SHR6E038P~002 – Music Journalism

Kanye West refused entry to Britain amid ongoing controversy over past comments

Kanye West’s Comeback with his Album: Bully. However, has the controversy gone too far? The UK seems to think so.

Kanye West is again signalling a return to public life, with his new album ‘Bully’ releasing early 2026 and a series of recent public appearances. This suggests an attempt to re-establish his position within the entertainment industry following a prolonged period of controversy.

The artist, who now goes by Ye, faced widespread condemnation in late 2022 after posting on social media that he would go “death con 3 on Jewish people,” alongside other remarks that were widely condemned as anti-semetic. In the aftermath, several major brands and platforms severed their ties with Ye, including Adidas, which partnered with him on the highly profitable Yeezy shoe line. Balenciaga, Gap and Vogue were among others to cut ties with the rapper, contributing to a sharp decline in his estimated net worth.

Despite this, West continued to release music, with collaborative projects such as ‘Vultures 1 & 2’ as well as his solo ventures, ‘Donda 2’ and ‘Bully’. Achieving substantial physical and streaming numbers, his most recent album, ‘Bully’, debuted at number two on the Billboard 200 chart with 152,000 equivalent units within its first week. Indicating he retains a global audience despite his controversial comments and actions.

West has also staged a number of listening parties and public appearances at fashion and music gatherings, often accompanied by controversial imagery and statements that have drawn further criticism. In February of 2025, West attended the Grammys alongside his wife, Bianca West and shocked the world once again. This time, through his wife, who was dressed in a fur coat, which she proceeded to drop to reveal that under she was wearing a sheer mini-dress that exposed everything. This aura of unpredictability enshrouds his public persona, with social media activity ranging from promotional material to renewed inflammatory commentary.

Thus, the question facing the music industry is whether West can translate this attention into commercial recovery. While his earlier albums, including ‘The College Dropout’ and ‘My Beautiful Dark Twisted Fantasy’, continue to perform strongly on streaming platforms, no major label brand partnership on the scale of the Adidas Yeezy deal has been re-established. This is a sign that there is still caution among corporate partners. The severing of ties in 2022 was notable for its speed and unanimity, reflecting the reputational risks involved with Ye. Any future collaborations are likely to be approached with considerably greater scrutiny.

However, the question posed to the industry has seemingly been answered. Ye’s refusal of entry to the UK underscores the continuing fallout from his continued anti-semitic remarks. The Home Office is understood to have taken the decision on the grounds that Ye’s presence would not be “conducive to the public good” with Sir Keir Starmer, the prime minister, stating that “Kanye West should never have been invited to headline Wireless”.

Whether this attention can translate into a return to mainstream acceptance is far from certain. The UK’s decision serves as a reminder that, while the music industry may be willing to accommodate controversy, there are limits. For now, Ye’s comeback appears as a juxtaposition, commercially active but geographically constrained.

Bibliography

Beaumont-Thomas, Ben. “Kanye West Sued, Dropped by Talent Agency and Retail Platform over Antisemitic Slurs.” The Guardian, The Guardian, 12 Feb. 2025, www.theguardian.com/music/2025/feb/12/kanye-west-sued-dropped-by-talent-agency-and-retail-platform-over-antisemitic-remarks.

Billboard. “Kanye West.” Billboard, www.billboard.com/artist/kanye-west/.

Broadway, Danielle. “Ye Apologizes for Antisemitic Remarks, Says He Was Treated for Bipolar Disorder.” Reuters, 26 Jan. 2026, www.reuters.com/business/media-telecom/ye-apologizes-for-antisemitic-remarks-says-he-was-treated-bipolar-disorder-2026-01-26/.

Grierson, Jamie, et al. “Wireless Festival Cancelled after Kanye West Banned from Entering UK.” The Guardian, The Guardian, 7 Apr. 2026, www.theguardian.com/music/2026/apr/07/home-office-bans-kanye-west-from-entering-uk-wireless-festival.

Herzogenaurach. “Adidas Terminates Partnership with Ye Immediately.” Adidas-Group.com, 25 Oct. 2022, www.adidas-group.com/en/media/press-releases/adidas-terminates-partnership-with-ye-immediately.

“Immigration Rules – Immigration Rules Appendix Electronic Travel Authorisation – Guidance – GOV.UK.” Www.gov.uk, 2016, www.gov.uk/guidance/immigration-rules/immigration-rules-appendix-electronic-travel-authorisation. Accessed 29 Apr. 2026.

“Kanye West | Full Official Chart History | Official Charts Company.” Www.officialcharts.com, www.officialcharts.com/artist/14958/kanye-west/.

Ocho, Alex. “Here Are the First Week Numbers for Kanye West’s “BULLY.”” Complex, 5 Apr. 2026, www.complex.com/music/a/alex-ocho/kanye-west-ye-bully-first-week-numbers.

Reuters Staff. “Australia Cancels Rapper Ye’s Visa over “Heil Hitler” Song.” Reuters, 2 July 2025, www.reuters.com/business/media-telecom/australia-says-it-cancelled-kanye-wests-visa-over-heil-hitler-song-2025-07-02/.

Snapes, Laura. “Sadiq Khan and Jewish Leadership Council Condemn Wireless Festival for Kanye West Headline Booking.” The Guardian, The Guardian, Apr. 2026, www.theguardian.com/music/2026/mar/31/wireless-festival-london-kanye-west-ye-to-headline-jewish. Accessed 29 Apr. 2026.

Loving the art, Rejecting the artist: why the UK is right to ban Kanye West

There is a particular kind of disappointment reserved for artists who once felt essential.

For many fans, Kanye West was never just another musician. He was something bigger. He reshaped rap, and he challenged what mainstream music sounded like. He was a reminder that ambition is something to be admired. Albums like Graduation and My Beautiful Dark Twisted Fantasy were not simply peripheral in the rap landscape; they were the crux. He moulded what we expect from our rap.

Which is precisely why the present feels so uncomfortable.

West’s exclusion from entering the UK is not an overreaction. It is, in fact, necessary. His continued anti-semitic remarks are not slips of the tongue or moments taken out of context; they are calculated and delivered with a platform large enough to cause real harm. In that sense, the decision to bar him is not about silencing an artist. It is about acknowledging that hate speech has consequences, particularly when it targets a marginalised community.

There is a temptation, particularly amongst fans, to frame such a decision as censorship. As if refusing him entry to a country were equivalent to erasing an artist’s work. It is not. Kanye West’s music remains available, widely steamed and endlessly discussed. His music will continue to exist within the UK, even if he is barred. His voice, in the most literal sense, has not been taken away.

What has been restricted is something else. The ability to move freely through public space without accountability.

And yet, supporting the decision does not make the loss feel any less real.

Because the truth is that the music still matters. It is still there, lodged between memory and muscle. The opening notes of Runaway have not lost their force. His production still sounds unlike anything else. The audacity, the sheer scale of it, the emotion. It has not simply evaporated because its creator has become someone so hard to defend.

This bind West has created, not just for himself but for his audience, feels all too familiar. Trying to separate the art from the artists is something we all do from time to time, but when the artists insist on collapsing that distinction, with songs like ‘Heil Hitler’, it is now indefensible. He has folded his controversies into the narrative of his career and now into his art.
Which leaves listeners in an uneasy position. To stop listening altogether can feel like a kind of cultural amputation. Ignoring the issue, at best, feels evasive.

The UK’s decision does not resolve that tension. It seeks to show that some boundaries are non-negotiable. There are limits to what we should be willing to tolerate in the name of artistic freedom, particularly when that freedom is used to propagate prejudice.

It is possible to hold both thoughts at once. His absence musically is a loss. Not an injustice or a tragedy, but a loss nonetheless. Perhaps this is the most honest position available. Not the clinical moral justice that public debate often demands. But something more complicated. A recognition that culture is shaped by flawed individuals.

The music remains. But the conditions under which we encounter it have changed.

Bibliography

Billboard. “Kanye West.” Billboard, www.billboard.com/artist/kanye-west/.

“Kanye West | Full Official Chart History | Official Charts Company.” Www.officialcharts.com, www.officialcharts.com/artist/14958/kanye-west/.

Ocho, Alex. “Here Are the First Week Numbers for Kanye West’s “BULLY.”” Complex, 5 Apr. 2026, www.complex.com/music/a/alex-ocho/kanye-west-ye-bully-first-week-numbers.

Live Review: SPEED at full throttle: a volatile night that turned a crisis into a collective release

At a Hardcore show, intensity is the point.

From the moment you entered the building, it felt less like a venue, more like a pressure chamber. Just people losing themselves in the music. The heavy, blunt guitars hit you in the face full force, the drums snap you to attention, and the vocalists bark orders like a general. Within seconds, the floor disappears as the pit closes and a wave of bodies descend towards each other.

Speed is not just pure volume or aggression, but they are conductors of a beautiful symphony. But before this, Whispers donned the stage. The set, although just beginning, moved at a restless pace, each track barely pausing long enough for a breath before resuming. In the pit, there was the usual two-stepping, windmills and those keeping a careful eye, ready poised to pick up those who fall. Yes, it felt dangerous, but at the same time communal.

Until it wasn’t.

Through the pit, movement faltered. Someone fell and didn’t get back up. The cut of music was jarring, sending the room into an abrupt stall. What followed was a reminder of the fragile line that hardcore walks. The same bodies that only moments ago had collided without regard now held back, forming space as staff rushed to help. We were ushered outside.

The pause stretched. Everyone waited outside with bated breath. Staff attended to the person, and we poured back inside. Then, slowly, the sense of collective rhythm returned. Not just the physical return to music, but a social one. A nod from the stage. An understanding within the room.

When the set continued, it did not just pick up where it left off. It escalated.

There was a renewed intensity, not reckless but purposeful. The pit widened, movements became sharper, more aware. Each two-step, each flail of an arm carried vigilance. And yet, paradoxically, the energy felt stronger than before, fiercer, unified, everyone charged with the knowledge of what had just happened.

Then Speed took the stage.

Wow. The sheer control over the chaos and music was electric. Speed fed off the crowd, driving the gig to its close with animalistic fury. And then it was over. Their set was forceful, yet controlled.

Hardcore has always existed within this theoretical tension between danger and care. On this night, that balance was not just theory. It played out in real time, a gig stopped, hanging on a thread, then found its footing again.

Messy, volatile, while strangely an amazing community.

Ava Lacey interview: Between the bar and the band: one creative’s route into the music scene

As the music dies and bands drift toward the bar, Ava Lacey quietly pours a pint, listens, and occasionally mentions, almost in passing, that she’s a designer. The next morning, she’s at her desk, creating posters and band merch.

It’s a routine built on contradiction. The Late nights and the early starts. The slow grind of freelance work that permeates local music scenes.

Lacey did not start with designing for bands. She originally trained in textile design, enjoying the act of drawing and designing; however, she did not like where it led. “I decided I didn’t like what I was drawing for… I didn’t like drawing for fashion or interiors.” What she wanted from her art was something more direct, “I wanted to draw for someone that actually wanted it… rather than a big company.”

The shift from a textile designer to a graphic designer wasn’t a leap into the unknown. The tools remained the same; the intention changed. Now, instead of designing repeats for fabrics, she produces similar images. The artwork on a poster, the design on a jumper. Now she feels as if she finally has the creative freedom she craved but never truly received from the clients she held. “They can give me a general idea, and they’ll give me a lot of creative freedom, which is something I really enjoy.”

That freedom varies from client to client. “Some of them are a lot more specific… and others give me a lot more creative freedom, which is what I prefer to work with.” Either way, “It’s always collaborative… it is their thing, it’s their brand.”

That work exists within the independent music landscape. Lacey often screenprints her designs herself, a labouring process that takes a lot of her time. “Each colour is a different layer.” More colours mean more time and higher costs. Something she is careful to consider when working with independent artists. “I don’t wanna take advantage… because they might not want me back.”

Like most freelancers, she takes on projects that may not always align with her taste. I think everyone who is in the creative industry has to do things that they don’t necessarily wanna do.” But she shrugs it off and takes it on the chin, “All business is good business.”

For now, she described, that design alone isn’t enough to pay the bills. Lacey works evenings at a pub, where live music is as frequent as pulling pints. The two overlap, and she often, with bands, “I tell them what I do, and I have found a lot of work that way.” She works “From four till twelve at night”, but the benefits are clear. “It’s really good, even though sometimes it’s quite tiring.”

She often designs for artists who create music for genres that she is unfamiliar with, and she will then “Listen to their songs… just to gauge the vibe.” Designing for musicians requires flexibility and translations as much as creativity. “One day I could be drawing flowers and gardens, and the other day I could be drawing blood and skulls… It’s a challenge, but it’s fun.”

That exposure has reshaped how she experiences music, and “It gives me a lot more appreciation… for music that I’m not super into.” Surrounding herself with different genres has broadened her perspective, both creatively and personally.

Her ambitions for the future are admirable: “I would like to open my own kind of business… where I can take on other designers,” and her passion bleeds through even when she explains her process. She loves what she’s doing.

Her work continues, somewhere between survival and creativity. Like most freelancers within the industry, she has big plans and a bright future. However, until then, she will continue to work within the scenes she quietly helps to shape.

Transcript:

F: Who are you and what do you do?

A: Uh, my name is Ava Lacey. I’m a former textile designer who currently does graphic design. I full-time freelance, um, and I design for independent musicians and bands. I design posters, logos, merch, as well as, as well as graphics for zines and magazines.

F: Mm-hmm.

F:How’d you start that?

A: Um, so I have a degree in textile design, which I really enjoyed.

F: Oh, fuck.

A: But I, um, decided that I didn’t like what I was drawing for, so I didn’t like drawing for fashion or interiors. I wanted to draw, draw for someone that actually wanted it.

F: Mm-hmm.

A: Uh, rather than a big company as well as do my freelance. I also work at a pub in Brighton called The Railway, which has a lot of live music and bands.

F: Yeah.

A: Which helps me grow my network and get introduced to new musicians.

F: Okay. Awesome. Awesome. Um, can you walk me through the decision switch from textiles to, to graphics? Like you’ve said that you didn’t want to work for fashion, but is there any other reason or is that just

A: Um, so like I said, I did really enjoy textiles. I loved the drawing and designing aspect of it, but just having to draw for. Other people, I guess, which I still have to do now, but I have a lot more creative freedom.

F: Mm-hmm.

A: In textiles, you always have to follow a very strict brief in the colors that they want and what they want you to draw. Whereas with this, I can talk to a band or all the people and they can give me a general idea and they’ll give me a lot of creative freedom, which is something I really enjoy. And I have always been interested in music, so I really like being part of that environment.

F: Okay. Um, so obviously you collaborate with artists and things. Uh, so how collaborative is the process? What do they give you? Do they give you an exact, exactly what they want or do you sort of,

A: um, yeah, so it varies a lot depending on the person. Um, each individual artist comes to me with different ideas. And different things that they want me to do. Um, some of them are a lot more specific and they’re like, I want you to do this in this way and this style. And others give me a lot more creative freedom, which is what I prefer to work with. But it is always collaborative. Like I ha it’s what it is their thing, it’s their brand.

F: Mm-hmm.

A: So I have to align with that.

F: Um, so you’d prefer like a general idea of what you do?

A: Yeah, definitely not an exact idea. I definitely prefer. Um, when someone comes with me and they’re like, oh, we do this type of music, we go along with this type of vibe, um, what do you think you could do associated with that? Which I prefer a lot more than someone coming to me and being like, we need you to draw this.

F: Mm-hmm. So are there any like, recent projects that sort of, that applies to, or,

A: um, yeah, so I designed, um, recently for a student. Okay. Um, for a zine, which was really fun, that was very collaborative. But again, he didn’t give me a specific what I had to draw or what I had to do. It was like, this is the vibe of the zine. And then he just kind of gave me free range, which I really enjoyed doing. I’m not really sure what’s happening with that now. I’m hoping to get more work from that.

F:Mm-hmm. Has it sort of like not really gone anywhere? There’s fuck, there’s a wasp. Is that a wasp?

A: It is a wasp.

F: Oh shit. Okay. Um, so, sorry, I lost my train of thought. Um,

A: it’s okay.

F: Yeah. So you are working on the zine with this guy at a minute. Fuck me. Should we move?

A: Yes. I think we should move.

F: Let me pause this so then we’ll get started. Okay. So, uh. You are working with this guy, this student, uh, as you’re doing a zine, you dunno where he’s gonna come from. So my next question is, how do you, like, do you still think like a textile designer when you are working? Or do you think more as like a graphic designer?

A: Um, obviously I was trained in textiles. Originally it was. You know what I started with. So I do still think like a textile designer, but they are, they’re not that dissimilar.

F: Mm-hmm.

A: Um, a lot of textiles is in graphics and a lot of graphics is in textiles. It’s just about the only difference is the intention of it. So with textiles, you always have to think about how it’s being repeated or how it’s doing this or what’s it’s gonna be used for. This specific thing. Which is something that I like now that I don’t have to think about as much. If I draw something that I really like, I don’t then have to, I guess in some instance I would see it as ruining it by turning it into a large repeat for a sofa or a fashion piece.

F: Mm-hmm.

A: I can just have that one drawing and it go to something.

F: Yeah. Cool. Cool. So those are sort of like the habits that you’ve picked up from your degree.

A: Definitely you’ll take on, but it also did really help, um, having like. Formal training.

F: Yeah.

A: Even though I switched.

F: Yeah, of course.

A: Still having the formal training and how to see things differently.

F: Hmm. Well, yeah, we, we, why it So does working with like physical material influence how you like, design your merch and, or like a album cover or something like that?

A: Yeah, definitely. So when I designed merch. I mostly get it screen printed.

F: Yeah.

A: ‘Cause it goes through me. And with screen printing, you are very, not limited, but kind of limited in what you can do because it is a very physical way of printing. More so than sending your T-shirts off to a big manufacturer and getting them printed. ‘Cause I also always love to think about sustainability, um, sustainability in my work and screen printing is one of those things that I can do myself.

F: Mm-hmm.

A: And produce. But you have to think, you can only use a certain amount of colors.

F: Is that like a cost thing or is it a time thing? What, why, why are you limited to?

A: So with screen printing, um, each color is a different layer.

F: Okay.

A: So it is, it is a cost thing.

F: Yeah.

A: It’s also a time thing. And it’s also, it’s, it’s just not a smart way of designing.

F: Mm-hmm.

A: But if your intention is to screen print and you want to use something with nine colors, you are then better off to send it off and get someone else. To print it onto fabric, not screen printing.

F: Okay.

A: It’s just, you can with screen printing. Cause the inks that you use, they’re opaque.

F: Mm-hmm.

A: Uh, is it, I dunno, they’re opaque. It means you get a third mixed color in between.

F: Mm-hmm.

A: So even if you’re printing with three, you technically, if you’re smart about it, you can have six colors, but doing six separate layers, it is time consuming. It’s costly for the band that’s paying me.

F: Mm-hmm.

A: And it’s just not, it’s just not worth it.

F: Yeah, true. Especially with your part-time job. I, I guess you don’t have much time, you know, like No. But surely you’d want it to take as much time as possible ’cause then you’ll get paid the most, or, yeah,

A: I mean, that’s one way of thinking of it, but I like the people that I work for. They are all starting out individual. They’re not part of a big. Company or anything like that, and I don’t wanna take advantage of saying it’s gonna be this much when I know I can do it. In less time for less cost for them.

F: Mm-hmm.

A: Because then they might not want me back and, you know, think I’m too expensive of that. And that would just be, they don’t know anything about screen printing. So if I say what it is, they’re just gonna think that.

F: So it would be bad for business.

A: Yeah, definitely.

F: Okay. Yeah. Have you, uh, so in the past have you had to ever design anything that didn’t match your own taste or, yeah. I mean, how, how do you sort of handle that?

A: I think everyone who is in a creative industry has to do things that they don’t necessarily wanna do or aren’t part of their personal things, their own personal brand is followed us.

F: How is it you don’t need to run away. It’s, it’s gone

A: wasp again. Um, yeah. Everyone in the creative industry knows that they have to do things or make things that they don’t necessarily like. Like for me, the pub that I work for. They asked me to design a poster for this big DJ night that they were having, and it was very gimmicky and cartoony, and it’s just not typically the thing that I like to draw.

F: Mm-hmm.

A: I mean, it’s still, you know, all business is good business, but there are things that I enjoy a lot more than that.

F: Okay. Yeah. So obviously you work at the Railway Inn. Mm-hmm. Yeah, that’s in Brighton. And, um, what’s it like working there and balancing your, your designing?

A: Um, obviously it’s difficult. I would like to just be designing full time, but I don’t have enough clients, I guess, to do that right now. But like I said before, it does grow my network, so it is a plus working there. And I normally do a close, so I work from four till 12. At night and then try and wake up early and get a lot of my other work done during the day.

F: Mm-hmm.

A: Or I don’t work on like Mondays because it’s a dead day in a pub.

F: Yeah.

A: So I can dedicate that to doing that. But working at the pub, it is, it has allowed me to meet a lot more people.

F: Okay.

A: So, so it’s not a detriment to my work. It does

F: The two sort of overlap.

A: Yeah. Yeah. They’re overlapping the way that. The artists I meet through there, we’ve got live bands there every weekend or every other day, I think.

F: Mm-hmm.

A: And I do get to meet a lot of people, like in close quarters after they finish, they always come to the bar, have a chat. I tell them what I do and I have found a lot of work that way. So it is really good, even though sometimes it’s quite tiring.

F: Yeah, of course. And, uh, do you, do you design for like specific genres?

A: Um, I try not to, um, even though obviously I don’t like all the genres I designed for, like what? Like I’m not really into the hardcore scene.

F: Mm-hmm.

A: But I would still design for them because they’re some of the loveliest people you’ll meet.

F: Yeah.

A: And it has changed my perspective on a lot of things.

F: Yeah.

A: Um, ’cause you get to meet people that you wouldn’t typically speak to.

F: Mm-hmm.

A: Um, and. Um, yeah, designing for different genres, it’s, it’s a challenge. It’s always a challenge to design for just, you know, one day I can be drawing flowers and gardens and the other day I can be drawing blood and skulls like it, it’s a challenge, but it is fun and it keeps you on my toes.

F: Yeah. So, going on from that, when you’re like designing for a hardcore band, does that sort of, does the kind of music that you personally listen to influence how you. Design, I suppose?

A: Um, I don’t think so. Like a lot of, I listen to lots of different types of music. I don’t, I wouldn’t say I have one specific genre that I love, but I do, when I’m designing for an album cover or for merch or for a poster, I will listen to their songs, even if I don’t like it just to gauge like the vibe of, you know, I have to have some level of understanding

F: mm-hmm.

A: In order to design something that will match the artist of the band, of course.

F: Okay. But then they’ll, they’ll always give you a brief.

A: Yeah,

F: yeah. But like you could take creative liberties with the brief, do you not?

A: Sort of, yeah. I mean, I think the thing is, like I said, I have to have some understanding of the band or the songs or anything to, uh, in order to design for them. But a lot of the people that I work for, they don’t often give me a, a strict brief. It is just we want some merch that represents us.

F: Okay.

A: And if it’s not a genre that I like or I’m not familiar with them, is I do have to take a lot of creative liberties with trying to figure out from a couple songs that maybe I don’t fully understand. How that translates to a design.

F: Okay.

A: So that can sometimes be difficult, but like I said, I do enjoy the challenge and it is always fun to design something new.

F: Cool. Cool. So has working closely has, oh shit, has working so closely with bands changed how you experience music, changed the way you listen to music or, ’cause obviously. If you’re working with the hardcore bands, you’d be interested to see what they create.

A: I mean, I think the main thing is because I go to a lot more gigs and things to try and find work.

F: Mm-hmm.

A: I have experienced a lot of music and people that I wouldn’t have typically done, and I do also think it gives me more appreciation for something, um, like music that I’m not. Super into or I’ve never heard of before. It does give me a lot more appreciation being around it in the music scene. And yeah, I just think experiencing loads of other things, it’s just really interesting and it has broadened my horizons with what type of music I maybe would’ve said a couple years ago Now I don’t like that.

F: Yeah.

A: And I kind of appreciate it and understand it at a deeper level.

F: That’s awesome. That’s awesome. Um, so where’d you go from here?

A: Um. Well, ideally, yeah, I would like to open my own kind of business or create my own business where I can take on other designers, other sources, other people to help increase my flow of clients. Um, but obviously that’s a lot of work and money to get to that point where you’re well known enough and it’s really difficult to stand out in something that’s so oversaturated already. Yeah. Um, I wouldn’t mind working for a business that does that. Like, or even just being a regular for a company. They’re like, oh, we’ve got a, like freelance. It’s freelance. But it’s more like, right now it’s just me.

F: Mm-hmm.

A: But working for a music company and then they recommend me. That’s still freelance, but it’s more regular.

F: Mm-hmm.

A: But I would like, in the end, to have my own, my own music business for designing. Have more clients that like know to come to me when needed.

F: Would it needed, would it be specifically music or would you design for other things? Or Maybe,

A: maybe I’ll expand my, broaden what I wanna design for, but right now I am focused on music, so I just love the scene of all of it.

F: Mm-hmm.

A: But I wouldn’t mind designing for other things that I’m maybe a little bit related, like for other pubs, posters, and

F: mm-hmm.

A: Just branding in general. Yeah. But right now it’s just music.

F: Would you work like to work for like. Clubs, design club night posters and things or,

A: yeah, I think that could be interesting. Again, new challenges are always good.

F: Yeah.

A: Um, a lot of them are very, I don’t, not plain, but a lot of club posters now they do it like in-house. They like take a picture of the crowd and they’re like, come, come to us. But I think there is a lot of opportunity for them to be a lot more creative. And entice a lot more people with opposed to make such a big difference to people wanting to go.

F: Mm-hmm.

A: To a place. If it looks cool, then you assume the place is gonna be cool.

F: Yeah. Awesome. Sounds good.

A: Thank you.

F: Thank you very much.

A: No worries.

F: Lovely to meet you.

A: Lovely to meet you too.