CREATIVE CONVERSATIONS 125: KEVIN MCKAY ON BEATING COLDPLAY, THE CROSS-GENERATIONAL IMPACT OF A TRACKAND BEING A LABEL OWNER
Interview by Mark Griffin.
Remember the 2001 hit by Masters at Work, 'WORK? Over twenty years later, this classic dance anthem is back and taking over dancefloors in 2023. With a fresh version of the track from Kevin McKay, the producer/DJ behind Gimme, Gimme and a reimagined take on Missy Elliott’s Work It, which hit #1 at Beatport in 2021, WORK is making a phenomenal impact across the globe.
It’s not surprising this track hit #2 on Beatport’s all-genre chart, a big result for the track released on Kevin McKay’s own ‘Glasgow Underground’ label. Futuremag Music’s Mark Griffin sat down with Kevin McKay, the artist behind the track (and founder of the label Glasgow Underground) to delve into how this track came about, and his work-life balance.
FMM: How does the sort of rock-and-roll lifestyle go with little ones?
Kevin: Well, I don't, that's the thing, I don't. I stopped doing that. I don't tour. I DJ, but, pretty much all my gigs are in London and, and in the UK just because I just don't need to tour. Well, it's not that I don't need to. I tried to set it up so that I make most of the money from music and… *laughs* before Spotify, that was a struggle. I don’t know if you know this but, I was involved in quite a big record in the naughties. I produced Mylo’s album. So, there was quite a long tail on the income from that, which enabled me to do some other bigger projects. Now, there's a lot more money in the music business than there was 15 years ago anyway, so, it's much easier to just make your money from music now.
FMM: And is it mostly on the streaming side of things?
Kevin: Yeah, I think it really took off. I know with loads of the more commercial dance labels, it's been like that for a while. I'm friends with Tim McGee who runs TMRW down in Australia. When we were talking about streaming versus Beatport even 10 years ago, his streaming money, or his iTunes money, was much higher than the Beatport money. It wasn't quite the same for a label like Glasgow Underground. Now, I'm trying to think what the sort of multiple is. Last year, it was 70/30. So in terms of streaming income to download income, lots of labels won't be like that.
FMM: Do you find, because it's dance music, it's easier to build streaming audiences cause it's really playlist-able?
Kevin: In some ways, yes. In some ways, it just depends. The algorithm's quite a strange beast. You have to basically feed the information for it to respond. If the artist doesn't have social following or anything like that… you speak to most dance artists and they're like, I just wanna DJ cause they want the adoration and they're not really wanting to show off on social media. They just wanna be in the studio making tunes and then DJing and seeing the crowd popping off. Loads of artists don't have that big social following.
So, it's difficult. We've built our playlists up so that we get a lot of those early streams to come from our playlists and then hopefully the algorithm then gets the information from that. It can see when people like it, and the algorithmic playlist starts kicking in. So, our records will start appearing in discover radio, you know, stuff like that. Then you just see where it goes.
FMM: You've obviously been at this for a while. Is that the biggest change in the industry for you; having to build social media to have an impact?
Kevin: Well, not really. It used to be press, so things used to be hot and people would be writing about stuff and how you did that was a different type of marketing. It's all just marketing. To me, there's no difference between learning how to create amazing TikTok content or reels or whatever in order to gain natural traction on a platform. Then hand-spraying a bunch of seven-inch records to post them to editors to make them think, oh wow, what a cool product. Then they write about you and then you get influenced that way. So, it's all just marketing and how you attract people to the music that you're working with, the music that you believe in, the music that you believe is worth them listening to and saving to the libraries, because it's gonna stay with them a long time or it's gonna be like a big dancefloor banger or whatever the reason is we've put that record out.
FMM: Do you find you’ve got an edge on other artists because you've come from the label side of things as well? Or, is there something where as a DJ, because you're kind of already running your own sort of small business as opposed to like… I don't think people see bands in the same way, like they don't have that mentality… Do you think you've already got that kind of marketing focus?
Kevin: I dunno. No. I mean, I started off as a DJ and then I only became a label owner because no one would put the records out I made. Then, they were successful weirdly even though no one wanted to release them, they were still successful. I've signed other artists who were more successful than me and then I became more involved in the label site, but I always made music. I spent a lot of my time just going where the wind took me. I put out records on Glasgow Underground that were records that I've made with my friends and then other people wanted to put out records on Glasgow Underground, like guys from New York.
I just went out, okay, cool, I'll put your records out. And then, I'm releasing like Matteo & Matos and Romanthony and then Romanthony does One More Time. You're then doing his solo album and I've become more of the label guy and stuff just happened, you know? After Mylo finished, I was like, well, what do I actually want to do? And what I enjoyed doing most is making music. I don't really like being the kind of like nuts and bolts label guy. I mean, I've got a degree in engineering, and it is basically useless in my day-to-day job, but I'm capable of doing all these different jobs within the music industry. But, just cause I'm capable of doing it, doesn't mean I actually wanted to do it.
I could run the royalties at a major record label, but I would be bored out of my mind. I decided to really focus on what I wanted to do and that's making music and also have other artists around me. That's how I've just ended up with all these skills. Whenever I meet young artists, I always tell them, if you wanna be successful, you have to take some control over what you do. So as well as releasing with Glasgow, again, you should really have your own label because labels take the lion’s share of the money when it comes in because they're the ones with the sort of influence at that level until you get to an artist of influence.
Obviously, if you're Calvin Harris or, Skirllex or Fred Again, once they're out of their deals, they probably don't need labels. You know, Raye’s proven that. Until you get there, labels take the lion’s share. I'm always encouraging artists to learn about this stuff because it's not difficult. It's not rocket science. It's not like I'm saying go work for Elon Musk and get to Mars. It's like, come on. It's like marketing records, it's like…*laughs*
FMM: Yeah. Something you're passionate about really. Hopefully… *laughs*
Kevin: Yeah, you should be. I mean, if it is your record, you should be passionate. You should care about your fans. So if you care about your fans, how do you wanna talk to your fans? And that's marketing, so how are you gonna do it? Think about it.
FMM: And so obviously you said your passion is making music, so speaking about the single that's, just come out, Work. How do you find approaching… this is obviously a remix of an existing track. How is that compared with starting with something from scratch?
Kevin: Well, I mean, people call it a remix, but it’s not really a remix because I started off with a vocal. There's no real difference to me having the idea to do a song and getting someone to sing it. At the end of the day, I still end up with a vocal and then I’m still sort of creating the backing track from scratch. So… “remix” has become a word that covers everything, but if you look at the original form of the word remix, it was actually taking the parts that were in an original and then putting them into another shape and form, so that they worked in a club context. Now people just thought, oh well you've taken the vocal and you know, they just call that a remix even though there's nothing from the original when they're apart from the vocal.
So, it's very, it's very similar. There's no difference from starting with a sample. I'm not a songwriter, so I'm never in the situation where I sit down and write verse, chorus, verse, chorus, bridge, chorus, outro, and the lyrics and melodies. I'm always looking for that thing that's the hook, whether it's Splice or whether it's an instrumental hook that I'll come up with, or whether it's a sample that I've kind of gone, right. You know, whether we can or whether it's what the sample becomes, you've taken such a large part of the song like the chorus and the main title of the song that you end up just releasing it as a cover version. You don't get any publishing for it. So to me, they're all just different types of creativity.
FMM: So what came first, with this one? Was it something where you had the vocal sample first? Or were you already building a track and then you're like, oh, this sample would go well with it? How did that happen?
Kevin: I was DJing with a friend of mine, Armand, who plays at Night Tales in London. It’s like a thousand-capacity venue in Hackney. He was playing the acapella from the Masters at Work 12 inch over a track. It was reacting really well. I remember it the first time round and it was a big record then. I'm always intrigued at how these records from different eras resonate with the dance floor, which is mainly 18-to-30-year-old people. I thought the acapella reacted really well, but then because he was playing over a track, it was like, oh, if I could do a version of this, I could make it more effective essentially, because it's not like you're not relying on another track to play it over and you could make a real thing out of it.
I think the one you hear is like the third version I did. I started off with one version that was slightly more techno. I played around with different things because I just knew the vocal was such an iconic vocal that I just wanted to make sure I really did the best job I possibly could. So, there's a of number of iterations that you go through before when you're like, right, okay, this law of diminishing returns. I might have another version five years down the line that may be like, you know, 1% better than this. But at the end of the day, I've got to a point everyone on the team was like, yeah, this is like, this is gonna smash it. During that process, I’d asked who owns the recording. He's the guy that made the actual original and then when I played him that version, he was like, I've heard so many versions of this song and this is the best one I've ever helped. So I was like, okay, cool. This is the one we're going with.
FMM: Obviously you’ve got to like secure rights and all that sort of stuff. Do you ever find you have an idea and you're not able to make that happen?
Kevin: It does happen, yeah. At the end of the day, it's a lot harder to clear samples now than it was even 10 years ago. There are so many more people trying to do it and the digital age has meant that, you know… 10 years ago not everyone was like on email necessarily, or like, you know, running their business on email. There were still people on the phone and stuff. Now with LinkedIn and with all of the databases online, if you wanna get a hold of the person who looks after the samples at Warners or Universal or Sony, you can find them on the internet and you can email them and these people must be inundated with requests because if we're trying to clear a published sample pick, then sometimes it can take us up to a year to do it.
FMM: So, it’s just a process of having to convince them that it's a decent product that you're producing, you're a serious artist? And not just—
Kevin: I dunno what it is. Part of it will just be natural human influence. They all clear stuff for their friends because they're friends with them. The music industry's always worked like that. You can get managers who are friends with.. again, ours might get things signed that other managers wouldn't get signed. There's a lot of that. A lot of the time we just release songs as covers and do so with a sort of blanket license. We don't generally ask permission, we just really set it as a cover version. Then other times, it's all original stuff from Splice. So it's like we don't really get involved in samples anymore. It's just very hard to do.
FMM: Yeah. Fair. And then you also talked about, this idea where you're interested in the cross-generational impact of a track. And I noticed you obviously had that pretty big hit with the Gimme Gimme remix which I've seen all over TikTok with the crouching during the drop and all that. Then you had Fat Boy Slim playing your remix of Everywhere by Fleetwood Mac. So, is that something that you're consistently looking at doing where you're trying to find these old gems that you think a new generation could be interested in if it's presented in a slightly different format?
Kevin: Yeah, that's what I get from DJing. I've got so many songs that I love that you can't really play on the dance floor, but they’re still songs that could work on the dance floor. I'm always trying to get that feeling into my set. So a track like Fleetwood Mac’s Everywhere, it's such a kind of joyous song. It's sort of like when the chorus lands, it's like proper like air punching, like, you know, joy…
FMM: Like movie credits?
Kevin: Yeah, you don't really get that from dance music these days. It's kind of like most dance music is much cooler than that. It's more sort of poppy, like major-label dance records that those big things tend to be produced in a much more sort of generic… not generic… but much more with whatever the current focus is. Whether it's EDM or whether or not, you know, whatever the kind of pop focus is on, and they tend to be producing a more pop way is what I'm saying. So it’s less likely that you're gonna be able to play these things in a cool nightclub. It's just trying to get that emotion into the sets without involving records from today, which will just fill the set with the wrong kind of thing. It'll feel like they're in a cool nightclub and then all of a sudden they're dancing to something that's much more mainstream. It won't feel right. It'll feel like they're in some kind of bar in some small town somewhere. They won't feel like they're in a cool nightclub dancing to cutting edge music in London.
FMM: So would you say then your ethos… I guess the name of your label kind of seems to sum it up, is about trying to put out music that fits in that edgy underground nightclub and doesn't feel like Top 40 teenie-bop?
Kevin: Yeah. I set the label up near like 1997, so 20, 25 years ago… 26 years ago. So at the time, I just loved the energy that was happening in the kind of underground clubs in Glasgow and and underground was, you know, non-mainstream at that point. What you would hear in nightclubs would feel very commercial compared to now because dance music itself was such a small percentage of pop music, you know, pop music was mainly like rock and pop. here wasn't even R&B at this point. It was a very different landscape. Dance music was like 5, 10, I dunno… how old are you?
FMM: Uh, 32.
Kevin: So, dance music in sort of ’89– ‘90 was kind of when I started DJing was very different to now. So you get people that went clubbing, the songs became club hits and they didn't really sort of travel in the consciousness to the popular but at that time there wasn't even a Pete Tong’s radio show [BBC One dance show]. There was no kind of dance music infrastructure within radio. I just felt that there was all these amazing things that I was hearing that felt like they should work, but maybe not in a pop radio context, Dance music's similar now. You get much more dance records on pop radio than you used to then. But yeah, it was that feeling of all this stuff that I'm hearing, whether it was like Sound of Blackness or Ce Ce Penniston that at the time wasn't crossing over to the charts. This is what I felt was underground. Obviously now that's not underground anymore, but that was the ethos of it.
FMM: Given that… I think you mentioned nightclubs, it's sort of 18 to 30 year olds. Do you find… if I put this delicately… as you get older it's harder to stay in touch with the trends or is it actually easier because you have a bit of wisdom and you can kind of spot it and don't get caught up in like really flash trends—
Kevin: *laughs* Sometimes I just can't listen to new versions of songs because I'm so done with that song. Sometimes it's great. So there's like, you know, like the current thing for Freed from Desire, right? That is such a kind of youth anthem right now. When that first song first came out, I just hated it. I was such a deep house snob in the kind of mid-nineties. It was just the epitome of cheese that I just was really railing against because I was into whatever I missed our fingers and like rolling Clark and you know, all this like super cool underground deep house. I was like, that's just total cheesy dance music, not interesting. Whereas now, I can really appreciate it for what it was, which is a brilliant, dance floor song.
I'm kind of into it now when I wasn't into it then. Then there's some things that like I just can't listen to that anymore. I can't listen to another version of that song. I'm kind of done with it. But it's still really popular. And then there's other things where I'm like, oh, they like this. You know, that's how the version of I Feel Love came about because I was doing a throwback party and there was a disco version of the Throwback Party. I had pulled out like Thelma Houston, uh, stuff like that, which… some of it did work and some of it didn't really connect, but loads of people were asking for, I Feel Love. Now, it's like, if I play I Feel Love now it doesn't sound great, you know what I mean?
I mean for the time it was amazing production, but like if you play it now compared to any modern record, it sounds really quiet and flat. So yeah, okay, I'm gonna have to do an edit of this. So I did an edit over it and then the next week, I played it the next month Rather On the Place went nuts. It was weird that that was the Connect 18 to 30, the predominant song from that crowd in London was like, disco is, I feel love. You must be playing. I feel love.
FMM: I have noticed this weird disco resurgence. I feel like this happens every sort of 10 years there's a disco peak, but we seem to be living a wave of disco at the moment. Is that something you're noticing as well?
Kevin: Yeah, the party I was doing… when did that start? Like maybe four or five years ago? And so London, there's been a lot of this going on and now there's some really quite big disco parties happening. I think definitely you don't get that kind of songwriting anymore. I think pop music misses that, you know, like that that kind of Motown songwriting, those kind of songs that you get that carried on into disco, I think people really miss them and people want them. So until the music industry changes, how songs are crafted and at the moment songs are crafted like by committee that's like, you know—
FMM: Fifteen songwriters or something—
Kevin: —It's not like two writers, whether it's Jagger and Richards or whether it's Nile Rogers and Bernard Edwards. You're not getting these people with this kind of huge experience who played jazz, who can sort of throw in odd counts and make stuff sound just like that bit unique and brilliant and you're not getting that right kind of writing there or I don't see it. Maybe it's happening, but I I'm not seeing it.
FMM: Is that something that really opens a space for someone who’s sort of rediscovering some of these classic tracks?
Kevin: I would love to. I'm not a musician. So I came to it from a purely production point of view. I can program and I can play like chords on, I can… I know my way around the keyboard, I know my way around music theory, but like, I'm not a musician and I'm certainly not someone who's ever gonna use the word jazz and myself in the same sentence. I would love to like be one part of that. So if there's Rogers and Bernadette, I'd love to be to write with someone who was doing that and try and come up with some modern songs that kind of reflected that. I think there are some people trying to do it. You know, you see some producers trying to kind of get to that level. I just haven't heard it. I think probably the last thing I heard that was close to that was an Andrea Trini song. It felt like a dance song that was on that Motown level.
FMM: Yeah, I think there's a level of musicianship required that isn't encouraged at the moment necessarily.
Kevin: Yeah, I think that could be a shame. I think when there's really good musicianship, they get led down a much more kind of esoteric route with the production. They're not led into dance music, so there's no reason for them to make dance records, which is a shame.
FMM: Yeah, for sure. And then looking at the way things have changed since the nineties when you got started, if you could go back to yourself then, what piece of advice would you give yourself?
Kevin: It took me a long time just to realise that trying to be cool and trying to be something is really not important as an artist. The important thing about an artist is expressing what you love and care about and and to do that much quicker, and get to that point much quicker than I did in my career. Just be more authentic, basically. That would be the piece of advice. I know it's scary for a lot of people because a lot of people come to creativity because of trauma that they've had within their life. So, being authentic can be frightening when you're coming to creativity from a point of some kind of trauma. But embrace that and just be authentic because without that I think it's very hard for people to succeed and be happy in their artistic careers.
FMM: And then what was it that led you into DJing? You mentioned creativity from trauma, but I hadn't really ever thought of a DJ going into DJing because of trauma. Is that something that led you into it or is it a different story?
Kevin: I mean, I'm looking back at my career with benefit of hindsight and life knowledge at the time. I was just a huge music fan. Music got me through. I didn't have a great childhood and music got me through it. I spent a lot of time just trying to discover as much music as I could and fell in love with Jean Michael Jarre and Prince and Fleetwood Mac and you know, and a bunch of stuff that I could discover living in a small town in Scotland as much as I could discover from the radio and from the commercial popular press and pop, you know, popular music stores, Woolworths, whatever. And then when I got to Glasgow, I was like, oh my goodness, there's this whole other world of music which I didn't even know existed.
Like, there's like music that doesn't even get to the charts. That's amazing. I couldn't believe it. I thought I knew quite a lot about music as an 18-year-old. It turns out there's just this huge world of stuff that went on and then that's before you even start scratching the surface of the past. So this is just stuff that's going on now, never-mind undiscovered disco records that never made it to the charts or like some great, you know, whatever bunks or all these amazing records that never really went into beg into populate. You couldn't play them at a wedding and people would know them for example, but they're still amazing songs. When I discovered all of that, I just became addicted to going out clubbing.
I loved going and experiencing it and hearing all this new stuff that just wasn't available elsewhere and got really into it. I just loved exploring all these labels that were strictly rhythm, new groove, all these labels putting out music. You'd never hear them on the radio. You had to buy magazines. No one knew about Jocks that then became DJ Magazine and I loved it. So yeah, that was it. The DJing just came as part of it because I was this person with hundreds and hundreds of records and bought all the music that people would hear at the sub club or the local clubs in Glasgow.
DJing is part of that culture, so I bought myself a set of decks. Being a dance music fan came with owning techniques and then that came with DJing. It became a thing. It's like being in a tribe. It was much more like being in a tribe back then because most people were like not like that. There was like a really small section of youth culture that was like that.
FMM: Did you find then that it was exciting watching that become more mainstream? Or was it one of those things where it felt like a little bit intimidating because suddenly everyone else wanted into the tribe?
Kevin: Yeah, I mean, no. It was interesting watching it become more mainstream. I just think in the beginning, the songs that crossed over felt much like rubbish versions of what I loved. So the stuff, whether that was like Cotton Eye Joe like really daft you know, like—
FMM: The Hamster Dance and all that stuff—
Kevin: Yeah. You're like, this is just silly, right? This is someone who's taken the idea of dance music and made a kind of like novelty record with it. There was a lot of that. What I felt got really exciting was once the internet took over and things like YouTube became the prominent discovery method for people with music and labels, artists like Jamie Jones and labels, like Hot Creations could put out deeper house tracks that weren't really connecting with Radio One, but they were still huge and they were huge records within youth culture and they could then sell out Brixton Academy like two nights in a row, which would've been kind of unheard of as Milo did that in in 2005. But, we had records in the charts, so like they were doing stuff like that without having records in the charts because you've bypassed Radio One and the Internet's now become a way that you can disseminate like that with your music. You can have a huge fan base based on Instagram and TikTok and stuff. You don't really need Radio One to sell out a gig if you’ve got a million TikTok followers.
FMM: And then obviously you've come a long way from being that sort of small town kid experiencing dance music for the first time in Glasgow. What are the goosebumps moments in the sort of 30 year career that you've had?
Kevin: Wow. Um, well yeah, the first time I experienced music with drugs at the same time.
FMM: Yeah?
Kevin: I'm gonna be honest about it. I don't do drugs anymore. But like in 1990 taking MDMA and listening to like Frankie Knuckle's version of Sounds of Blackness, the pressure and standing on the middle of the dance floor in the dark in the sub club like that was electric. I'm not gonna lie. I think when you first see people having an insane reaction to something you created. I made a lot of Deep House and it's that thing of just being too, didn't want to be authentic.
The music I made was much deeper and it took me a while to get the confidence to make that music. I think I made a record Linus Loves called Make Music. I finished it. I was living in a flat in Glasgow and I finished the record and I kind of got bored of the record by the end of it. By the end of this session, I'd finished it. It took me a day to make the record and I just made an arrangement. I'd sort of started to force myself just to finish the record. So even if I wasn't enjoying it, I'd just be like, okay, I know how to arrange a record, so I'm gonna have section, section, section, section, breakdown, drop out.
We just put this together like it's a jigsaw and I'm gonna force myself to do it and then make a file and then I can play that file out and see how it goes. I did this and I really wasn't holding out much hope and I've played the record and I hope it was like 350 people in a space in Glasgow. I got the hair standing up the back of my neck even thinking about it. When we were doing the Mylo record, we'd had three sort of top 20 hits. So dropped the pressure in my arms and one more, I can't remember which one had all gone top 20, but the record had kind of stalled at this point. We'd done like 120,000, 130,000 albums or something in the UK, which was really great. And you know, by most people's degree of success, this was a success. But I was determined that we were gonna have a Platinum album and I wanted to have a proper hit.
FMM: How many's Platinum in the UK?
Kevin: 300,000 and I wanted to have a proper hit. So if you went in, if you got a top three hit, it meant you were guaranteed to be on the compilation. I was like, if we've got a record that's on like number, whatever it was, hundred one, no 52, I can't even remember which note it was on, but I was like, if you're on one of those and I've got my name on there, that's a proper hit, right? There's no argument with that as far as I was concerned. So, I was at festival, it was like this first or second festival and Mylo had done this mashup, actually two other kids had done the mashup and we'd end up appropriating it and releasing it as a Mylo record.
So the drop the Mylo dropped the pressure of Varsity's Miami Shout Machine and Doctor Beat record. And so we put all this record together. I'd had hairy time going to Mylo, Mylo wasn't even in the country. I'd go to Mylo's flat in Dawson and help them sort of mix the record and do all of this stuff. We eventually got the record out and we were neck-and-neck with Coldplay in the Midweeks. We were three and then they were three and we were four. And I was like, we have to be number three, we have to be number three, we have to be at number three. The festival was finished and I'm walking back to my car and I got a text from Nick Raphael who'd signed the record he's like, you're number three in the charts.
FMM: Which Coldplay record were you fighting?
Kevin: It was the single that came after Yellow, Fix You. I was just like, Coldplay, no way. We're getting beaten by Coldplay. Come on, we're doing all these ads and we'd bought like 30 seconds on Lost, which cost us like some stupid amount of money to advertise the Mylo album and you know, yeah, we're doing all this stuff around the record and making sure that we did these, we did like extra vinyl versions because Coldplay didn't have the vinyl sales, but we had these extra 12 inches, so we got all these amazing rem maxes, so we'd sell it so we'd anything to get us further up the charts. I knew if we got to number three then it was gonna make a huge difference, and it did. It took the record. I've done my job as a record label. I've taken this project, this cool dance project and I've really made a thing out of it. That’s cool.
FMM: That's one for the grandkids, “the time we beat Coldplay”.
Kevin: Yeah, I think Coldplay have gone on to do alright. They didn't miss that number four, but I was really, yeah… I would've missed it. So like they, they didn't miss that number three rather, but I would've been sad if we hadn't got there.
FMM: And so then obviously you're not done yet. You’ve got the new record out. I'm sure if I logged into your computer I’d be able to see a bunch more tracks ready to go. So, what are the goosebumps moments that are still to come?
Kevin: Uh, I don't know. We've just started doing our own party, which… we never did events before. So we've started doing our own party in London and we've done like five or six of them. So like growing that, seeing people coming, it's really nice. Sometimes I do the door just to meet people and people coming in going, wow, you're Kevin McKay. And I was like, yeah. And they’re like, why, what are you doing here? Are you not DJing? And I was like, yeah, but I just wanna see who's coming to the club and like come in and scan the ticket. And they're all a bit like, this is a bit weird. But, I love that. So seeing that grow would be great.
I can imagine having something like that where people are coming because they love the music I release and I wanted to do something different with the club. So, we don't have any guests. We just have artists on the label. It's gonna take a lot longer, it's gonna be slower build because we're just really starting from scratch and it's a small club and hopefully maybe do slightly bigger things. But, it'll be done with the team of people that we're making music with and the team of people on the label. It'll feel good if we do get somewhere because it won't be because we just book trendy DJs. I wanna do something a bit different. That's all. There's lots of people doing that. A lot of people doing it really well. I just wanna do something a bit different.
FMM: So that's the big thing at the moment? Is there anything else that you wanna sort of tick off the bucket list?
Kevin: I'd love to keep making bigger records.