring to the music industry and beyond.  You were the face of New Era’s 2022 campaign titled “Now Playing.” What was your role in this project, and what was it like being the Italian representative for such an international initiative? For New Era, I wanted to represent the second-generation segment that, through their roots, can bring something new to the music scene in Italy.Your lyrics are often self-conscious and deeply personal. What role does authenticity play in your music, and how do you balance vulnerability with your public persona?  For me, authenticity is very important. I grew up listening to rap music where the lyrics were very clear and explicit, talking about everyday life, the good and the bad, and the culture. I feel very comfortable with this, and for me, it’s also a way to connect with the people who listen to me, to make them feel involved and part of something.  Afro rhythms are a key part of your sound. Can you talk about the significance of Afrobeat and Congolese culture in your music and how you stay connected to your roots while pushing your own boundaries?I don’t know if it’s an urban legend or if it’s true, but Congolese people are very proud of their music, and when I started making music, I felt that pride within myself. It’s about carrying forward the culture. My parents unconsciously influenced me a lot and helped me understand how strong both the message and the sounds of traditional music were. So, I’m proud of it.  As an emerging artist in Italy, what challenges have you faced in the music industry, and how do you navigate those obstacles?  Being an emerging artist is definitely about pushing myself beyond what I can do. Sometimes it requires giving my best, and it can be draining and make you feel a bit alone. But I’m aware that this is just the beginning. Doing a genre that isn’t popular in Italy is still the biggest obstacle, but I’m happy with the positive response I’ve gotten from people, colleagues, and professionals. I feel that there is a desire for something new and different in the music industry. You’ve already achieved so much at a relatively young age. What’s next for Epoque? Are there any upcoming projects or collaborations that we should be excited about?In 2025, there will definitely be new music and collaborations, but for now, I’m enjoying the release of my first EP, Tram 83, which I’m very happy and proud of.  You’ve become a role model for many young people, especially those who identify with a similar multicultural background. What advice would you give to other aspiring artists who are trying to find their voice in the music industry?One piece of advice I can give is to be humble and patient. Focus on your goals clearly, surround yourself with positive people, and do what you believe in as best as you can - without caring about trends or what people usually listen to on the radio.  Finally, what’s the message you hope to leave with your fans through your music, and where do you see your career going in the next five years?  In five years, I hope to be the best version of myself as an artist, and I hope that with my music and the music of my colleagues in the same genre, we can truly integrate Afrobeats into Italy. With my music, I try to remove any boundaries, to give a message of positivity and faith in victory. In my case, coming from a very humble background and family, I believe victory can be achieved by anyone - you just have to believe in it and stop comparing yourself to others.To commemorate this landmark year, we’re releasing a limited-edition collaboration with Alpha Industries, the iconic MA-1 Bomber Jacket. The Patta x Alpha Industries MA-1 is a timeless piece that blends Patta’s signature style with Alpha Industries’ heritage, creating a jacket that’s as bold and authentic as the cities we represent.The Patta x Alpha Industries MA-1 Bomber Jacket will be available on Friday, December 20th at 13:00 CET on patta.nl, patta.co, pattaclothing.us and the Patta mobile app.

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