Behind every hit track and great artist is a talented producer with a vision and UK production whizz Steel Banglez burst into the music scene over 20 years ago, where he found himself experimenting his way to the top. Beginning his journey as a DJ and the younger brother of two DJs, his ear for music has only progressed over time as he’s endured the grind and cemented himself in his own lane where he built the groundwork for a career full of impressive milestones.
Now familiar to the majority of UK music lovers as the brains behind hits such as ‘No Words’ with Dave, ‘Karlas Back’ with MIST, ‘Fisherman’ with J Hus and MoStack and ‘Fashion Week’ with AJ Tracey and MoStack, Banglez’ ideas have paid off in ways more visible than the hit songs and streams that come with them. The infusion of his Asian heritage within his iconic beats first solidified him in his very own lane when it came to the impact UK producers have had in the music scene. Then came the Banglez era of music, which saw us witness the regeneration of UK rap as a whole as the careers of many homegrown talents started becoming household names. This only made that come-up more special when these artists worked together on tracks that have since become timeless tunes and elevated underground music into the mainstream charts.
Fast forward to 2023, Banglez has dropped his debut album, The Playlist, which is a huge example of the relationships he’s developed over the years with many UK OG rappers as well as his unmatched vision of bringing artists together to collaborate on catchy tracks with a seamless production. We caught up with him ahead of the release of his first project to chat about what went into making it as well as the standout moments in his career so far.
Congrats on your debut album! How long has this project been in the making?
“To be honest, I had it wrapped just before Covid, but I added to it since then so [since] about 2020.”
You’ve obviously worked with a lot of the OGs for this who you have also worked with over the years – is there anyone you hadn’t worked with yet?
“A few people still. Asco, Deno, King Promise, Rimzee, NSG, Maverick Sabre, Lotto Ash, Tiggs Da Author, Tamera, Mowgs, Clean Bandit, Jaykae. A lot.”
Going off of that, you’ve worked with the best of the best of UK talent over the years – is there anyone in particular you feel like you always make magic with?
“MIST, Nines and MoStack. Morrisson too – I think mainly them.”
The UK music scene is in a decent place right now, but I feel like that era of Steel Banglez music was also the rebirth of Grime and regeneration of UK rap – are there any standout memories from earlier tracks where you felt that shift change that you were part of history in the making?
“I’d say ‘Karlas Back’ with MIST was a defining moment and a breakthrough record. And then putting out my own single ‘Bad’, ‘Fashion Week’, ‘Your Lovin’, ‘No Words’ with Dave, they were all defining moments for that time. Them records are like monstrous, a lot of them are platinum, double platinum. So, yeah I feel like that whole time was a defining moment for the progression of UK music .”
You’ve obviously also mentioned that you’ve dedicated this album to Sidhu Moose Wala and even have a track with him and Burna Boy on the album, do you feel like your bond with him within music has allowed you to make such a touching tribute to him in the project?
“Yeah, to be honest I had that record done before Sidhu passed away, we had a whole mixtape with Burna Boy and there were about four records out of it that were done, but I felt like the parents wanted that song specifically to come out as the first release, which was a record given to me. But then me and Burna dedicated it to Sidhu and all the proceeds have gone to Sidhu’s mum and dad and his hospital that he had a dream of building in his hometown. So, for me, it was more of a tribute, because I don’t really do interviews or talk about stuff about it because a lot of it I just do it through music so I felt like that was my kind of outlet.”
Do you have any favourite songs on the album – whether that’s from the production element or seeing it come together?
“Yeah, I mean I love all the songs, they all have a moment in the studio for me and they all mean something to me. But working with Giggs was iconic for me because me and Giggs started out in 2004/2005 together in the mixtape scene when no one was even giving a fuck about UK music and we were getting shut down by the record labels. So ‘Banglez Ting’ and him dedicating that to me, solidifying me as being one of the GOATs, him being one – if not, the GOAT of the scene.
“Chip, ‘Holla Banglez’ and venting stuff when there was bad publicity on me, which was fake, and just letting people know that I am that good and Chip putting it into words. ‘Drip Drip’, making that song with Nines, MIST and MoStack – a collab from that era that we were talking about earlier, that hasn’t be done and delivering Mastermind to a next level of the way he sounds on that record, he sounds like a star. Being able to do D Double and Jaykae and bring that garage vibe back from when I was a kid. ‘Essence’ with Maverick Sabre and Ghetts, talking about my time in prison and just venting that across and just having Tamer Hassan, who’s one of the most iconic British actors from the roles and characters he plays in his background giving a motivational speech at the end.
“Yeah, all them records, M24 taking him away from drill and doing ‘Feelings’ and talking about girls in his own way, like being with someone but keeping it gangster at the same time. Aitch and Morrisson, never heard Morrisson on a song that really talks about them subjects, it’s always like hardcore gangster and having that moment with them. And ‘Shake It For Me’ with Ms Banks, Kwengface and BackRoad Gee, which is a banger. So all these records all mean something and they’re all personal achievements that I’ve pulled out of the artist that I’ve never seen them in that element and maybe they wouldn’t have made the choices to do a type of record like that if it wasn’t for my vision.”
One thing I’ve always loved about your production, which I feel a lot of people would agree with, is the incorporation of your culture that I feel like producers have started to do a lot more in the past decade or so – how important was that for you to have that integrated in your music?
“Yeah I mean because there’s such a big Asian community in this country and everyone’s like in such diverse groups of friends or workspaces, I felt like it was important to get them sounds into the beats just as something that would make me stand out but also to put the culture on the map.”
I feel like you‘ve always encouraged unity in the UK music industry especially, do you think it’s gotten better over time?
“Yeah I think Afrobeats did that, obviously the ’47’ record was a big record and defining moment in doing that. But also, just having our own voice and our sound away from what was popular in pop music in the UK. With people coming from neighbourhoods like myself, just certain places it’s a culture in itself.”
Going back to what we said earlier, you’ve worked with so many of the OGs and you were part of that come-up, but observing the UK music scene for what it is now, are there any new artists you’re keen to work with that you could even bring together with someone else to make a track?
“Yeah, it would probably be like Mugzz and ArrDee or maybe like Raye and Central Cee. To be honest, there’s not that many new artists that I’d say have had an impact from when we’re talking about – I wouldn’t even call my era an era, it’s still my era, we’re still about, you feel me. I feel like a couple people have come through but no one’s really done a mad impact on the scene as a whole as we did with Dave, J Hus, MoStack, MIST, that whole era. It’s like, Central Cee is a standout guy from that scene, but I don’t feel like anyone from Birmingham has done what MIST has done. The impact he’s had on the scene, the records to the chokehold he’s had, I don’t see that in today’s generation at the moment, like the last few years, the only person I see doing that is Central Cee. But yeah, that’s one of whoever’s out here, you know what I’m saying. But, I’d see a few people it’s more so like getting them in the studio with me and giving them the experience, the knowledge to create records to get out of that habit of having a hit song on TikTok because TikTok will die one day.
“Like Instagram’s dying or Twitter’s dying or whatever, it’ll be something else and I’ve noticed a lot of these guys, when I go and check their streams, it’ll be that song that popped off on TikTok but then they got no backbone. Whereas, me, MIST, Dave or Hus, we have foundation projects and general concrete backgrounds, so I don’t know if it’s a good thing or bad thing really. More so a bad thing because it’s not really creating artists, it’s creating moments and you don’t come from creating moments, you come from consistent years of making records so I’m not too sure how that’s gonna pan out for the new artists and it’s kind of a bit of a struggle to create a concrete fanbase because most of these guys probably can’t even sell out venues. It’s very hard to get a stable fanbase and also I feel like what TikTok’s done is it’s kind of took the fan away from the musician because it’s given the TikTok person five minutes of fame. Likes comments and whatever have just made egos go beyond where they actually need talent, so I feel like it’s a facade to be honest.”
Is there anything you feel could probably impact the UK music scene to take it away from the social media element and focus more back on to the days where people built groundwork?
“I think social media would have to take a turn for the better and genuinely whatever comes after TikTok. So whatever the next big social platform is, hopefully it’s got the elements of Twitter, Facebook, Instagram and even MySpace, where it was a bit more personal to the development of the artist. So, I just hope the next big thing, whatever it is, has that, you know what I’m saying. Because these labels will just choose whatever song is popping on TikTok or whatever, but they’ll chew it up and there’s no aftercare for the artist, so you’re gonna see a lot of people go into depression. Like I’ve been in the game for over 20 years now so I kinda understand how to move with trends and that and kinda stay relevant and to be honest, it’s all about the music, the music does the talking. Like, you can’t really deny great music no matter what’s happening. Studying my peers and looking at people from the past, you know, they’ve always said just do what you’re doing, you know your talent and you know what’s good with you so that’s kinda where I’m at with it.”
When it comes to your own career and hitting milestones, what do you feel has been your standout personal achievement so far?
“I don’t know, I feel like a lot of them define an achievement or a milestone themselves, like doing Wireless as a DJ/producer and shutting down the stage is one of them. Putting Asian people on the map and making them cool is one of the main ones, I’d say. Also, just being able to find talent from deprived areas to the English standards and changing our lives – being a part of that change, whether it’s financially or career wise, I’d say is my biggest achievement and commercialising the music and being a success when our music was looked upon. I’d say that’s what it is, going from the underground and going mainstream.”
So, with The Playlist, obviously the project is huge and there’s a lot of tracks – do you have any plans to tour the album?
“Yes, the tour is gonna be announced after the album comes out, but the staging and the concept of how I’m gonna do it is gonna be sick, it’s gonna be a proper experience. To be honest, I’m always doing so many shows and people love when I’m at the shows, so yeah it’ll just be like a ‘Playlist’ tour conceptually based on screens and artists popping out of nowhere, stuff like that. So, London, Brum, Manny, Leicester, Leeds, Dublin, Scandanavian countries, maybe Canada, maybe even do a surprise show in India, so yeah, I’m getting a lot of interest in Australia as well. But that’s why I delayed the album, because the main thing was to tour the album to recoup what I’ve invested because I’m independent, so I couldn’t do it during Covid. But yeah it’ll be proper manic, this album is meant to be experienced in the live form.
“The whole set will be good, but I’m happy, I feel like I wanted to be the first producer from our era to do that. That’s one of the hardest things, getting so many people on the album and getting them to collaborate and convincing them to work with each other when they haven’t done it, and the style of records that I’ve chosen to do with them, some of them are out of their comfort zone. So I felt like I’ve claimed that spot and I’m the first one to really do it with some sort of backing. Because I was doing so many singles and I knew it was a moment for me to go and do an album to define that moment and take it basically.”
I feel like if anyone in the UK was going to do it, it would be you because like I said earlier, you were part of that whole regeneration, you were there from the get-go – you have those relationships and those standout moments with those artists and that’s been built over time.
“Yeah man, and it’s just a respect thing as well which I think is important, I’ve seen a lot of producers come through and release singles and that was another thing I wanted producers to be able to see, like it’s achievable. Because publishing deals and just sitting behind the boards doesn’t really get you the bread, but the recognition as you would when you brand yourself. Like looking at America, seeing people like Metro [Boomin], Mike [WiLL] Made-It, all the Atlanta producers, looking at Dre’s blueprint and looking at dance producers and commercial producers like Calvin Harris and Swedish House Mafia, just looking at the way they did it, even though they’re not seen as rappers, they can still have an impact on the industry, so I wanted to be the first in the UK looking at the history of hip hop to be that producer/DJ-turned-artist.”
Going back to 2016/2017 times, I remember you used to post a lot of behind-the-scenes of the making of songs, do you feel like you would ever do maybe like a documentary where you put together studio times, tours and all of that?
“Yeah, I mean I’ve got a documentary being made as we speak on the story of Banglez and where he’s from, what the history is but yeah I’ve got a few things around the album where all the studio footage is about to come out. Once the music’s out in the world then I can release all that stuff but yeah, I’m kinda more on a quest of starting that now. It’s important to be honest, it will inspire people. But where we’re in such a quick consumption stage, you’ve gotta be able to get that – even when I used to do a breakdown video they were like a minute long, you kinda need to get that across in 15 seconds. Finding something so intricate and complex and narrowing it down in a quick way.”
You also teased a Playlist 2 at the end of your album – have you already started working on this?
“Yeah, so I’ve just done a record with Marshmello the DJ, I’ve got a couple other records on there, a song with Dave, that’s on the album. I’m just literally delivering ‘The Playlist’ now, but I’ve been working on ‘The Playlist 2’ just always ahead. It’s like when the time is right, but I never stop working in that sense. But yeah, ‘Playlist 2’ will be more international, I’ve got some big features on board and I’ve got a lot of big funding for that since I’ve been independent, so that’s gonna be more of an international album.
“Currently just been finishing Burna Boy’s new album, so I’ve got a couple records on that, and just focusing on production and just getting to a better place. I feel like with every genre, like Afrobeats and now Drill, it’s all coming to a stage where there’s gonna be a shape-shift and the consumers want something different so I’m just working on that old school hip hop sound, old school R&B sound from 2002, 2003, 1999, I’m bringing that to the UK rappers and just giving something new and staying true to the art and not just trying to be on like what’s popping, just creating how I feel because we are the future tellers. That’s what you do as a creative, you know what I’m saying?”
What key advice would you give to somebody who wants to get into production in this generation?
“It’s a bit different for producers now because there’s so much tech that they’re losing the experience of having their own studio and bringing artists to them and having that experience of jamming and making records from scratch. We’re in such a ‘sending beats’ era and like ‘loop era’ where I feel like it’s watering down what a producer should learn for them to become great. So what I would say is it’s important to look into the history and study great producers from before the tech change and incorporate that and also have your own studio and reach out to artists and find that one person that you can have a great journey with and then break out into the scene. I feel like a lot of producers don’t understand that if they just find an artist and create a vision with them, they have a longer career and defining career than just hoping to get some beats sent out and getting a cut and then expecting nothing in return because there’s no relationship there.
“A relationship is the most important thing and studying your craft, I’d say. And learn, because it’ll train your ear, just don’t rely on tech too much because it loses the organic element in music. It’s like using a knife in chopping or putting everything in a blender, your food will taste better when you chop it yourself than just mashing it up. Something like that anyway, but also I’d say to brand yourself. Like I branded myself to get into different avenues, to get endorsements, to be able to DJ, to be able to sell out shows in cities that no one would’ve even thought I’d be DJ’ing in and coming out and chatting on the mic and making the crowd go crazy and then venturing out into other stuff. Because most musicians, when they get hit records, if they’re smart, they venture out into other businesses. Like if you look at the iconic people we see today, most of their bread and success is made in product away from music. So, know what you want innit because if you just want a hit record with Digga D or Banglez or MIST and you get that then you’re just gonna be stuck because you didn’t have a plan or long-term vision. Focus on that.”
Stream Steel Banglez’ debut album ‘The Playlist’ below.