Everybody needs a DJ Ace in their corner.
The London-born broadcaster has been a trusted voice in music radio for over two decades, and has spent most of that championing R&B music with a passion that derives from growing up on a musical diet of Keith Sweat, Bobby Brown, and the Motown greats.
Taking it back to the mid-00s, DJ Ace was part of a duo called Ace & Vis, and they dominated TV with their Channel U hit, The ILLOUT Show, as well as being part of the BBC Radio 1Xtra family. Going solo some years down the line, DJ Ace has since become one of the UK’s most loved and respected tastemakers when it comes to R&B, and with his own Everything R&B platform, he has been able to curate stages for the likes of SXSW and The Great Escape and put on a plethora of underreprested talent.
DJ Ace’s very recent transition from the BBC Radio 1Xtra airwaves to Kiss FM marks a pivotal point in his career, one that he feels will help push his mission for R&B dominance even further. “I did 21 years of daytime radio, which I believe is to reflect popular culture and what everyone’s listening to,” says Ace, “but the job of specialist radio is to add to that culture, to amplify parts of that culture, and I think R&B was definitely missing that so now I’m doing that over at Kiss.
“I’m so proud of what I’ve done in the R&B space, especially for UK artists, and I hope to get it as popular as possible so that in 30 years’ time, they’ll be able to slip in a classic Jaz Karis or a classic Shae Universe and have all the kids singing along too.”
Looking ahead, DJ Ace envisions a future where British R&B artists receive the recognition they deserve on both national and international stages. With plans to curate more events, collaborate with streaming platforms, and further expand his very unique presence on Kiss FM, DJ Ace remains dedicated to championing the diverse voices within the R&B community.
Having overcome some worrying issues with his kidneys, DJ Ace is shining and thriving and ready to take on the world. We caught up with him to find out more.
“I think our artists are just as good as U.S. artists and they deserve to get the love that they get, too.”
COMPLEX: What inspired your transition from BBC Radio 1Xtra to Kiss FM and taking over the R&B show there?
DJ Ace: I’m really happy about being at Kiss. They’ve been very welcoming and, for me, I feel like it was a natural progression and one that I think was not only great for my career but also great for what my mission is in regards to the uplifting and the amplification of R&B music. Not just in the UK, but also internationally. I think right now is a great time for R&B. I love 1Xtra and what 1Xtra’s done for UK Black music. It’s unquestionable, it’s undeniable, and that’s not just for the artists but people that have gone on to be presidents and heads of labels and heads of streaming services. 1Xtra has a blueprint on Black music that cannot be touched! I just felt like it was time for me to take what I’ve done to a different level and to a bigger audience.
How do you see the current landscape of British R&B compared to when you first started in the industry?
I started my solo radio show like six years ago and I was playing R&B on daytime radio, which had never been done before. But now, artists are doing their own thing; they’re getting their own co-signs and aren’t relying on labels. I think right now is the best time to be an artist, whether you’re from the UK or from the US because people want to feel again—it’s just that time. I love being able to broadcast R&B though; it’s a great passion of mine.
What made you fall in love with R&B music?
I grew up on the Keith Sweat albums, Bobby Brown, and my mum was a big Motown head as well. I don’t know anyone who doesn’t remember an R&B record that had an impact on their lives—whether it was the tune you played to the first girl you got with or that tune that helped you get over heartbreak, or made you happy. There’s an R&B song that everyone relates to growing up and I have loads of them. My cousin was a hip-hop DJ, and that’s what I thought I was, but when I started DJing, I’d always draw for Jodeci, Brandy, Blackstreet, Teddy Riley and Guy records. One day my cousin was like: “You know you’re more of an R&B head, right?” [Laughs] R&B music is just comforting for me; there’s an R&B song for every emotion and memory—whether it’s good or bad—and I love it.
If you had to pick one R&B album from America and one from the UK that defines the soundtrack to your life, which ones would you pick and why?
That’s hard! UK-wise, I’d probably say Soul II Soul’s Club Classic Vol. One. I was like 10 years old when that came and I spent a lot of my summers on Caledonian Road; I was up there every summer, and I remember Soul II Soul being such a thing in North London. My cousin had the Soul II Soul jacket and we were full of pride that this sound that Americans loved came from the UK. I think my pride for UK music comes from that Soul II Soul era, and has grown throughout the years. The R&B album from America, I’m gonna go with Mary J. Blige’s Share My World. I believe that album came out in the summer between school and sixth-form college and that summer, for me, was the best summer ever! I’ve loved Mary from the beginning and this album is perfect.
“Radio is always going to be important. There’s nothing like somebody putting you onto a record and having that trusted voice. I also think getting your music to certain parts of the country and certain ears is something that social media might not always get for you.”
With your experience in both radio and live events, how do you think platforms like BBC Radio 1Xtra and Kiss FM contribute to the growth of British R&B?
I launched Everything R&B around 7 years ago—we were doing live events at the Assembly, and had Tiana Major9, Shae Universe and Ricardo Williams perform at the first one. These three artists didn’t have the opportunity to present their talent, and even though we had iluvlive, there wasn’t really anywhere for them to perform. I wanted to have a live music platform where people could come and see live R&B and where I could get behind an artist that I knew would do major things, as well as get an opportunity to listen to their music and play them on the radio. I then started looking at what was lacking in the R&B scene in regards to platforms; what GRM, SBTV and Link Up TV did for the grime and rap scenes, we never had anything like that for R&B.
I was trying to do loads of different things: I tried to launch a website and tried to launch an R&B-centred podcast because I think it’s important to nurture the R&B scene we have over here. We started building Everything R&B, doing small showcases, then we decided to take UK R&B artists to the States and do the SXSW festival. Last year, for the first time, I took six artists to the festival and it was enlightening—the response that these artists got over there was amazing to see. James Vickery got signed off the back of that showcase. We did the Great Escape festival in Brighton, and we had our own stage at the T LIve festival. I think it’s important that our own artists can share the same stages as US artists as well.
I did 21 years of daytime radio, which I believe is to reflect popular culture and what everyone’s listening to, but the job of specialist radio is to add to that culture, to amplify parts of that culture, and I think that R&B was definitely missing that so now I’m doing that over at Kiss. I’m so proud of what I’ve done in the R&B space, especially for UK artists, and I hope to get it as popular as possible so that in 30 years’ time, they’ll be able to slip in a classic Jaz Karis or a classic Shae Universe and have all the kids singing that too. I think our artists are just as good as U.S. artists and they deserve to get the love that they get, too.
People sometimes criticise UK R&B artists and say that they mimic the U.S. sound. Do you believe that the UK has a signature R&B sound?
I sit on two sides of the fence. I don’t like the term ‘UK R&B’—I think it’s just R&B, with artists from the UK performing the genre. On the other side, I go to LA every January for Grammy week and I meet a lot of people who are fully tapped into the UK scene. They think that the way we create, the writing is way ahead of their own. Our R&B artists are very serious and we don’t have a choice. Knowing that it’s not the number one genre, you have to be very serious if you want to stay in it. I don’t feel like there’s necessarily a specific UK R&B sound because Shae doesn’t sound like anyone else, Mnelia doesn’t sound like anyone else—the same with James Vickery.
American artists hold Omar to such a high regard, in the same way they do Angie Stone and Erykah Badu. We don’t talk about how he helped start neo-soul, or how big Soul II Soul was. Terri Walker had an amazing run as well. All of these artists have been so important to what we’re doing today. Maybe we British people don’t talk about our accomplishments enough. What Marsha Ambrosius is about to do this year, I’m very excited about. To me, she’s one of the best artists we have right now; she’s from Liverpool, and people often forget that.
I recently watched her interview with Tank and it’s so sad that she had to venture out to America to get the respect that she deserves. Like, she has a song with Michael Jackson! Hello! [Laughs]
[Laughs] Exactly! We really have amazing footprints on R&B, as a whole, and I think it’s time for us to get back to that.
With the rise of streaming platforms and social media, how do you think it’s impacted on the exposure of R&B acts?
I feel like R&B artists are a bit too ‘cool’ for social media. If you look at the Muni Long thing, it’s insane! “Made For Me” without social media wouldn’t be as insane as it is, though. We gotta start using the resources that we can. I’m very much someone that hates tweeting; I observe a lot of things and I don’t know if we’re too cool or too introverted, but I think R&B artists should definitely take advantage of social media.
How would you suggest UK R&B artists use social media?
Liyah Music is a great example, because I kept seeing her music as it kept popping up on my timeline. You never know who’s gonna catch your record on social media, so artists should definitely start using social media more.
Radio before social media—let’s talk about that.
Radio is always going to be important. There’s nothing like somebody putting you onto a record and having that trusted voice. I also think getting your music to certain parts of the country and certain ears is something that social media might not always get for you. People trust certain voices and names in radio, and I have been fortunate enough to be one of those voices. That’s not to say we’re gatekeepers—we’re tastemakers! We’re trusted voices in the cultures that we reflect and I love doing it. I love putting people onto new music and I want to help people discover their new favourite R&B song. That’s something that can only happen on the radio.
Which R&B acts from the UK are you excited about right now?
Äyanna. We need to make more noise about her. She’s currently signed to LVRN, which is one of the biggest independent R&B labels making good, quality music, and she can really sing. Jaz Karis is my unsung hero. The numbers don’t lie and she makes great music; I think this will be the year for her. Shae Universe, of course—her new album, Love’s Letter, is phenomenal. Bellah I absolutely love! Elmiene, oh my God! What a voice! Anyone who calls me from the States always asks me about him. Some people don't even know he’s from Oxford; Sudanese, big tall Black guy from Oxford that sings like an angel. We’ve got so much amazing young talent, we just need them to be where they’re supposed to be. I love Tamera’s L.I.T. project as well; I know she just came off a tour. Kali Claire’s pen is insane; like, actually listen to what she’s saying, and her voice is beautiful too.
Many people, myself included, feel that most current R&B lacks soul because these artists weren’t raised in the church. I don’t know if it’s due to the nostalgia I have towards classic R&B albums or if I just need to get with the times, but there’s just something about that gospel influence…
That is such an interesting point, but you’re right: maybe church is missing. I think the way artists talk about subjects in their music today is also different. Back then, there was a lot of innuendo, whereas today, everyone just goes right into it. But yeah, I agree with you: I do think church is a real part of why some of that soul in the music is perhaps lacking.
I study gospel icons The Clark Sisters and their harmonies and runs, and when I watch Mary J. Blige and Kelly Price, they take their live performances to another level and it all stems from that gospel background. Jazmine Sullivan has a similar vibe, too.
The artists you’ve mentioned grew up on The Clark Sisters and this generation were probably inspired by Mary and Brandy but aren’t inspired by the artists that inspired the essence of these artists. I’ve played at Chuckie and Tazer’s R&B Slow Jams party and it still amazes me how young some of the attendees are and they know all the songs. That just shows the power of R&B.
What are your plans for the rest of this year, and beyond?
We’re gearing up for The Great Escape in Brighton, which we’ll be doing for the third year in a row. We’re also taking three artists to Toronto to the NXNE Festival, so we’ll be curating that too. We’ve got some playlists coming up with Apple and doing some throwback stuff; my radio show on Kiss is warming up nicely too—we’ve got some live elements coming up in the Kiss show and another R&B announcement that I’ve got coming up which I can’t mention right now, but I’m so excited and love how welcoming Kiss have been towards me.
