Staying Relevant with Benny Page

Photo: Benny Page

If you're throwing shapes on the dancefloor, arms flailing, feet moving, there's a high chance it's a Benny Page track that's got you moving. His bumpin', thumpin drum&bass tunes shake the club walls and linger well after the night's end. With the zeitgeist running through his veins, Benny’s music won’t remind you of last summer’s hit tune. Thank God. 

His originality is born out of a decision to avoid listening to any music but his own. What at first seems egotistical is in fact a winning formula to complete creative control sans the outside influences. That’s not to say Benny Page is devoid of all inspiration. Quite the opposite. The London-based dancefloor maverick takes much, if not most, of his stimulation from his travels. 

A trip to Jamaica, saw Benny mingling and mixing with some of the Kingston's most revered dance hall artists. And with an unparalleled dance music culture, his experience – quite rightly - exceeded his expectations. 

Jasmine Phull speaks to Benny Page about appreciating the fans that stick around and waving goodbye to those that don't. He's a man making music for himself – and anyone keen to come along for the ride – just don’t call him a DJ. 

Although music listeners are more discerning these days, people will readily describe most artists and producers as 'DJs'.

That's right. There are a lot of people in my family who would describe what I do as DJing.

Your first live show, and the launch of 'Champion Sound', was a whole production with live instruments, from horns, trumpets and percussion to three vocalists. Was the live instrumental show a way to show your family you're more than a 'DJ'?

The idea behind it was just about the opportunity to play live. DJing is something I'll always do but pushing myself forward is something I have to do. More and more people are doing it across the dance music scene. It's just about expressing your music in a different way.

'Champion Sound' is actually the whole package: musically and visually. The tongue and cheek video (watch it above) won over hearts and minds across the UK and abroad, taking home the Best Video title from the Bass Music Awards. Tell us what was going through your head when you nabbed the BMA?

We were up against some big names, Disclosure, and I think even Chase & Status, all of whom had some big budgets so naturally it was very unexpected, and a massive shock. 

Where were you when you first heard about the BMA win?

I was actually about to board a plane when I got the congratulations email from BMA, which I misread as a late congrats on the nomination. I looked back at the email on the flight after some stewing and then realised. Of course the whole team and myself were over the moon. Credit to everyone involved particularly young Josiah who was only five at the time!

You've mentioned pushing yourself in order to continue evolving and developing. Now that you've performed with live instrumental, what's next on the agenda?

Currently it's only horns, vocals, and myself playing live and ideally I'd like to include more instruments. It's expanding that, and the light show behind the music. But it's all about the cost in the end. 

And it's not so practical when touring.

For sure. I played a show in India and the light shows there are just amazing. It'd be great to have that every week but you don’t see that in clubs.

Is it fair to compare performing at clubs and festivals? Aren't they too different?

It's the size. If you have a big enough club you can do it. On the scale of things, at a festival there’s more space to put on a really great show.

What was your experience of Goa?

It was a short stay. Only three nights. It keeps to its roots. There aren't any modernized buildings; lots of tourists of course. 

Did you find your Zen while there?

[Laughs] It was more a sleeping in the daytime, out in the night time kind of deal.

You've also been in Jamaica collaborating and generally being inspired by the culture. You said the music culture is quite liberated there. Tell us about that.

When you look around Kingston, in the city centre, there's always someone selling food or clothes and close by there is a sound system blaring beats. It's hard not to hear music in Jamaica.

Do you think music is engrained in the Jamaican culture?

Definitely. I can't think of a busy part of town that doesn't have music. It’s literally on every street corner. 

What about their clothing, is it another form of expression?

Their clothing in the videos? Well they don’t seem to wear much, do they? [Laughs]. I think that's a modern thing. If you go back to the seventies and eighties it wasn't as bad. I think the dancehall culture of today is more sexual; especially the way it’s portrayed in the videos. You don't really see it as much in Jamaica. The videos are a little bit over the top. Especially the American dancehall ones.

It must have been quite an eye opening experience. Is there a moment you can share with us?

I remember being at the studio, walking outside to have a cigarette and this Jamaican guy says: 'Popeye, I'm trying to eat here'. I must have blatantly looked liked I was a tourist. Even though it's so hot there, most people in Jamaica wear jeans. If you're wearing shorts you're obviously not from there.

Over the years you've progressed into the drum&bass scene while exploring a number of other sounds and genres. An evolution in sound can often be a catch-22 for an artist: it's great for your development but not so great for growing alongside your loyal fans. 

When I first stated making dubstep tunes there were a few people who weren't happy with it (listen to 'Step Out' below). I can understand a number of people lose a connection with an artist when that happens but I think I have managed to get most people back on my side.

We are now in a time where people are doing a lot of mash-ups. The drum&bass scene is a very fickle scene and there are a lot of people who are against everything but drum&bass. 

The more genuine approach for artists is to make music for themselves.

Exactly. I'm at a point where I'm making music for me. If people don't like that then they can go somewhere else. If I can make 90 per cent of people who bought my first album happy then I've done a good job.

Artists and producers are tastemakers and are not only followed for the music they create but also for the music they enjoy. They set trends and indirectly influence the music du jour. Who influences your music and sound direction?

I definitely don't listen to as much music as I used to because then I start sounding like other things. So really, I get my inspiration from traveling to different countries, playing DJ sets, meeting people and then coming back and reflecting on that. 

Are you only inspired by the experiences in your life or are there some standout musicians that you respect?

Probably Chronic, Protégé (listen to 'Dread' below) – they’re good reggae people. Just Now, is a carnival, dancehall kind of artist. Check him out.

Going back to your childhood, was your home an important place for inspiration?

It was. My parents didn’t play any instruments, nor did their parents. But my dad was a collector so he had a lot of vinyl. There was always music playing in the background. Some good, some bad. They were good experiences, obviously. 

Well I guess you need to know what you don't like too.

Yeah, that's it.

You first shot to prominence in the drum&bass scene when signed to Shy FX's label Digital Soundboy (hear 'Turn Down the Lights' below). Since then you've had a string of releases on your own label, High Culture, the most recent of which was 'Champion Sound'. What was the idea behind the self-release?  

We were in a situation where the album wasn't ready yet so we did it ourselves. It was more about creating interests so other labels could get involved. It's almost hard to sell something if you haven’t go anything to show.

I've had a lot of releases in the past but in music you're only as good as your last tune. The amount of music that comes and goes these days is ridiculous. Thanks to the Internet and how easy music is to make. You always have to keep yourself fresh and keep the public aware of what you are doing.

I guess it's about staying relevant.

Yeah, that's a perfect way of saying it.

'Turn Down The Lights' gained you notice but 'Champion Sound' is solidifying your longevity in the industry. Did the recording and producing process differ between the two?

Not really, because I’ve been using the same equipment. I was lucky because I came into the industry at the end of the nineties when consumers were just coming in along with affordable software.

I couldn't afford hardware at that time anyway, so for me it was perfect. I don't think much has changed since then. The quality of the software and the plug-ins have improved - and consequently the sound – but my method hasn't.

So you've stuck to your known method.

I have but I do upgrade my software. I can definitely see a difference in the quality but not how someone gets their ideas down. That's the same. 

Let's talk about track titles: 'Champion Sound' is a well-known Jamaican term for bigging yourself up. Can you describe your process for naming your tunes?

Normally it goes down to the vocal that I end up recording on the track, which might not come 'til after I've written my part. It could be something I was doing that day; it could even be something I was eating that day. [Laughs]. Normally some of the sounds in the track will trigger words. It might take time to get a name but that's generally how it works. 

Lastly, if there was one person you could resurrect from the dead, who would it be?

King Tubby because I just can’t image what he would make if he was around today. I would be amazed to hear what he would come up with if he had a day in my studio.

Catch Benny Page in action at The Tuesday Club on the February 3rd. Get your Benny Page tickets here.

Follow Jasmine Phull on Twitter: @f_reshprince

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