RoxXxan on the Importance of ‘Legacy’ to Birmingham (Interview)
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This Saturday, a special event will come to Birmingham as Legacy brings some of Birmingham’s finest to Symphony Hall. Also taking place in London at the Southbank Centre on the 28th of April, it will see grime mixed with orchestral music, showcasing 140 BPM in a different light. The event will see legends like Jaykae, C4, and Lady Leshurr perform alongside newer names like T.Roadz and Trappy.
Another one of the names that is performing is RoxXxan. She is an MC, DJ, model, and now fitness coach, who brings her A-game whatever the assignment. While not having released music recently, she knows what to do on the mic, and new music is on the way.
Before the events in Birmingham and London, on a hot summer’s day, she spared some time to chat before teaching a class. We spoke about how Birmingham is stronger together, the impact of the event, and why art isn’t always valued by the consumer.
What is the importance of the ‘Legacy’ event for yourself and other Birmingham artists?
Why it is important is because it’s showing what we have to offer. Birmingham is always the underdog and we have some really amazing talent. We’ve got so many men and women; there is so much to offer there.
How does the event show grime in a different way?
It shows it in a different way as it’s our take on it. We have different experiences, our areas are different, we speak different; everything’s different. Like they say it gives a different ingredient into the bowl.
Now, we have got Liverpool rappers; Manchester rappers, and I think it is great because it moves the music and the culture forward so that everyone can be a part of it.
I was discussing this with someone the other day, it is crazy how we’re such a small country, but you can go an hour away…
…and it’s a completely different experience. I know! Even in the countryside, it is different and they’ve got a vibe. I can’t wait for everyone to get out.
Even though people hate social media it is a blessing and a curse; it gets everybody out. We’ve found out about everyone.
I just find it interesting because in America it is similar but it’s a much bigger country and you have to travel. Whereas (here) you can travel to Nottingham and it is different, or Bristol, or Wales.
Even (in) Leicester which is around the corner from Birmingham, the accents are completely different.
Even closer, think about The Black Country: Wolves; West Brom…
…Dudley, oh my god. How am ya, yow orroight? (laughs) The accents just go crazy, don’t they?
I think it is one of the unique qualities of artistry in this country; all those different perspectives and accents.
Even with Birmingham music, we took a lot of influence from the Americans. Rap was really big in Birmingham before grime. Again, our take on it is different. We are very song-based, very lyrics (based), while in London it was all about freestyles and battling, which wasn’t very big in Birmingham culture. It was freestyling, but more songs (based), creating EPs and albums.
I also find that Birmingham Grime production is more chaotic and bassy.
We had bassline. That (scene) was where all the bad boys started dancing. You’d be in the club and even the strongest guy would start dancing because you had to, the bass would just take you.
How will having an Orchestra involved change the way your songs and the other artists’ music sound?
It is going to make them more eclectic; take it somewhere else with the bass. Certain sounds will be highlighted in the music that you won’t really hear. Again, it’ll give that depth to the lyrics because it is an experience (and) make it more theatrical. Even if you don’t get grime, you’ll feel it.
I’ve been to concerts where there is dance music with an orchestra, and I have seen clips of Kano or Little Simz performing with an orchestra. But, I am really interested to see grime, which is this bassy, aggressive; booming sound contrast with the violins and the brass instruments.
To be fair, grime has always sampled violins, so it will be amazing to have them live. We sample a lot of orchestras to make the beats or the piano to get that bassy sound. Then, once the producer gets in, make it go crazy.
Could this event expand to other areas off the back of the London and Birmingham shows?
I think it should. It would be dope to go overseas, even to be a Transformers and link up with other cities. Imagine doing up the U.K. grime tour but you’ve got Manchester, Birmingham; everyone’s got a sound.
Grime has an international audience and orchestral music is a worldwide phenomenon as well. I know Japan has a big grime audience.
Imagine over there! Australia has a big grime audience which is across the other side of the world.
Who is your favourite Birmingham MC or rapper and what makes them stand out to you?
I don’t think I have a favourite, but I appreciate everyone’s differences. My strongest ones are Deadly, Jaykae, I love Trilla; even though he’s not on it, Devilman is a strong artist. Also, RTkal; Safone, I don’t really know where to go. All of NODB to be fair. I can’t pick one.
I’m excited for the girls as well, like Fiasco, me, Lady Leshurr, Brixx; I am excited for us to come together. As women, they put us against each other, so it will be nice to share the stage and celebrate everyone’s talent.
You don’t want that negativity you sometimes see like, ‘Is this person better than this person?’. Can they all not be good? (laughs)
There is enough space for all of us; enough money, enough music; enough anything.
What do you think is the next step for artists in Birmingham?
From this (event), it is going to give them a platform and some really good PR to show people who they are and what they’re about. We’re stronger together. Everything that puts us on the map, pushes the sound more.
I don’t think anyone knows where the music scene is right now, so I can’t say where it’s going. But, if we put more music out then we’re stronger together. For the up-and-coming artists, before everyone ran to London because it was where it was happening, you’d get noticed. Now, you don’t need to. We’ve got a 1Xtra in Birmingham, radio DJs like DJ Day Day and Kaylee (Golding); people you can actually reach and get your music to.
Your phone these days is your record label. You’ve got Twitter (X), Instagram; that is your PR. We’ve got amazing producers and engineers in Birmingham. RIP Major, but we’ve also got Moschino. It is affordable and accessible now. A good thing about Birmingham is we’ve realised that everything we have got is homegrown. The sound is staying in the city and everyone’s working on it. From this, all that can happen is more. More music, more artists, more ways being paid; more mentors as well.
Even for us old ones who have been doing it for a while, we can mentor and help. We didn’t have this growing up, so now it is a cycle and we can give back, like Punch Records. I’ve been working with them since I was 15 and I am still working with them now, nearly 20 years on.
One of the good things about the current era is there are those opportunities to expand and push out there. I speak to people who live in London, and they can’t afford to live there.
It’s bare expensive, you get caught in the rat race. Although the scene is there, it’s more expensive to live than (in Birmingham). It is a blessing and a curse. But, for me, it has been a blessing because you find your way and how strong you are in those moments.
Home is always home. I always go back to Birmingham.
Especially with the radio DJs, having that platform in Birmingham is extremely important. It’s good to see people like Kaylee Golding or DJ Day Day representing.
And they are getting overseas bookings in Ibiza, Dubai; flying the flag.
They are taking it to other places and saying, ‘I’m from Birmingham. Go listen to other Birmingham artists.’, and people will do that. I think the future is bright for Birmingham.
I guess I have some worries because of the council cutting the arts funding. That is concerning, but having that sense of community and building together will keep it going.
We’re resilient! Like we say, we are the underdogs. If anything, it is going to make us better.
It’s also important because I notice that sometimes when a London rapper tours, they miss Birmingham. I think why do they miss us? But, in contrast, that means homegrown artists can take that stage and build from there.
I also think we have to be accountable for the reputation that we have and be willing to change it. A little bit of (why) they skip Birmingham is they don’t want trouble. A lot of them have been robbed. They’ve come to share their music, energy, and vibe; and crabs in a barrel, they get robbed afterward. We need to be better when people come down. (laughs)
When you are performing, how do you psyche yourself up compared to when you’re doing a DJ set or modeling?
Music is my first love. I love performing, it is my favourite part of being in the studio. I’m excited and the adrenaline doesn’t really kick in till I am in the venue or soundcheck. I’m quite quiet, quite nervous, but then I’m quite calm and it all comes out on stage.
For Birmingham, I don’t even know what to expect. I missed the rehearsals as I was shooting. So, I haven’t even been in the room yet with everybody or the orchestra. I’m so nervous and excited; I am trying to control it so I don’t get anxiety. Trying to find the thin line between adrenaline and anxiety. (laughs)
The fact that you won’t be there till on the day, might make the experience even better because it will be in the moment.
We have one rehearsal before on Friday and then on the day. I’m excited and ready!
As well, there is the Birmingham show, then the London show. But, I imagine for you, the Birmingham show (is more important).
Oh, Birmingham means way more! My moms coming, my family is coming. I’m going to be overthinking.
London, respectfully, I’m a Brummie, this is what I do and then I leave, no nerves, I am just excited for it. But, Birmingham is family, friends, people I haven’t seen, people I have seen. Home is going to be there.
What made you decide to do fitness and coaching and has this had any benefits on your performance?
Oh my God, of course! My whole life I have been a tomboy growing up and now I’m masc-presenting. It has always been music and movement for me. When I was at school, my favourite lessons were P.E. and music. They’ve always gone hand in hand for me.
I grew up in Five Ways in an estate where we played all day. We didn’t have much, but we didn’t know that we never had much. We played Tracking; Ackee 1-2-3. It’s always been me, Tia, and all the boys. I played netball (and) made it to the Netball Birmingham team. I used to run for Birchfield Harriers with athletics and then music took over as I got into my later teens. But, I’ve always kept the gym; I have always been a BMX-er and rode my bike everywhere.
Fitness has always been a really big thing for me, so it only made sense. I’ve had a break from music for a bit. The drill that’s in now is not really my vibe. I love fashion, so luckily I got into modeling in lockdown. It made sense to do fitness as well and it helps me with my music. It keeps me fit, you need your cardio. I love to bounce around on stage. (Its) an MOT for my body. (laughs)
I imagine being an artist fitness is important because you are running up and down the stage, especially if you’re doing grime music.
What is the artist you wanna be? Do you want to be a lazy one that plays the track? I’m old-school (and) I grew up on just having the instrumental; it’s all you, all your own voice. It is (about) projection, where you’re jumping around. Whereas now, we’ve got lazy where everyone just goes over their song. They can take breaks or get away with not being fit.
I have seen some newer artists and they don’t have the stage presence and that detracts from the experience. As well, they sometimes gesture to the crowd, ‘C’mon guys’, and it’s a two-way thing.
We have come to see you, get to work.
I agree it should be one mic; an instrumental.
Maybe a few PAs or the hook. But, we have come to see you.
Is there any new music on the horizon and what direction will it be going in?
I have new music on the horizon. Even though I haven’t released, I am always recording. I’ve made drill songs; some house songs. Right now, I am falling back in love with music again. I’ve even got some singey-songs where I am using my voice. I have always had a deep voice and I’ve never really used it outside of projection and feeling. Whereas, I am getting older and softer. I’ve been in the studio with Moschino who is a Birmingham producer.
I am a bit scared because it has been so long. That is why I am grateful to be a part of the Legacy orchestral grime movement and maybe it will bring back the excitement that I haven’t felt for music in a while.
There might be people there who are unfamiliar with you and they’ll check you out.
Then you go on my page and it’s get fit. (laughs)
But, you do a variety of things and they are all things you have done throughout your life and enjoyed. They can take something from that side of your content as well.
You talked a bit as well about how drill isn’t for you, but I feel the U.K. scene hasn’t got a dominant sound at the moment. Grime is making a comeback, you’ve got the more jazzier rap.
It is quite R’n’B at the moment. Singing is quite big, house music is doing its thing again which is quite nice. It is all minimal, melodic sounds. Grime is coming back though! It is getting exciting again which is nice.
For me, when it comes to U.K. rappers, grime has always been the sound I prefer. I enjoyed drill for a bit, but it ran its course. I like the garagey-type rap and that was what led to grime. Also, I like what Knucks and Little Simz do as well. The U.K. is in an interesting place when it comes to rap or grime because I think people can do whatever and they find an audience.
That is so true. Children of Zeus even though they are from Manchester, they’re a rap-singer duo; I love that. Introspective stories are my thing. When I was growing up music used to help me get through. I’d relate to artists, it used to help teach me about relationships and how they should and shouldn’t be.
There is not a lot of that at the moment, it is all what you’ve got, how many girls you got; the materialistic side. We all love a bit of trash when we’re out to boogie, but when you are going on a run at 6 a.m. or 2 p.m. in the day, you don’t want to hear stuff like that.
I feel that is predominantly what is getting out there, but now there is more opportunity for people to find those sounds.
Especially with Spotify. Although, it is harder for artists to make money if (they) don’t (perform) live or work with brands. Like you said, it is in a weird place at the moment and people are coming up with ways to make money from it. Right now, it’s going in favour of the industry instead of the artist.
It is why when I really like an album I do try and buy it on vinyl.
Me too. I forget that as well, I just save it to my Spotify and give them £11.99 a month. Now, I need to start buying and supporting the artist.
Obviously, I get that we are all a bit less off money-wise at the moment. But, if you can and you do really love an album you should get a vinyl, get a t-shirt.
I was saying the other day, I’m all for albums being a tenner or £20. I’d give someone £20 if you were good. If all their supporters gave them £20, it could help them a lot or just to make more music.
It’s certainly better than $0.003 or whatever they pay per stream.
Honestly, it is crazy. I saw somewhere that Snoop Dogg had over a billion streams and he only made £45,000. Which off a billion is crazy. The fee alone probably costs 45k. It sounds good, but for a billion that is not good at all. It made a billion pounds, but he got that much from it.
Do you feel today that it is easier to be the artist/model/person you want to be compared to 10 years ago?
Yeah definitely. I think it’s because I am showing it all and it’s not new to people or a surprise. (On) your (Instagram) Stories your showing your day-to-day life so it’s not new. People are nosy, we’re bored and checking in. I might show going to the studio and then they want to know what I’ve come out with, if I’m on a shoot, what am I wearing.
It is easier for everyone to do anything. Also, life is so expensive right now, that I don’t think anyone does just one thing. In the creative world, I think everyone does about 50 things to pay the bills and have a life.
For myself, it is very difficult to make money as a music journalist. The amount of times I get an email like, ‘It’s not quite in our budget.’.
A lot of people want free or they want to give you stuff that’s not worth money. They’ll give you a T-shirt and that is great, but I have T-shirts. I need to pay my bills. But, I am grateful for everything.
It frustrates me because I feel that a lot of people don’t value art as much as they used to.
Of course. No one knows the time you put into stuff on your own. That is the thing when you are creative, you spend a lot of time on your own. It’s not like a 9-5 clock-in where you’ve shown what you have done.
Who are some up-and-coming artists from Birmingham that people need to know?
A lot of people know already, but he also runs a record label, RTkal for Parlay Records. He has been on the board, he does a lot with Birmingham Council. But, he is also an amazing rapper, manager, A&R; he does it all.
Moschino for producers. Lady Sanity and TrueMendous are two female rappers I am big fans of, and Tarju Le’Sano is a jazz rapper that I am a big fan of. Everybody else (is) doing their thing in the scene.
I’m old-school (also), the Vaders, the Graveyard Shifts, (Continental) GT, who was rapping but is now a big house DJ. Watch out for them.
There are loads of people coming up, doing different things. Even people behind-the-scenes; Punch Records has been doing a lot. You also have Nicki Marie who has done a lot to curate this whole grime orchestra. People behind the camera, in front of the camera; we are all coming together.
Even yourself doing music journalism in Birmingham, we need more of you. So thank ya!
I think fortunately with the age we’re in it is easier and you don’t have to move. But, I do think there needs to be more music journalists from outside of London.
It is hard, but to make money it is necessary because there are not a lot of jobs in Birmingham. We don’t want to leave, we just had to.
RoxXxan is on Instagram and TikTok. Read more interviews here and stream her music below. Tickets for the Birmingham show and the London show are still available.
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