Shift K3y Bridges the Atlantic Gap
We can’t get enough of this UK house revival, and that’s not a problem when the emerging artist is Shift K3y. Not only is his music magically delicious, but that crooning falsetto is a thing of beauty uniquely its own. That’s why we named him one of our Five Essential Artists to Watch. We spoke to the London bloke to learn about how he’s bridging the Atlantic gap.
It’s not like America, where you have New York, L.A. and every other city that has so much relevance. To simultaneously have all those areas interested in you is kind of an unrealistic goal.
Does America understand Shift K3y?
At the moment, yeah, but I don’t want to speak too soon.
I think R&B vocals and R&B-influenced music is resonating a lot with us right now, but do you see this movement as a long-term thing or just a trend?
Well, soul music and R&B will live forever, as will dance music. So will good songs. As long as people keep making tracks that signify those eras, people will always go to those events and buy those records.
Growing up, what kind of music were you listening to from abroad?
I was in jazz bands from the age of about nine to 16, so I was playing all the American songs. As I got older, I was discovering hip-hop, dance music and UK garage. UK garage was around when I was literally a baby. It’s what my parents were listening to at that time. It’s what everyone was listening to. It does take me back to that era. I think it’s a combination of that, and then in the past year, I’ve been back and forth between here and the States, so the music I’m making is even more so right in the middle.
Do you think more people are going to jump on this trend and push it further, or are we gonna hit a wall, creatively?
I don’t know, it’s hard to say. I’d like to think that in the UK and London, we have a bunch of people that haven’t come out of the woodwork yet that I know personally will have their shine. People like MNEK, Secaina Hudson, Linden Jay, my girlfriend Ruby Francis. There’s so many that will all have their shine, I’m sure.
Do you feel like America is behind?
You’re not behind, you’re just too conscious of the radio. Here, it’s so easy to get songs played. You just got to know the DJ personally and have a good relationship with him, or you’ve got to know someone at the station. Because stations are so small and the country is so small, you can literally drive there and pretty much walk into the BBC building. You can’t literally go into the room without security checking, but you can wait outside until your favorite DJ walks out. You can just chat to him. If you’re a straight-up guy and you know what you’re talking about, I’m pretty sure you can get your track played. People like Mr. Jam, DJ Target, Annie Mac, they’re all very reachable people in that way. I think that’s what makes it so fun. I can send them music; if they like it, they play it. If that continues, then we push for a release with Columbia. That’s what I mean by organic.
Because the country is so small, the entire country hears that, so through all the festivals everyone knows the songs. It’s not like America, where you have New York, L.A. and every other city that has so much relevance. It’s a lot of areas to crack. To simultaneously have all those areas interested in you is kind of an unrealistic goal.
It’s a funny relationship we have.
But I think, the way it’s matching at the moment, we’ve had enough music from each side to fully understand what that music is about. Even acts like Arctic Monkeys and London Grammar, they’re still translating to you guys pretty easily.
I will not be surprised when I hear “Touch” or “I Know” on American airwaves. Will that be your moment of “I have made it in America”?
Well, I want at least two or three of those. Then yeah.
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