April 15, 2013  

Masterclass with Kevin McKay (Glasgow Underground) – 15.04.13

This week’s extra special masterclass guest was Kevin McKay, head of seminal label Glasgow Underground, which he resurrected a couple of years ago. Kevin has been deeply ingrained in the Glaswegian scene for quite some time and has not only helped fuel the underground, but has also been behind the success of fellow Scottish artists, including none other than Mylo – setting up the Breastfed label, which was where Mylo’s Destroy Rock N Roll album found a home. Kevin was also behind the success of Grum, another hugely talented and popular Scottish export. Watch Kevin’s insightful masterclass below…

[button size=”small” window=”true” color=”orange” link=”http://www.pointblanklondon.com/courses/”]Study Music Production in London[/button]


Marcus Barnes:   Hi there and welcome to this weeks Master Class, broadcasting from Point Blank Music school here in the heart of East London. I’m Marcus Barnes and today I’m joined by Kevin McKay from Glasgow Underground. Hi Kev.


Kevin McKay:  Hi Marcus, how is it going?


Marcus:  Welcome along. Not bad, thanks. Thanks for coming in.


Kevin:    No worries.


Marcus:  Before we get into the master class, I just want to remind everyone that we have a brilliant competition going on. It’s to win 700 pounds worth of Vestax and UDG gear. Competition ends at midnight tonight, so make sure you subscribe to our YouTube channel. It’s very simple to enter and you’ll be in the chance of winning all that stuff. Just hit the subscribe button now if you haven’t subscribed.


Anyway, let’s get into this master class. Kev, there’s a lot of people out there who know you are a label owner, a DJ and a producer, and you’ve worked with a few big names like Milo and you’ve discovered artists like Grum, but leading up to now you’re in a very good position at the moment, but what’s your history in terms of getting to grips with learning about music and DJ-ing and stuff?


Kevin:    I started just as any music fan did. I guess just discovering about music and when I was growing up that was like going to the library and borrowing records and taping music off the top 40, and buying stuff off the shelves, in bargain bins and taking my chances with things. When I was 17 I ended up living on my own and I’d worked all the summer before to save up. Bought this big stereo and managed to buy a little mixer from Dixons, a 50 quid Radio Shack  mixer and I could mix from my record player to my CD player. And so I would have parties at my house and be playing everything from the Commodores to the Rolling Stones. I’d have that on one CD and then a Happy Monday’s record, also an Italo House thing that was in the charts. I started making mixed tapes and being the guy who had the music.


Then when I moved to Glasgow. I would say Glasgow’s very different from the small town on the west coast of Scotland that I grew up. I started going out. The nearest club to my halls of residence was the Sub-Club [sounds like 02:19]. Swam [sounds like 20:21] had a Thursday night there I would just go out. And then they weren’t playing pop music there. It was ‘Wow,’ like just like house, techno, some Balearic stuff, like a real mixture and I was just like ‘Wow. What are all these records I never heard them. They’re not on the radio. What is this stuff?’ I’d be going up and asking Stuart and all [sounds like 02:42] what the records were. ‘This is Frankie Knuckles, The Whistle Song’ and I’d be like, ‘Okay. Where do I buy it?’ You can’t get it from a normal record store. You get it from 23rd Precinct. I’d go up into 23rd Precinct and trying to get  to know the staff and go in on quiet days like a Sunday so I wasn’t competing with all the city’s DJs for attention. Just got to know the music that way and started buying DJ magazine or Jocks, as it was then and just going through the hype charts [sounds like 03:14]  Reading about people like Glen Gonner [sounds like 03:16] or Phil Perry [sounds like 03:18]  or Fabio Parris [sounds like 03:19]or Andy Weatherall, the big DJ’s at the time and just reading their charts and then going in and asking for these import 12 inches from America or white label releases from London. And just getting it in and did the same things, making mixed tapes. But like, a bit better than the ones I did when I was 17.


Marcus:  How did you progress from that stage where you’re having your house parties and you’re mixing from a CD player to a record player to then going into buying records in 23rd Precinct? How did you make the progression from having that record collection to actually picking up gigs and then becoming a fully fledged DJ as you like to call it?


Kevin:    The guy that’s in the room next door to me when I was in the halls of residence is a guy called Chris Baguzzi [sounds like 04:04] another was a DJ. He was from Bromley. First summer after my first year, I went down to London with him. Went out, he took me out partying, tried to get into the Milk Bar, to see Andy Weatherall, didn’t get in. Went around and ended up in The Limelight to see Darren Emerson. Darren Emerson was playing like Balearic records back then like Mandy Smith, Just Can’t Wait and much more, what would be now ‘pop’, but because it wasn’t in the charts then it was just big dance tunes.


After that, I was like ‘Right, okay I thought having a stereo was good enough and I need to have these things called Technics and I need to get a better mixer’. I saved up all summer working. Bought two Technics and then sat the whole summer, well, 1990 and the person next door had obviously just broken up with their boyfriend, because all they had on was Bryan Adams, Everthing I do and it was on all the time. So we were just like, ‘Right, get the tunes on.’ So I’d be every night mixing and it took me the whole summer to learn to mix and then just started putting – the same thing. Started putting tapes together, but this time they were house records and song balearic stuff like the Aloof stuff that was coming out of Flying Records in London, like a mixture of warm up records and more peak time records later on. Just making tapes and then trying to get them to, get them to the clubs, get them to the promoters.


Marcus:  How did you go about getting them to the actual promoters and the clubs?


Kevin:    Luckily I was sharing a flat with somone who was doing flyers for one of the bigger clubs, The Tunnel [sounds like 05:56] and this guy was really into my tapes. I’d make a tape every month and I’d make ten or fifteen copies and give them to people that I knew, people that worked in clothes shops and people that worked in… and he would be in his car, doing the flyers, have this tape on and the promoter was like, ‘This guy’s quite good too. Who’s this tape?’ and he’d be like, ‘He’s Keven McKay he does this’. I used to get my gig at a students union so basically I would be DJing for fifty a week in the students union to trying to play house music and balearic stuff to a bunch of students who just wanted the Stone Roses and the Happy Mondays and Jesus Jones and the Spiral carpets and here was me trying to be like, ‘No,listen to Deee-Lite, Groove is in the Heart. Listen to Frankie Knuckles.’ and they were just like,,,


Marcus:  Not having it.


Kevin:    Not into it. I was only there for one year and then I got this gig in The Tunnel. playing in Room Two in the Tunnel. And from then I had more money to fuel this vinyl habit I was getting. I took it from there.


Marcus:  Then you started becoming more of a fully fledged DJ as I just said. I guess your career flourished from being at The Tunnel and you progressed into becoming a bigger DJ in Glasgow. When did it come into your mind that you wanted to start your own label and put your own music out?


Kevin:    When I was DJ-ing at University in the Union, a guy came up to me that was on my course and he must have been the only person in the room who liked the music, and he was like, ‘I really like the music you’re playing. I make music, but it doesn’t sound like this, but I’d like it to sound like this.’ I was like, ‘Okay, cool’. So he gave me a tape and it had some good ideas on it. So I was like, ‘I don’t know much about making records but I’m a bit musical, I used to play an instrument when I was a kid, but it was a trombone, but it’s not very useful when you’re making dance records. If you want, we can hang out and I’ll can try and make some tunes’. So we did that while I was getting better at DJ-ing and getting more gigs, we were working out, we were just trying to work on tracks. It started from there. All of the labels in Glasgow like Soma, Limbo, Bomba [sounds like 00:08:22], they were all releasing techno and progressive house. So we were trying to make records for them and we kept getting knocked back.


All of the stuff was just like, it wasn’t that good, but we were trying to make music that we weren’t really that into. One day I was like, ‘Sod this. Let’s just stop trying to make records for these labels and let’s make something that we really like. We don’t have to think about what they might like. We aren’t sitting there going would they like it? So I was just like, let’s do what we want and then see what happens’. We made these four tracks and didn’t even send them to people to ask them to put them out and by that time I’d just finished my degree and got a loan from the Prince’s Trust, pressed up 2,000 copies. It was the first record as Muzique Tropique, made up an artist’s name, got a business plan together and got the money from the Prince’s Trust and just sat there with 1,000 records and tried to sell them.


Marcus:  Brilliant. What a route in man, that’s really cool. What was your set up in terms of hardware and software at that time?


Kevin:    Cu Base on an Atari. Amazingly stable midi sequencer and had Roland D70 Keyboard, early synthesis, really frowned up by almost everyone at the time but our records sounded like no one else’s at the time because we were using, much like we did with the 808 and the 303 and 909 in the early days of house. No one was using those things. Everyone hated them. They were meant to be like ‘accompanying machines’. No one liked them. So I made some house  records with them. I was just like, ‘Well, no one really uses these but if we can make something that we like out of them then no one else will have those sounds.’ We had an EPS 16 plus sampler and graduated to an ASR10, because the ASR 10 has got some amazing effects on it so both by and sonic. [sounds like 10:23]. That was how we made seven EP’s between ’94 and ’96 as Muzique Tropique. We sold about 2,000 of each of them, started to get loads of fans like nice people playing our records, Roger Sanchez, Andy Weatherall and Danny Tenaglia, Deep Dish. Loads of nice people. People that I was totally into their music and totally gob smacked when I was in my bedroom at my parents’ house. And a fax comes in at three in the morning because some guy from New York just faxed me his chart and it’s Roger Sanchez and my record’s at number two. Really, really, happy times.


Marcus:  It must have made you so buoyant and motivated to keep on doing what you were doing as well.


Kevin:    I was just lucky that the records sold and I didn’t do any market research. As a business you would not advise anyone to do it. Do your market research, check there’ a market there. Check you’ve got something that people want before you’re actually going to spend 2,000 pounds on 1,000 bits of vinyl. I was just like, ‘I like this. So I think other people will. I’m going to make them.’ I just asked people how many does an average vinyl 12″ sell and he was like well 1,000 is a good number. So I said ‘Okay, cool I’ll press up 1,000.’ We entered the record shop and I said ‘Where do you get your records from?’ And they were like ‘From distributors.’ and I was like, ‘Okay, cool can you give me the number of some distributors?’ Then I literally just phoned them all up and I was like, ‘I got this record and I’d like to send it to you’. They’re like ‘Cool we’ll take 100. We’ll take 100.’ It went from there.


Marcus:  That’s how it worked. Moving on to the present day, obviously your approach has changed vastly compared to those days, but do you have more of a business minded approach to putting your music out now? I guess you kind of have to. You can’t always hedge your bets like you would have done back then.


Kevin:    Throughout the 90’s I just put out records that I liked. A lot of the time I didn’t approach the people that I really liked because I was a bit scared. I was in my 20’s owning a label, but to me it felt like my label wasn’t really a proper label because it was just something that I did first of all in a bedroom in my mum’s house and then I got my own flat. But it was still a room in my flat so it didn’t really feel like it was a proper label. I was a bit nervous about asking people like Mood to Swing [sounds like 13:00] or DJ PR [sounds like 13:01], people that I really loved to do records for me.


All the people that I met were people that I liked so I asked them. Now it’s a bit different from that. So you have to have an eye on, if you just put out new music by people it’s so hard to get new music listened to, and the take up on new music is so low. You can’t really make a business out of it. So you do really have to have that mix of well known names.


Luckily about four years ago I bought the rights to Romanthony’s back catalogue, so we have his vocals and some of his classic records and a lot of amazing producers who really want to work on it today. People like Gerd, or Dixon or Oliver $ who I’m really happy to be working with, he’s amazingly talented and whose records I really like.


It’s a bit like that, having those kind of records that are gonna be in the Beat Port charts. Then I can try and work with new people, you know? Work with people like Mia Dora who I’ve been working with for two years and had them remixing in Glasgow Underground. They are about to do their second single from Moda Black. Hopefully they’ll become someone that is a big seller and that development will have been worth while.


Marcus:  It seems to be that way with a lot of labels is that you kind of have to have that balance don’t you, of being able to nurture the new talent but also having big names on the label as well and the big names’re gonna give you that space to bring the new talent through.


Kevin:    It doesn’t have to be that way, but if you’re considering as a business where you need to have an amount of money every month to pay your rent, your mortgage, whatever, then I think you do have to consider those things. I love the labels that don’t treat it like that and it’s literally just ‘We do what we want.’ I love those labels, but it can’t be like that for me.


Marcus:  It’s not always sustainable for people is it? As much as it can be labor of love, if you’re sort of digging yourself into a financial hole, it almost defeats the object, because then how are you going to fund your releases?


Kevin:    Also making sure the artists get paid. There’s a lot of labels that do really well until they realize that ‘Oh, we’ve got to pay a bunch of royalties now, but we’ve spent all the money on promotion or whatever.’ That happens a lot and it’s not anyone’s fault, but I don’t want to be like that. That takes some careful managing to make sure that you’ve got enough. That the money is spent the right way on each release. You’ve got to be really tight on budgets and convincing people to do art work and things for amounts of money that are almost embarrassing sometimes to ask people to do things for. Game people to do a promo for such small amounts of money on new artists because the record might generate a total of 400 pounds or something.


Marcus:  I totally get that man. Speaking from a journalist’s point of view. I’ve been at that end of the scale where people want you to do a biography or a press release for them and they can’t even give you more than 20 quid. They’re feeling just as bad offering you such a measly amount as you are having to try and accept it. It’s just the nature of the music industry I guess isn’t it?


Kevin:    Until we sort out, like, 95% of all downloads are illegal. And so if you look at a really massive Beat Port release Hanging On by Andre Crom. He must have done 10,000 euros on Beat Port.  He must have sold 15,000, 20,000 copies of that record. It’s huge on that site. If you think that’s only 5% of the market? If everyone paid for the records that they had, then the whole scene would be so much more healthy. It’s just a shame that it happened the way it happened and people don’t get… Not all the money gets, more money goes to a Mediafire and Zippyshare than goes to the labels that are really trying to.. You know, but that’s the situation. I think you wouldn’t moan about it too much or kind of… It’s not ideal. It’s better just to get on and deal with the situation and hope that it changes for the better at some point.


Marcus:  So you’ve got several other labels that you’ve been involved with apart from Glasgow Underground. Can you touch on those briefly? You had Breast Fed, is that correct?


Kevin:    Yep.


Marcus:  Is that still going?


Kevin:    No. 2002 I started getting demos from this guy called Miles MacInnis [sounds like 18:09] who ended up becoming Mylo. And it was when I was running Glasgow Underground and every time we were known as a deep house label and it was just as Earl Alcan [sounds like 18:20] was becoming famous and deep house was becoming an ugly word. In fact, people just called it ‘dad house’. People were really sneering about it. Because it had eaten it’s own tail. It got really boring. The thing that was exciting about house music had got lost. So many copy cat producers coming in and making boring records. What Earl was doing was so much more interesting and fun than loads of labels that were releasing house music were doing. And, fair enough. I didn’t want to have Mylo tainted with any of those kind of bad associations. So I set up Breastfed just to release his music basically and the last Mylo record we put out was in 2006.


I put out his fourth seven inch in 2004 and we sold half a million copies. Destroy Rock and Roll had four top 40 hits including a number three record and Miles is a very rich guy now. He didn’t want to make records for Breastfed anymore. So he’s now free to make records for whoever he wants. That’s what happened with that label. It’s a shame. At one point it could have been something really good but it just didn’t work out with the people involved. Miles was making lots of music but nothing ever got finished. Why that is, I don’t know. He’s super comfortable now and owns a night club. So maybe making music isn’t such a big deal. I could kind of tell that things weren’t great with him making a new album from about 2007 almost.


I was looking for someone else to work with and discovered Grum. I really liked his records and went to meet him and I think he was at Uni in Huddersfield doing an audio tech course. I went to meet him and I really loved Heartbeats. I didn’t really like a lot of the electrico-y bloggy stuff. But I was like, ‘He’s Scottish and he’s making good music so I’ll go along’. He had been offered a deal from someone and I didn’t think the deal was very good so I was like, ‘You need to get yourself a manager.’ and round about the same time Sarah, who manages him now, was talking to him about managing him, and she ended up managing him.


She started sending me his new stuff and the music he was doing lost that harder edge and was more musical, his output was more musical which was stuff I was really into. I just ended up working with him and the plan was to try and do a similar thing with him as what we did with Mylo.


Got really close, got loads of like, his, Can’t Shake This Feeling record was a really big tune, made some great videos. Through the Night has had over a million views on YouTube. It’s really a funny video. Which Sarah did, all the sort of, what’s the word? I can’t remember. Yeah, she just looked after all the videos on that and dealt with the directors and made the video sort of what it was. I’m still working with Grum, he’s got a new record coming and he’s moved away from that more disco-y 80’s-y kind of sound and his new record’s, like a proper club record. One of the people who’s working on it said something which is really nice about it.


He remix manages Waves and Odyssey [sounds like 22:37] and he said it was like a master class in dance music, because it covers everything from house to french touch to more euphoric styles to modern chill out stuff to breakthrough to still some of that new disco sound. Grum is such a talented guy. I’m sure if he wanted to make a record an EDM record, that was … if he wanted to make a record with Rihanna that was number one, he could do it. He’s one of the quickest and most intuitive guys in the studio I’ve ever seen. Doesn’t play on keyboards. Literally will just sit and draw stuff on the screen,  and as he’s drawing it on the screen it’s like magic coming out of the screen. It takes me so much longer to program things than it does him but he’s just got this thing with music. He’s brilliant. I’ve got that and also went back to doing stuff with Glasgow Underground which is my kind of first, that kind of house thing which was my first love.


Marcus:  So with Mylo and Grum, was it a case of you heard of them and just chased them up in terms of the A&R’ing side of things. What was it about those guys that made you go ‘Oh that’s interesting.’ You must have been flooded with demos at the time, so what was it about those guys in particular that made you go ‘Wow.’


Kevin:    Both of them got really interesting use of samples. To me a bad use of sample is taking a four bar loop, eight bar loop off a disco record that’s a massive hit, sticking a house beat behind it, making a modern massive hit. You’re like, you’re in a covers band. There’s nothing bad with those records per se, but working with those artists is really down to the samples that they pick. Unless they’ve got this huge disco collection and that they can mine for obscure things that could have been hits, it’s like you’re not really going to get somewhere. But both of those guys sample records in really interesting ways and sample records in ways and where they’re actually changing the copyright. So they’re using the sample, using sampling as it’s meant to be. They’re not – ‘stealing’ is not the right word. But they are not appropriating someone else’s music and just calling it their own. They’re taking it and adapting it.


Marcus:  Almost using it as an instrument. It’s part of the instrumentation rather than taking it, as you say you’re adopting it almost, sort of making it your own.


Kevin:    Heartbeats, the song by Grum has got a sample in it. I won’t say where the sample is from but it’s not something that we had to clear. He’s taken the way that the heartbeats is in his song,  he’s made that chorus out of something that didn’t sound like that. There’s no copyright on the word heartbeats so he’s taken the word heartbeats and he’s made it into a new thing.


Both of those artists have got that in common and also just musically the way they cover. We put together the deal with Breastfed and Milo became a part of the company which is one of the reasons why he signed the deal. He hadn’t made Drop The Pressure at this point so he just made Destroy Rock and Roll and some of the other stuff that came on the album, like Sun Worshiper and I think he made an early version of In My Arms, but it wasn’t the version that got released. He had a variety and it was a sort of musicality, and his musical ideas were just original. I think that, combined with the clever use of sampling and a kind of real sense of fun both of these guys had. They made records that weren’t just deep house records for blokes and DJ’s. The way I thought of it was, music I could play to my girlfriend. I was like, I’m working on this record and she’s like, ‘Oh I really like it’.


Marcus:  It’s exactly the same for me. My girlfriend is like the measuring stick by which I judge if a tune is good or not, because if she likes it that means it’s actually right.


Kevin:    There’s a bunch of blokey DJ reasons for liking a record, like a producer’s really cool or it’s produced amazingly. It sounds amazing in a club. A lot of those records are irrelevant to the average…


Marcus:  The average punter.


Kevin:    Yeah, the average punter. Both of those guys had that ‘X’ factor for me. It’s really just my taste as well. Running a label, you’re just betting on your own taste. And you think, well, you know. I did think with those guys there’s an audience for them that is like a pop audience. With Mylo we got those records in the charts and with Grum we got really close to it. Got really close to  getting those records in the charts. I’m sure Grum will have chart success at some point.


Marcus:  He seems to be on that way.


Kevin:    Whether you have chart success is really a bit of a lottery. Down to the right thing at the right time and the right record. There were reasons why we didn’t get Grum’s record onto the playlist and they were not to do with Grum’s record, they were to do with some other policy at Radio One or politics. Those things are hard to take sometimes. Because as a label, it’s not Grum’s fault that this happened but…


Marcus:  There’s things you just can’t control.


Kevin:    …there’s things you can’t control.


Marcus:  Just to close up. As an experienced label owner and obviously you’ve A&R’d some people that have become quite successful, you’ve got Mia Dora and you’ve also picked up Lee Webster quite recently. They are very talented people. In terms of your advice to people for sending demos out or people that are wanting to get their music signed, to reach out to A&R’s, what would your advice be?


Kevin:    God, it’s so difficult to get your music heard, but a lot of times I listen to something because a friend has introduced me to it or I might hear it. People send me music and sometimes it just sits in my inbox and doesn’t get listened to and then I see a review or see someone talking about them. Or I’ll see it in a DJ’s chart and I realise I’ve actually been sent it and I’ll go back and get it. It’s easy enough to set up a label. A lot of people are chasing down labels to get something signed is one way, but it also means your music’s not getting out there. So it’s easy enough to set up a label. I believe if your music’s good it will get there.


Even if it’s just chasing down someone like Hotsen82 [sounds like 29:52] on Twitter. Eventually getting his details and sending him a record, trying to get some feedback. If he’s playing your record then great. Anyone who might play your record, people that you like, then taking that feedback and showing it to the other labels and just networking. Getting out there and getting those kind of feedbacks and passing them onto labels. If you want to be signed to Hypercolour or to Pets or whoever you want to be signed to. Just looking at all those people that they send their records to and trying to get that kind of…


Marcus:  It’s about building a bit of a buzz around your name, isn’t it.


Kevin:    Yeah. Lee’s really great about, he’s always sending new stuff to people. He’s mates with Jamie Jones. He’s had records on hot waves. He’s got records coming on Local Talk and when he was talking to Local Talk, they weren’t such a big label and now they’re becoming much more people focusing on Local Talk. They put out great stuff so I’m not surprised. Being aware of those other labels that are in your genre that might not be famous right now, but might be famous in 18 months time. So building those relationships now that aren’t based on Vision Quest with 100,000 Facebook likes. There might be someone who’s a bit smaller than that who might be looking for something and might have some time to listen to you, because, guarantee that there’s like 1500 emails in Seth Troxler’s inbox every week. Good luck in getting him to listen to your record. He does listen to things, so I’m sure he will, but I’m sure his listening policy is pretty much similar to everyone else. If they’ve not heard of you, you’ve got so many records from people you know and you’ve heard of to listen to, that the ones from the people you haven’t it’s like…


Marcus:  Yeah, back of the queue.


Kevin:    Yeah.


Marcus:  Well Kevin it’s been brilliant having you in. Thanks so much.


Kevin:    No worries. If it’s alright you just had a couple of questions from those people on Twitter.


So if it was all right just to answer them, quickly if that’s all right. I could read them out if you want. So, Tony McHugh [sounds like 32:15] asked me what’s my current studio set up and also what’s coming up on Glasgow Underground?


Currently I use Ableton. I can use Logic and use Pro Tools and use the rest but, I find Ableton the most creative way to make a track. Also the quality of mixing. I used to mix everything on Pro Tools. I did all the mixing and production them, well, half of the production and all of the mixing on the Mylo record and that was all done in Pro Tools. I used to love that sound. It was really tight sounding mixes and Ableton was the first DAW that I felt was comparable to that. I didn’t like Logic, I didn’t like Cu Base. They didn’t have that Pro Tools kind of tightness to the mix. Ableton has it so I use that.


I’m a big fan of power plug ins and ulterior [sounds like 33:09] plug ins and I use a bit of Outboard gear. I still got that in Sonic ASR10 and a DP4 which has got some great nice Outboard. Coming out on Glasgow Underground, we’ve got a record called the Underground Sound of Glasgow that Keith from Optimal has mixed. Which is basically, just started a new series where it’s a city based compilation series. Compilation market is totally over-saturated and everyone’s got mixes up on SoundCloud and there’s no real reason to listen to a compilation, it feels to me.


So I wanted to create one where it was more like a guide. A musical guide to the city. I’ve got Optimal doing Glasgow and Keith picked his favorite artists are either on Glasgow labels or by Glasgow producers or Glasgow DJ’s and he’s curated it and that’s the first album that we’ve done since the relaunch. Hopefully Andy Weatherall’s going to do London which is the one after that.


Marcus:  That’d be really cool.


Kevin:    Either him, and I’ve got – and talking to Matthew Dear about doing Detroit. Just to get an idea of those cities as well. He wanted to know what other collaborations I’m doing. So I’m doing a record with Arno from Three from Five [sounds like 34:29]. And I’m doing some other records with Phil Kelsey which I’ve already put out on Glasgow Underground.


Then there’s one more question from Matthew Cranwell [sounds like 34:39] who wanted to know how you approach labels and calls for gigs? So I think we answered that one already.


Marcus:  Pretty much. Nice one, Kev. Thanks so much.


Kevin:    No worries mate. Thanks for having me.


Marcus:  Thank you. Just to let everyone know we’ve got about 30 more subscribers and we’re gonna be at 50,000 for YouTube. So get subscribing and help us get to 50,000. Thanks for tuning in.





Leave a Reply

Your email address will not be published. Required fields are marked *