So You Want To Be… A Founder: John Oyewole (Rhythm iN Britain)
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Founding a company or brand is always a difficult challenge, but if it pays off, it can be a great thing for you and what you are promoting. Back in 2019, Rhythm iN Britain was founded as a place to showcase the best in R’n’B and soul, particularly in the U.K. It has gone on to become one of the biggest platforms in this country for those genres, platforming the rising stars, whether on radio, social media, or events.
John Oyewole is the person behind this brand, who has built up this platform, alongside a team of people. While he has faced challenges during this time, he has maintained Rhythm iN Britain through a love of the music and a passion to talk about it. The genre of R’n’B has also grown, with artists like Sasha Keable and Shaé Universe at the forefront in the U.K.
I sat down with John for an in-depth conversation about what motivated him to found the platform, what is next for R’n’B and soul, and what makes you suitable for the team.
What was the moment when you knew you wanted to work in the music space?
I’ve always wanted to work in music. As a kid, I was glued to Trevor Nelson and Reggie Yates on (the) radio. In my twenties, during university, I hosted a student radio segment called Urban Corner where I’d talk about everything happening in music — from Meek Mill vs. Drake to Chip vs. Bugzy Malone in the U.K. I loved discussing the culture, the stories, and how fast the industry moved. That excitement made me realise I wanted to tap deeper into the creative side of music — more than I ever thought I would at the time.
What inspired you to found Rhythm In Britain in 2019?
It started at Tribe Urban, where every host needed a specialist show. I’m a huge grime fan, but grime was already taken, so I chose R’n’B — even though it wasn’t getting much love at the time. The closest thing to a resurgence then was trap-soul artists like Bryson Tiller.
What turned it from just a radio show into a platform was seeing how much R’n’B was quietly growing in the U.K. Nao was doing amazing things, but wasn’t being talked about enough. Mnelia had just dropped her first EP and later released ‘Say Yeah‘ Bellah’s ‘If I Were U‘ was popping off, and artists like JVCK JAMES were building underground followings.
People often spoke about U.K. R’n’B from the 90s and 2000s — Shola Ama, GABRIELLE, Damage — but this was a new generation. Mahalia and Jorja Smith were the faces of the scene, but there were so many others coming up behind them. That’s why I started Rhythm iN Britain — to highlight those artists, support a growing audience that loved R’n’B, and give shine to talent that wasn’t getting enough recognition.
Your team covers radio, socials, events, and The State of R&B Awards. How do you curate your team, and what do you look for in people?
Everyone on the Rhythm iN Britain team needs to really love R’n’B. It’s also about curiosity — doing the research and exploring the sound beyond what’s popular. Sometimes, new team members don’t know much about U.K. R’n’B at first, but once they start discovering artists, they go down their own rabbit holes.
Over the years, my team has introduced me to artists like Shaé Universe, James Vickery, Sinéad Harnett, and Tiana Blake — people I might not have known otherwise. That’s what I love: everyone brings their own flavour and perspective. Personally, I’m deeply focused on U.K. R’n’B — I rarely listen outside that lane — but my team keeps me plugged into the American side too.
I always encourage people to bring ideas that align with our brand. There’s no point doing something great if it doesn’t fit who we are. Everyone has their own 9–5s, so it’s about finding how their goals — whether that’s DJing, presenting, or hosting — connect to the bigger vision. The aim is for people to leave Rhythm iN Britain stronger than when they joined.
Not everyone wants to be an artist or a DJ — some are more interested in events, marketing, or social media. We create space for that too. Rhythm iN Britain helps people build and refine their creativity, whatever form that takes.
What made you decide to focus on R’n’B and soul, and what makes those genres special to you?
A great R’n’B song stands the test of time. Other genres might suit certain settings — rap at parties, rock at festivals — but R’n’B fits any moment. You can play Stevie Wonder or Morgan Monroe in good times or bad, during heartbreak or love. It connects emotionally every time.
Some songs feel personal — like hidden gems that stay with you. You’ll play them in the car, and someone will ask, “Who’s this?”, and suddenly they’re a fan too. That’s the power of R’n’B.
The lyrics matter just as much as the sound. It’s a genre built on storytelling, emotion, and honesty. It’s the genre of love— not just romantic love, but love as expression: passion, vulnerability, and truth. Whether it’s joy, heartbreak, or reflection, R’n’B lets you feel and sit in that moment fully.
Since 2019, how has the U.K. R’n’B and soul scene developed — and what’s next?
The biggest thing missing right now is superstars. Streaming and saturation have made music more accessible, but not necessarily iconic. Back in the day, we had Ashanti, Usher, Mario — or in the U.K., Shola Ama, Lemar, Damage, Craig David. That superstar energy is rare now.
We also need stronger collaborations and remixes. The biggest names in the U.K. R’n’B scene should be linking up in ways that make noise. Imagine Etta Bond and Jaz Karis or Kadeem Tyrell and JVCK JAMES — those records should feel like moments. The talent is there, but the marketing and impact aren’t always aligned.
Then there’s rap and R’n’B crossovers — we’ve lost that balance. Artists like Kojey Radical or WSTRN still do it, but we need more of that chemistry.
Touring is another area that needs focus. Too often, artists only perform in London. There’s a whole country of fans out there — Birmingham, Manchester, Bristol, Swansea — and artists need to build those connections. Touring builds real communities, not just streams.
Finally, rollouts. Everyone wants to drop music instantly like Beyoncé or Kanye did, but those artists had their campaigns ready a year in advance. Proper rollouts — interviews, visuals, outreach — are missing now. Artists drop great music, then wonder why no one hears it. Promotion and persistence still matter.
What’s been your biggest challenge and your most rewarding moment with Rhythm iN Britain?
Losing my 9–5 was a major setback. Most of our projects are self-funded, so that slowed everything down.
But the most rewarding moment was last year’s R’n’B Awards. I was going through a lot personally, but seeing our team pull together and deliver that night meant everything. The room was full of love — artists like Mnelia, Sipprell, and Tejy all celebrating each other. Vicky Trantou had her first big performance, and Tejy got his flowers after an incredible year. That night captured exactly what I’ve always wanted the scene to be.
What drives the ethos of Rhythm In Britain?
Not being afraid to try new things. This year, collaboration has been a major focus — even when it doesn’t always work out perfectly, you learn something every time. I’ve made it a point to connect with artists and other platforms in person, across the country.
I travel a lot — Birmingham’s become my second home. The R’n’B scene there is special, with artists like Ashleigh Bankx, Toldyaa, Indigo Marshall, and Madi Saskia, who’s incredible. I’m always pushing her to release more music! I’ve also connected with amazing talent in Manchester — like The KTNA and Victoria Jane.
Our ethos is to maintain that balance between the underground and the mainstream. The underground is fading, but it’s where artistry and growth come from. We try to help new artists build properly, not rush. Enjoy the process — do the groundwork, open shows, learn from the smaller stages. Consistency is key. Even when you’re quiet, keep building.
Who would you like to spotlight — from your team or the wider scene?
Melissa Dee is doing incredible work as a host, and Selasi, our DJ, has really found his lane. Over the next couple of years, he’ll be one of the most in-demand names out there.
Outside our team, RedBox Records are doing great things, as are Neo Music, The Blues Project, and Soul Surge — all vital platforms in pushing R&B forward.
Artist-wise, I’d shout out Harrison Mayo for his consistency, Sinéad Harnett for her brilliance and humility, and of course, Mnelia — whatever she does, she does with excellence. Nippa is another name that has been putting (in) work, as well.
And big respect to IndustryMe — you’ve been doing this for a long time, inspiring platforms like ours. Back when I didn’t even use Twitter (X), seeing your presence pushed me to get involved again. U.K. platforms rarely get their flowers, so I always make a point to give credit where it’s due.
Looking back, how far has Rhythm iN Britain come — and what’s next?
I’m of two minds. On one hand, I feel like we haven’t come as far as we could — but that’s me being hard on myself. On the other hand, seeing how the team and the scene have evolved is incredible.
When we started, Mnelia was just dropping her first EP. Now her project ‘Closure Tapes‘ is one of my top ten U.K. R’n’B EPs of all time. Seeing the growth of artists like Sasha Keable and kwn, and reconnecting with managers and A&Rs I met years ago, reminds me how far we’ve all come. The next step is for Rhythm iN Britain to become the leading name in U.K. R’n’B — the platform that helps artists break through to real success. We want our co-sign to mean something. The goal is simple: to reach a point where U.K. R’n’B artists are topping charts, not begging for space at the table. When people see an artist drop their album and think, “I can’t release that week — their dropping something,” — that’s when we’ll know we’ve done it.
John is on Instagram, X, Threads, and TikTok. You can also find Rhythm iN Britain on Instagram, X, Threads, and TikTok. Find more interviews here including our So You Want To Be… conversation with Tom Jones. Make sure to visit the Rhythm iN Britain website, as well.
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