With a brilliant band & an epic gig coming up,
The Mumble got a chat with the
Sensational spirit behind it all
Hello Haylee – can you sum yourself up in a single sentence?
I am absolutely nuts and random as fuck, but when I love, I love until it bleeds!
Where did you grow up, and what kind of world did music first enter your life through?
I was born in Edinburgh, lived in Oxgangs until I was 10, then moved to Livingston so I basically grew up in Livi. First Deans, then Crazyhill (Craigshill). Music was the bread and butter of my family. My dad owned an entertainment company and my grandad was in a band. Even before he died he was still gigging with my Auntie Bobby in retirement homes! The family had a karaoke in his room in the hospital the night before he passed away.
What are your earliest musical memories?
I can remember writing songs with my cousin at my grandad’s annual New Years Day party, and going through to the living room with toy instruments to perform the song to the family. I called one of them ecstacy because I was naive and thought it meant to be really happy. I can remember my older cousin hitting the giggles and I thought it was because he thought my song was silly. We joke about it now because I know the…other meanings.
When did you first realise that you wanted to make music yourself rather than simply listen to it?
I’ve always written songs (I’ve included the first one I wrote in pencil, dated and copyrighted 1999). But yeah, I’ve always kinda known, it’s weird. My parents encouraged it too. I’ve always wanted to be a front person and love to write about my life in poetry and song.
Why hip hop? What was it about rap that spoke to you more than any other genre?
I met an old school Scottish freestyler on my way to Glasgow Gay Pride on the train. He was freestyling in a Scottish accent, I told him I wrote poetry and songs and he said to try rapping them because rap is basically poetry. I originally did it in an American accent as I thought I had to. He said to drop it and use my own accent. I was rapping my song as I walked down to Pride and he was showing us the way. We exchanged numbers (and saved a pigeon en route!). So I think he brought out my inner rapper. I’d pick him up and we’d drive around listening to Eve’s Greatest Hits, he said to block out the lyrics and rap my own story over it, using things I could see around me, and that’s how I started freestyling and embraced my Scottish voice.
Which artists first inspired you to pick up a pen and write your own lyrics?
I used to love memorising Eminem’s songs. I can remember when Stan was popular they had to schedule its plays so I used to watch it on MTV every night at 9pm. Marilyn Manson as well. I was a weirdo at school, and his songs really helped me to accept my weirdness and to fuck all the haters.
Were there particular albums or songs that made you think, “I want to do this”?
Smash – The Offspring
The Slim Shady LP – Eminem
Hollywood – Marilyn Manson
What did music give you that nothing else could?
A voice, an ear and a friend. I was an only child, bullied in school and music was my entire world.
When did Haylee G first come into existence?
After I met the rapper from Glasgow, he put me in touch with Toni Smoke as at the time he was the best producer in Scottish hip-hop. We ended up writing what became Get Outta Here. It started as a back to back rap then he went off the radar I had my gay pal Jamie jump in to help. His voice was phenomenal. We took that back to Toni and recorded another song with our coming out stories called Society, as well as a few others. From there we formed a band called Hayznjayz with our friend (a trans guitarist).
How has your songwriting changed from those early days to now?
I think now I use fewer words and keep my hooks simple. I try to reach people who are going through something similar, or just make them dance!
Hip-hop has traditionally been a male dominated culture what was it like trying to establish yourself as a woman in that environment?
It was quite daunting, not gonna lie! I have never been the type of lassie to get dressed up for views. I’m doing it for the music, not how I look, and my personality swings between introverted and extroverted depending on my BPD splits. I found the more I was around the hip-hop scene, it messed with my head. I was always questioning whether I was good enough (imposter syndrome?), so I’d get wasted which probably made it worse! I met some amazing people in that scene, people I still talk to, some that just grew apart, but they were the super welcoming and supportive, and helped me to believe in myself. It was the ones that tried to ruin it for me that made it stressful. I had to walk away to protect my mental health.
Did you ever feel that you had to prove yourself more than your male counterparts?
For sure as there weren’t any other lassies at the time doing battle rap in Scotland. I felt like I had to prove myself, but my style is quite different as it’s not strictly hip-hop. I think that has a lot to answer for in that regard. I’m not hip enough to be hop!
Have those attitudes changed over the years, or are there still barriers for women in Scottish hip hop?
I think it’s gotten better from what I can see. There’s been a lot more women breaking into the scene which is incredible but I do think you need a thick skin and my mental health just isn’t strong enough to deal with it, like these younger lassies can. I think it’s awesome and they’re killing it!
As an openly gay artist, have you found the music industry accepting, or have you faced additional challenges because of your sexuality?
Nah, music and the arts has always been more accepting of people’s identities than anywhere else in life.
Has being true to yourself ever come at a professional cost?
Yeah, I think because I’m such an open book sometimes, my BPD is easily triggered and people see the aggressive side of me rather than the professional side which is embarrassing! I know we’ve lost a few opportunities because of that. We also switch between styles from song to song so it’s hard to fit us on a bill.
Do you think visibility matters? Have you consciously wanted to be someone younger LGBTQ+ artists can look up to?
Yes, definitely. Performing at gay pride in West Lothian a few years back was a serious moment for us because we saw so much of the younger LGBTQIA+ really enjoying our strange mix of rock/pop/hip-hop which is rare at pride. I used to think I was the “only gay in the village” when I was growing up and seeing these kids being themselves out in the open was inspiring and I was so proud. So many of them came up to us afterwards to thank us and buy merch (though we didn’t have any at that time…)
How much of your own life finds its way into your lyrics?
Every single thought, feeling, memory and experience. I’m not joking when I say have thousands of lyrics in several huge bags of scrap paper. It’s written on envelopes, note pads, ASBOs, and now on my phone thousands of notes.
If your life had a soundtrack, what songs would definitely be on it?
Time Warp, Crazy Bitch, Girls, and probably every single one of the Devils in Skirts songs, particularly Nutter.
You are married to Katie, who is not only your wife, but your musical comrade & co-parent to a beautiful baby girl – can you tell us about her?
Katy survives my crazy, so she’s a saint. She’s a misfit like me (she is AuDHD) but much more introverted unless she’s under the influence. She is straight to the point and if she doesn’t like someone or something, she will tell you.
Has becoming a wife and mother changed the way you approach your music?
I would say it’s made me a bit more precious about time. I try to make the time I have to work on music more productive, whether when I’m at home or in a practice room. No more random vape breaks! We expect to get things nailed, we make guides, I encourage everyone to work on things before rocking up to a rehearsal. They call me the matron.
Tell us about your daughter, Nancy, Has parenthood changed your ambitions as an artist?
Yes, for sure, I want to make her proud. I want more for her and most importantly I want her to be happy. I’m not messing around, I’m trying to make something of all this music in my head so that she can have the world.
How do you balance family life, a full-time job and making music?
Learn to live off minimal sleep and function enough to spend time with her after work and between practices and gigs. She’s quite independent (her favourite toys are “Bear”, her tambourines, mini drums and Katy’s ukulele) so when she doesn’t need me, I’m working on music. When she goes to bed, I use that time to work on beats and record vocal guides.
Have there been moments where you questioned whether it was possible to keep all those parts of your life going?
Not for a second, I took a little while to adjust, take shifts with a newborn who hated sleeping alone, but Katy gets that music is something I need in my life. I wouldn’t cope without it.
Tell us about your band, Devils in Skirts. How did it begin?
Hayznjayz split, Riagan introduced me to Harry Mulligan who became our drummer. He was a writer for Louder Than War, knew Alan McGee and loads of celebrities. He led such an amazing life but had his demons. We got Nathan in as guitarist, Riagan on keys. Unfortunately Harry and Nathan have both passed away now, but they gave me the confidence to continue making music, and together we formed the Devils.
Where did the name Devils in Skirts come from?
Harry came in one day and was like “Devils in Skirts” or “Ladies from Hell” so we went with Devils in Skirts. Especially when I realised the term was first coined by the English after being flashed by the Scottish lifting their kilts before battle!
The band has recently welcomed new members. How has that changed the chemistry?
I think it’s brought something we never realised we were missing. It just clicks. I always felt me and Katy had to bring a fully formed song to practice, but now everyone is bringing ideas for riffs, hooks and beats. Riagan has come out of her shell, Martyn is a true old school rockstar, Den holds us all together from the tubs, and Bruce is still killing it with his vocals.
What does playing with a live band allow you to express that solo rap doesn’t?
It allows me to make things even better than I can hear in my head. We bounce off one another on stage or in a rehearsal and it’s amazing to have everyone focused on the same goal of making my ideas come to life.
How collaborative is the songwriting within Devils in Skirts?
Before, I was pretty controlling. I had this idea in my head of how a song should be and if it didn’t turn out that way, I’d be frustrated. Now, I’ve learned to listen to other ideas, and the music that’s evolved from that is amazing. I can’t wait to release our new EP after the summer. I think people will love it.
What qualities do you value most in the musicians you work with?
Their patience, their ability to get my point of view and their creativity. Our visions align. They’re crazy like me.
Does writing for a band change the way you think about rhythm and lyrics?
Yes I try to write more like so other ppl can enjoy it a bit too not all bout me and fir folk to hopefully take something meaninful from it. If the band were to say they not that keen on that part id change it nowadays as in past I probs woulda told them tae bolt!
How would you describe the sound of Devils in Skirts to someone who’s never heard you?
Alisha Dickson once told me that we were like marmite, and I think that holds true. At the time I was offended… You can’t really put us in a box, you either love us or hate us.
Where do you see Haylee Gee and Devils in Skirts five years from now?
Number 1 single, world domination. Or trending on TikTok.
What themes keep returning in your writing?
Bitches
What’s your karaoke song — and are you actually any good at singing it?
Big Spender by Shirley Bassey. I used to be pretty good at it!
Are there songs you’ve written that were particularly difficult to finish because they were so personal?
I’m not ashamed of anything, but what I will say is that I release things when I think the time is right. I don’t want to make people feel suicidal either so if I did bring any of the many many songs I have stored away, I’d probably add a bit of cheese to lighten it up. The most important thing to me is not making people feel worse for relating to you. I like to round things off with positivity if possible, a bit of “fuck you, world, we’re in this together kid.”
Do you see yourself primarily as a rapper, a songwriter, a performer, or something else entirely?
A performer and a writer mostly. I enjoy that the most. Rapper makes people think hip-hop and I’m definitely too rock for that! I love being different.
What role does Scotland play in your identity as an artist?
A massive part as since I started using my accent, it’s become a huge part of my identity as a musician and it’s important to represent that. I’m pro independence and very proud of our beautiful country. Don’t get me wrong, I’m half English, my wife is English, but I’m proud of my Scottish heritage.
You’ve lived in Edinburgh, Peebles and now Kelso. Have those places influenced your writing in different ways?
I was skint while I lived in Edinburgh. Poverty was a very real thing so while those were some of the best song I feel like I’ve written, they were coming from a place of really struggling. Since moving to Peebles, and then Kelso, when money became less of an issue, I was building my family, and I was becoming much happier, I found it difficult to write anything meaningful after being used to writing about suffering.
What inspires you outside music – books, films, art, family, nature, politics?
Family, my little girl and watching her become an actual real person that relies on me, loves me and looks up to me. She inspires everything now. I like interior design but I never understood books or art, as much as Katy tries to teach me!
Has your understanding of success changed as you’ve grown older?
When I was younger, I was naïve and thought it’d be easy! But it takes your heart and soul. You could feel on top of the world one day, and your lowest low the next. The industry has changed, music has changed, it’s not about the music as much, it’s about trends. We used to love physical albums for the sleeves, the art work, every single track on it, and now if your single doesn’t grab someone in the first few seconds, they skip to the next band on Spotify. Success now is doing what you love, whether people like it or not.
You get one trip in a time machine. Where and when are you going?
I’d like to see 20 years in the future to see where my daughter ends up, whether she’s happy. (and if she’s not, I will sure as hell make it better for her when I return.)
Looking back at your younger self, what advice would you give the Haylee Gee who was just starting out?
Don’t do drugs! Appreciate everything! You never know what’s around the corner. Stay focused and believe in yourself. Don’t let negativity consume you and never give up!
What advice would you give to young women wanting to get into rap today?
Do it! Say what you want to say, feel what you want to feel, love who you want to love, and don’t give a monkey’s what the haters say. You got this!
What advice would you give to young LGBTQ+ artists who might be nervous about being themselves publicly?
Do it because haters gonna hate. It’ll pass, just keep being you and do what feels right. Focus on your message, your goals, your hopes and dreams, and make them happen. Find mates that have your back, write awesome songs and make something of yourself even if it’s hard. Be happy and don’t apologise for being you.
Is there a lyric you’ve written that still means as much to you today as when you first wrote it?
In Psycho when I say “you crossed the bridge of dead when you made my best friend cry, I can take people letting me down, even making me frown, but when it comes to hurting my mates there ain’t no where you can escape, it’ll be your fate mate.” It’s about a mate who was in a domestic violence situation and everything that’s happened to her still hurts.
What achievement are you personally most proud of so far?
Touring America with the band and getting on the rap map with DJ Target.
What do you hope audiences feel when they come away from one of your performances?
A connection to a lyric or a beat that makes them dance like it’s 1999, or a moment to scream at the world in release. I want them to listen to my stories and realise that life could be worse and to enjoy things like the moments we create on stage.
If you could leave one message for the next generation of Scottish women in hip hop, what would it be?
Try more than just hip-hop, you might surprise yourself! Most importantly, do you and fuck what anyone else thinks!
You’re in the middle of organising an epic day opf music in Edinburgh – why did you want to put on your own all-dayer rather than just play another gig?
It’s simple really, we were just going to put a gig on and we realised we could have the venue from 12 to 1am so we thought “let’s do it from about 3, give us some time to set up and stuff and get even more people involved!” since it is during the fringe so, sounded like a good idea!
What was the moment where you thought, “Right, we’re actually doing this”?
I think I kinda realised that from the get go, as soon as we started who we were going to invite and started writing down who we were going to put the acts on throughout the night for it to work. So yeah, that’s when I thought “we’re actually doing this!”
The Biscuit Factory has become one of Edinburgh’s most exciting venues. What made it feel like the right home for this event?
It looks pretty cool. Bruce knew the girl who runs it, he grew up with her or something and we were thinking of where we were going next. We knew we wanted to put on a big gig and get lots of people involved. His exact words were, “Shy bairns get nowt.” So he mailed her and yeah. We got offered a couple of gigs, we realised it was during the fringe and thought yeah, this is a great time to do it.
August 21st is shaping up to be a massive day. What can people expect if they’ve never been to one of your shows before?
Randomness, dancing…a show! Expect a show, don’t expect bands that “sound good” but sound the same, like one style throughout the night. We like to put on a show and we a few kinds of tastes rather than all the same.
When you started putting the lineup together, what were you looking for in an artist?
We were looking for people who can put on an actual show, performers, wasn’t looking for shoegaze bands, and wanted to mix a few scenes together like hip hop. Not the whole thing but wanted to bring some hip hop artists in, some beatboxers, as ive done something like that on a much smaller scale obviously. Also wanted to bring in a few bands from a few different scenes, in a sense, rrriot girl punk bands, a lot of female representation in there, hence picking some of the acts that I’ll talk about more later. I also, when I was picking the artists was picking them, they were all doing really cool thing to grow their own movements and scenes, I want people who are entertaining to watch, you know what I mean, these people are like super talented , and a lot of the talent in Scotland gets looked over in favour of the same old same old kind of thing, and I think it’s important to get the underground scene, the talent in that
Was there anyone you knew straight away had to be part of the day?
Well if we’re putting on a big event, obviously I’m going to get my comfort blankets in, the Victor Pope Band and Erb n Ting. Obviously I knew straight away they were going to be on the bill. I’ve gigged with them on and off for 10 years now, I just love out wee family. Just knowing that Damo is doing Interstalla Blues Cruise obviously when we went to Arran I wanted to ask if he’d be up for it too. I know I wanted Luke and Nora on sound. I knew I was going to ask PAL as well, that’s Nora’s band. I knew I was going to try to get some of therrriot girl acts, my friend reminded me of Rebecca Radical and I was like, yeah totally suits what we’re doing, gigged with Fistymuffs in the past, I’m sure they were playing at the Donald Trump protest, if not, somewhere similar. Katy says Fistymuffs were there and she loved them. I’d also messaged a couple of other bands but one wasn’t free and the other didn’t get back! That’s fine, everyone’s busy. I knew I wanted to get some beatboxers, so yeah. And a few rappers as well. Obviously I was going to ask Werd, because Werd is just Werd, he’s awesome and put on lots of things selflessly over the years to create a scene, so I had to get him involved. (side note: Katy says he’s also a super cool dude in general).
You’ve always championed Scottish artists. How important was it that this event celebrates local talent alongside acts from further afield?
It was very important to me because I think there’s so much talent in Scotland, I’m really an advocate of using your own accent and culture in Scotland, I love that we have so much in the underground scenes and stuff. It’s nice when people break out from there but I also think its important to try to make a movement within the underground scene, its good to have a mix of acts with people just start out to be around veterans and stuff in the scene. People that have done really well further afield I think being involved with this is going to be great, all up and coming acts and even the seasoned ones as well that are still going about that are on the bill. It’s just good. I think it will work.
Your own music refuses to sit neatly in one genre. Did you want the lineup to reflect that same attitude?
Definitely, so yeah, It’s kinda how it started in a sense because we, Devils in Skirts, dip into a few different genres. If you had to put us in a category we’re probably be rap rock, but we dip our toes in lots of different things. We have some funky things in there, we have ska, we’ve dabbled in dance and cheesy music. We’ve obviously got punk but not strictly punk, not enough for the punk scene, not pop enough for the pop scene, not rap enough for the rap scene, so yeah. It was important to kinda find bands that basically have the little bits of genres like ska and funk, punk and we’ve got the rock there, you know what I mean, things like that, basically and obviously the rap as well. I like that about beatboxers because they kind of like get some of them doing House music then hip hop, so yeah it’s cool.
Anyone can book bands—but building a bill that flows from the first act to the last is another thing entirely. How did you approach that?
Well, I was a DJ first, I was brought up in the entertainment industry, like the whole family is into music and my dad had an entertainment company so one of the things I’m pretty good at is building a set, start, middle and end. So I kinda approached doing this bill like that. So I wanted it to build. I’m not ruining it by saying how the acts will be set up, I want people to discover that for themselves, the art of surprise, to be taken along for the ride rather than be told what to expect. Then it kicks in with a bit of this, a bit of that. We have two stages so some of it will be back to back. I’ve put it in a way that I think people will be dancing, and to top it off at the end of the night we have DJ Mish and he’s well known for playing different styles and I love that. Not everyone likes the same, and if you don’t like something you might like the next song or the next act or whatnot. Even if you’re not keen on that style, the acts are entertaining to watch! I can guarantee the show they put will be something you can fuck with.
What’s been the biggest challenge in putting together an event like this?
The biggest challenge, I would say is trying to get answers from people, asking their band members, getting biographies to spotlight every artist, waiting on people asking their work! Finding out who was available earlier in the night, etc, to plan it in an exact way.
You’ve spent years playing gigs put on by other promoters. Has organising your own given you a new appreciation for what goes on behind the scenes?
It’s made me appreciate now, obviously, sometimes I wouldn’t get back to a promoter or get back to them later, speak to the band, I thought it’d be okay to take a few days because we all have busy lives. But I feel like now, I’m definitely going to be a wee bit more quicker in getting back to them in terms of availability and equipment. But yeah, there’s a lot of graft that goes into it. Especially on this scale.
You’re known for backing people you believe in. Does this event feel like a chance to shine a light on artists you think deserve much bigger audiences?
Definitely, all these acts I’ve booked I find really talented, and it’s important to have these people on, the people I’ve picked because they’re all deserving of being on a bigger stage and sometimes talent like that is kinda hidden. I know me personally I get stuck doing the same kind of gigs and it’s important to bring together lots of different communities. I think every single one of them are talented and deserve to be on a bigger stage.
Devils in Skirts will obviously be part of the day. Does it feel different performing when you’re also the person making sure the whole event runs smoothly?
Definitely going to be more stressful, just because of the sheer scale, but the whole bands a team, we all play a role to help the day run smoothly, for example, bruce and I will take shifts to keep an eye on timing of things running. But, we practice every week and we’re pretty tight so we’re going to enjoy it. Not to mention, my wife, who is busy with our daughter, has made time to do a few things in the background for us.
If someone walks through the doors not knowing a single act on the bill, what do you hope they leave talking about?
I want them to leave talking about how they’ve discovered their new favourite band or new favourite rapper, and I hope that it makes them think that for a tenner a ticket you can get far more for your money in the underground than you can for fifty quid to see one mainstream act. I want them to feel a sense of belonging, of community spirit, of family.
What do you think audiences sometimes overlook about the Scottish independent music scene?
I think they overlook it because they don’t know about it! They don’t know where to go or how to find it, they overlook it. The internet algorithms only show them what they know, so I think it’s our job to create something bigger so it hits more people, so we can get more people more involved to grow it.
Do you cheat at board games?
It’s only cheating if you get caught.
If this all-dayer is a success, could you see it becoming a regular fixture on the Edinburgh calendar?
For sure, definitely have plans to do it again, to do something similar, Maybe even take it to other towns and cities.
Looking around the line-up, is there a common thread that connects all these artists, even if they sound completely different?
DIY. Every act is DIY. Every act is grafting and doing a lot of things in their own scenes, cities, areas, every one of them knows how to put on a show.
Looking across this lineup, you’ve booked everything from beatboxers and punk bands to singer-songwriters, rappers and garage rock. Was the aim never to stick to one genre, but to bring together artists who all share the same DIY attitude and authenticity?
Definitely, I would never put on an event with all the same genre. Me personally, I don’t enjoy that. I have a varied taste in music and I think deep down a lot of people probably do as well. I wanted to combine all the things I love about the underground, hence the bands, rappers, beatboxers, singer songwriters.
A lot of these artists aren’t just performers—they’re people who’ve spent years building Scotland’s grassroots scene, organising events, supporting other musicians and creating opportunities. Was it important to you that this day celebrated the people who keep the scene alive as much as the music itself?
I think it is important people keeping the scene alive as much as the music itself. They’re the reason we have these scenes, they’ve put so much legwork into it, they’ve grafted to create communities and they’re all talented musicians and artists as well, so definitely I think it’s important for them to have a stage, to share it all and create something even bigger together.
Scottish beatboxing has grown massively in recent years. What was it about Bandit Beatbox that convinced you he had to be part of this lineup?
So basically, I put the booking of the beatbox artists to L, who’s massive in that community, and I was introduced to him through Rebecca Radical because I knew I wanted beatboxers but I’d been out the loop for a while so I didn’t know anyone who was doing that. I think way back when the only beatboxers that I knew were Delivery Room and they were awesome, but yeah I’d not seen any in a long time so I was introduced to him, and we were throwing ideas around about who to get. And yeah I think it’s great hes got the upcoming ones involved.
His performances are as much about technical skill as entertainment. What do you think audiences who have never seen live beatboxing are going to take away from his set?
I think basically they’re going to see an up and comer and be very impressed, especially at his age. He’ll go far, like I’m particularly excited to see him, I’ve not seen him live but L is a massive advocate for him and yeah. Looking forward to it.
R3G is part of a new generation of Scottish beatboxers making an impression beyond Scotland. What excites you most about his journey?
Just excites me to see like younger generation coming in and doing it and being involved in the championships and stuff. I think it’s really good, and I think it’s going to be pretty cool.
Beatboxing isn’t something every gig-goer sees live. How important was it to showcase that side of Scotland’s music scene?
It’s very important because it’s such a talent to be able to get on stage and create a whole song with your mouth from kicks to snares to hihats to synths. It’s pretty cool and I think people are going to love it.
Fistymuffs have built a reputation for mixing punk with politics and queer identity. What do you admire most about what they’re doing?
I just love that they’re unapologetically themselves and really entertaining. Absolutely kick ass on stage, and it’s just really great. they’re advocating for queer identity and I think that’s brilliant and we need more of it. We need to be shouting these things from the bloody rooftops and they do it so well. They’ll take us on a journey with their set.
Their music tackles some serious subjects but still feels energetic and fun. How well does that fit the atmosphere you’re hoping to create on the day?
Massively because I think it’s important that we need to say things that we want to change and make better in the world and make people feel, lift them up and bring them down. It’s important to get your point across and be energetic and fun and not all doom and gloom. We can still say these things and people still have a good time, and I think if you do it like that, you’re more likely to get your point across.
Every great all-dayer needs someone to keep the party going. What made DJ Mish the perfect person to close things out?
Because he’s such a lovely human being, he’s so much fun, he’s travelled all over the world, plays a massive mix of music, it’s so random, I love it. I remember one time I was like “is that Run DMC you just mixed in with that track?” and he was like “yeah” and it took me back to when I did breakdancing at school. I think he’s awesome, everyone in the scene knows him, and his missus Elaine.
His sets jump between genres with ease. How important was it that the festival ends with people still dancing rather than simply heading for the exit?
It’s really awesome because it means the bands can wind down at the end if they’re still kicking around and it’s just nice to have a wee dance at the end. Just let loose a little bit. I think that’s very important.
Mid Life Krysis has a brilliant sense of humour but there’s real songwriting underneath it all. What first drew you to his music?
I think because he is such a talented lyricist, his songs if you actually take time to listen, it’s genius. The guy is a genius. And I love that he doesn’t take himself to seriously, he just embraces who he is.
He describes himself as making rap for people who don’t like rap. Do you think he’ll surprise a few people on the night?
Definitely. He always surprises people. I remember recently looking around when we at Meadows at the Farm, there was a wee older woman taking photos in the corner during his set and I’m looking slyly and wondered how it was going to go down. She was smiling and giggling away and I just thought it was great, so great and that’s what it’s all about, man. He came away with a new fan there and I love that.
Common As Muck has built a reputation for witty storytelling and self-deprecating humour. What makes him stand out in the Scottish hip hop scene?
Common as Muck has such a raw flow and that, you can tell straight away when it’s him who’s rapping. And he was part of Devils Rejex which Diamond B was involved in.
His personality comes across as much as his music. How important is character when you’re choosing artists for a lineup like this?
I think character is so important because yeah you can be a musician but you need to have personality too, something that stands out from the next act and Common as Muck certainly does that. I can’t remember the name of the song so forgive me but there was one song where he named out all the artists in the scene and did it in a really cool way.
The Screamin’ Kick have become favourites on Edinburgh’s underground scene. What do they bring to the festival that nobody else on the bill can?
Screamin’ Kick I actually don’t know much about, it was Heathy who suggested we get them involved but from what I’ve heard they’re tight, they do a lot of DIY stuff and they’re old school.
Their gigs are famously loud and uncompromising. Were they always on your wishlist for this event?
They were on Heathy’s wishlist for sure.
L has done so much behind the scenes for Scottish beatboxing before stepping back into performing. How important was it to include someone who’s helped build the culture as well as perform in it?
100% I think that’s very important, like that’s his speciality and he brings in cool up and comers from being involved and yeah he’s a steady pair of hands for that side of things so I’m grateful to Rebecca for introducing us.
What do you think makes his style different from the other beatbox artists appearing on the bill?
He’s got, what’s the word, he’s what you would call a veteran in a sense, he’s helping them get a platform, hes involved building his own community aswell as now stepping back into performing again and he’s sent me a few ideas and I can’t wait to see it live.
Vibrant Rebels are bringing a ten-piece lineup packed with horns, funk, ska and hip hop. Were you looking for a band that could completely lift the energy of the room?
Definitely I mean who doesn’t love Ska, and One Oz, I’ve known him for 11-12 years since Sketchy Beats. Lovely guy, awesome rapper, awesome person, and we did a gig recently at the craft punk fair and he was doing a solo set. He was telling me he had a band, they were rehearsing and now they’re gigging and anyone who’s got him fronting a band is going to be awesome. The other bands his bandmates have come from I know too so yeah, awesome band, they’re going to be awesome.
Festivals are often about discovering new favourites. Do you think Vibrant Rebels are one of those bands people will be talking about afterwards?
For sure. Definitely. I can see them becoming massive. I’m absolutely buzzing they’re involved.
Lynzie Dray offers something much more intimate than many of the heavier acts on the bill. How important was it to have those moments of contrast throughout the day?
Very important, she will just pull you in, she captures her audience and that’s nice as well because she grounds you. I also wanted her in the start because it’s like the calm before the storm.
Her songwriting is deeply personal. What was it about her music that resonated with you?
Me and Lynzie go way back, she was on some of the McMillan nights I put on way back. She’s come along to gigs and I’ve always found her so talented, always knew she’d do big things like she did Meadows festival this year and that’s awesome. She’s done things with other hip hop artists. But yeah, we go way back. Absolutely love her, such a kind soul and she’s so supportive of other artists. She’s just an awesome person and I’m buzzing that we’ve got her.
The Victor Pope Band have been called everything from anti-folk agit-pop to “the best worst band I’ve ever seen.” What can first-time audiences expect from them?
Audiences can expect to be entertained from start to finish. They can expect to see super talented people, every one of them is super talented and go so well together. Can expect to sing along because they’re so catchy.
Their live shows have a reputation for being gloriously unpredictable. Is that exactly the kind of energy you wanted for this festival?
I never want predictability. No one wants to know what to expect when listening to live bands and Victor Pope band are great that way, they’re so random. Fucking love it. They’re my wife’s favourite Edinburgh band.
Rebecca Radical writes with anger, wit and purpose. What makes her one of the most exciting voices in Scotland’s punk scene right now?
She’s unapologetically herself and I think that’s fucking awesome. It’s like the way that she constructs her lyrics it’s almost like spoken word, it’s so passionate and fucking punk. It will grab you, and she’ll talk about subjects and reel you in.
She wears her politics proudly through her music. How important is it that festivals like this make room for artists with something to say?
It’s definitely important because most of the punk scene and all the scenes, we all have stuff to say, and that’s why we make music. She does it so well, and I’ve only ever seen videos of her, which is madness because in the start of devils we did a lot songs about politics, I’m surprised we haven’t been on the same bill, but it’s cool that we are now. It’s going to be awesome, she’s definitely one to watch on the night, it’s going to be quality, I can’t wait.
Is it true that Damo of Interstellar Blues Cruise writes better songs than Victor Pope?
No. I love you Damo but no. I love you both equally but I’m not picking between you.
He’s definitely better on bass than Victor Pope, tho?
Well Stevie was on the bass for Devils for a while because we needed it and he didn’t want the Devils to stop. I think you’re all awesome so stop making me pick. haha
Erb & Ting are a really full-on, energetic band – what is their secret?
I think their secret is they’ve got Al who’s a multi instrumentalist and producer and musician and he’s so fucking good at that and they’ve got banging songs. Then you’ve got Mikey who’s a seasoned vet who’s toured the world to fucking huge audiences he’s on a song that has millions of views that every one knows. What I love about him is that he doesn’t throw it about, when I met him I didn’t even know it, he’s just Mikey. They are family. They’re both fucking special, and they’re a great unit. Then you’ve got Paul on drums and the three of them work so well. They’re fucking ace and watching them startup to where they are. When we did that gig at Rock Bottom, they were on fire. The beats were so good, they were full of energy, it’s just phenomenal. They just bounce of each other.
If you could collaborate with Erb & Ting for one song, any song ever, which would it be & what would you contribute?
Well we’ve been talking about collaboration for a long long time, I think every time we get together and do a night we always say we’re gonna but we never get round to it,. Funny that you asked though because I’ve written something that I’d use if we did and metioned it recently to Al.
Werd has been at the heart of Scottish hip-hop for more than 20 years, both as an artist and by helping launch other artists. What makes him such an important figure in Scotland’s music scene?
Because he is the important music figure in the hip hop scene to me man, Werd has put on so many nights, selflessly for free. He grafts, he puts on so many artists and got me involved, then in the battle scene as well. He’s created so many opportunities for other people. I just love Werd, he’s just awesome and calm energy. He’s an absolute G and I love him to pieces. I love gigging with him because he doesn’t gig as much now. He’s fucking well up there of my favourite people. He’s just fucking real, raw. He’s a fucking G. He’s got experience, he’s done so fucking much, award winning, he captures you on stage, his flow is so Edinburgh. It’s so cool and intricate the way it flows. And he’s got old bangers in his set, like Ride it Like It’s Stolen. Aye, its good and it will make people dance.
What is it about Werd’s live performances that makes audiences keep coming back, and why was he a must-have for this event?
Because he’s fucking Werd, bottom line. He’s going to be on any night that he wants to be that we’re involved in. because he’s fucking Werd.
How much are you looking forward to DJ Mish AT THE END?
I think when it gets to DJ Mish when I can finally have a beer because I won’t be drinking with how much I have to do. Looking round at the crowd at the end when all the stress are over and the bands are chilling, I think that will be the moment, yeah. Or maybe during the bands when I see people enjoying it, because I like watching the crowd reactions as we create this atmosphere, this movement, like a family, and I hope that’s what happens. And that’s the most important thing for me on the night. everyone doing it together and the best DIY night of the summer.
And finally – what makes the Scottish grassroots scene so exciting just now?
I think its, to me it’s really exciting because obviously I took a break for a couple of years there because we had a baby and I was a wee bit out the loop so when I started looking at things that were happening and stuff and seeing bands that are kind of like getting seen and breaking out of the underground…what I like the most is that people aren’t afraid anymore to dabble different kind of things. They’re not strictly one genre and they’re not shy about that, they use their platforms and they don’t care what people think. I think it’s great, it’s really refreshing, I think it’s going to go somewhere and I think its up to all of us, the artists, to make things happen ourselves, the artists, stop doing the same old same old. If we all put our heads together we could do something pretty fucking cool. So that’s the theory with this gig.
