30 years of Rinse FM: ‘A breeding ground for underground music’

Your 30th birthday is a big deal. For some people it heralds the start of all things serious: a dividing line between their feckless twenties and a future life of responsibility. For others, it represents a moment to reflect on the past, to take stock and re-prioritise based on the adult they’ve become. 

Today is Rinse FM’s 30th birthday. And it’s a big old celebration. 

We’re on the rooftop of Netil 360 near London Fields for Time Out’s cover shoot with the legendary radio station, Rinse FM. In the background, you can see the east London skyline: the Bethnal Green gasholders, now crowded by cranes, the helter-skelter Stratford Orbit, the gleaming towers of the city – and, if you squint hard enough, the ‘three flats’ on Bow’s 1970s Crossways estate, where some of the first ever grime tracks were created, several stories up. 

The shoot feels like a cross between school photo day, a family reunion and a music video – not least because some of the biggest names to have been born out of three decades of London’s underground music scene are here, together, in the same place at the same time. ‘Small ones at the front, tall ones at the back!’ shouts our art director. The rain drizzles down and the mix of DJs, presenters and MCs shuffle into some sort of order, crouching around ASHA Sound System’s huge speaker stack. 

‘If you’re a woman, make sure people can see you!’ shouts Julie Adenuga, the loud, laughing broadcast host and sister of Skepta and Jme, whose Boy Better Know crew member, Jammer, stands a few heads down. In the middle, you can spot Maya Jama, the lady-of-the-moment, smiling under an umbrella a week after she hosted the Love Island final. There’s Slimzee, dressed in a matching denim two-piece: one of the Rinse OGs who is no stranger to a rooftop. There’s D Double E, famously your favourite grime MC’s favourite MC, as well as Roll Deep original Flowdan, who recently won a Grammy for his track ‘Rumble’ with Fred Again and Skrillex. There’s Ben UFO, the enigmatic co-founder of Hessle Audio and Interplanetary Criminal, responsible for 2022’s song of the summer, ‘Baddest of Them All’. There’s Katy B, whose top-five single ‘Lights On’ is still played on dancefloors on the regular, and Sim0ne, the model-turned-DJ whose trancy, super-speed mixes are soundtracking clubland for the TikTok generation. 

There’s also Arthi, Kettama, Oneman, Az Captures, Elijah, Emerald, Frisco, IZCO, Jossy Mitsu, Lu.Re, Reek0, Scratcha, Sir Spyro, Surusinghe and Mala. Then, right at the front, there’s Geeneus – known by his friends-slash-colleagues as Gee. Wearing a Rinse FM bomber and standing smug like a proud father, he’s pretty much the reason we’re all here today. Faces have come and gone over Rinse’s journey, but Geeneus has been the glue holding it together – cementing him as a legend of the scene and a tastemaker responsible for one of the most important institutions in British dance music. 

It’s 30 years to the day since Rinse FM’s legendary first broadcast on the day of Notting Hill Carnival. Since then, Rinse has been responsible for solidifying the sound of the UK underground via jungle, garage, grime, dubstep, funky and everything in between. It’s London culture. Here, the voices of the station tell us its story in their own words. 

The beginning

Thirty years ago, on Notting Hill Carnival weekend, a 16-year-old Geeneus – nicknamed due to his ‘genius’ technical know-how – along with friends Slimzee, Target and Wiley, clustered in the kitchen of a council flat in Ingram House, Tower Hamlets. It was here that Rinse made their first ever broadcast. 

Slimzee (Real name Dean Fullman, AKA Slims): I met Geeneus through another pirate station, Pressure FM, which we both got booted off. 

Geeneus (Real name Gordon Warren, AKA Gee, Rinse FM founder): We based our station on Kool FM, which we now own – it was the leading station at the time, based in Hackney. We couldn’t Google, so me and Slim had to look at the other tower blocks and stations to see how they did theirs. 

Slimzee: There were loads of different stations coming and going back then. Pirate radio used to come on the weekends only – from Friday night, 7pm to Sunday night, 1am. We started off playing jungle. 

Jamie Brett (Creative Director at Museum of Youth Culture): Pirate radio in the ’90s was a vital outlet for young people, a way of disseminating new music and ideas from the aerial superiority of a tower block. Inherently subversive and DIY, pirate radio operated with a kind of guerrilla ingenuity, allowing call-ins for ‘shout outs’ and even including local advertising. 

Geeneus: One of my friends had been given his first council flat in a block. Me, Slimzee and a few others set up some decks in the kitchen. It looked like a squat. We used really basic tech: 1210s, MRT60 mixer and a transmitter. We put the aerial out the window, switched the radio on and we broadcast. 

Josey Rebelle (DJ, joined Rinse in 2011): Whether it was house or garage or soul or reggae, everyone in my family listened to pirate [back then]. You’d listen to commercial radio when getting ready for work or school in the morning – it represented the corporate boring world, then radio would come alive in the evenings and weekends.

Geeneus: We phoned our mates and everyone in Hackney could hear it. But our mates in Bow, on the other side of the building, couldn’t. From then, I got obsessed with how we could make more people hear it. It’s never stopped since that day.

Playing cat and mouse 

Starting out with around four DJs and six MCs, the station soon started to grow. Before long, Geeneus and Slim were being recognised at Roman Road Saturday market in Bow. The phone lines were ringing off the hook. But it wasn’t plain sailing. There was competition with other radio crews in the area, and the DTI, now known as Ofcom, had a job to catch anyone broadcasting without a radio licence. From ’94 to the turn of the century, Slim and Geeneus went to extreme lengths to keep the station on air, constantly replacing transmitters and moving around different blocks in the area, armed with drills, scaffold and D-locks.

Geeneus: A lot of stations had a model where it would take days to get back on if Ofcom switched you off. Our thing was: we’ll go where no one else will go, so they can’t take our stuff. We were obsessed with sound quality, consistency – our biggest thing was always being on air. 

Slimzee: We’ve run over blocks, been in lift shafts. It’s very dangerous. I remember climbing out of a building at three flats [in Bow], dangling out of the window and putting my hand on the railing to get to the top floor. That was the riskiest thing I’ve ever done. 

Geeneus: We got a phone line in the studio and as the weeks went on it just got busier and busier. We had a call every 20 seconds, from 8am until midnight. That was how we gauged our London analytics. 

Jammer (Grime MC, rapper, producer and member of Boy Better Know): The first ever time I went to Rinse, I was with D Double [E]. We went to the back of a derelict warehouse to a small room with some decks in there. After 30 minutes, I went to find the toilet. When I was walking towards to find it, I started slipping: it was just piss and shit [on the floor]. It was madness. I said, ‘yo, what? Is that the toilet?’ They said: ‘that’s the toilet fam’. That was my first ever time at Rinse.

Geeneus: I’ve been down a chimney head-first with a rope around my feet. I’ve been in a hole at top of the lift shaft that you have to put your feet across the wall to hold yourself up – the drop was down the whole block – to drill something into the wall to D-lock the transmitter.  

Josey Rebelle: Rinse had a bit of a mythology around it: the stories of Slims getting [what is thought to be] the first ASBO and of Geeneus going up rubbish shoots. You realise it’s just working class kids, from estates like I grew up in, risking it all to be able to bring people a platform for them to express themselves. That’s wild when you think about the sacrifice.

From garage to grime 

By the mid ’90s, jungle had started to make room for garage music. By the early 2000s, garage took on a harsher sound, with more emphasis on MCs and less on melodies and vocalists: this new sound became grime, created almost by accident from the three flats Rinse would broadcast from (in 2003, Rinse was reportedly based in a squatted flat that Geeneus and Slimzee traded for a £130 plane ticket to Ireland). Geeneus, Slimzee, Target, Wiley, Major Ace, Maxwell D, Plague and Godsgift hosted a Rinse show called ‘Pay As You Go’ (members of the crew later re-grouped as Roll Deep); and, later on, Skepta, Jme, Jammer, DJ Maximum and others would form the crew Boy Better Know. Many figures from the time would go onto commercial success. But MC collectives clashed and, by 2004, grime’s time was up on Rinse. 

Flowdan (MC, producer, member of Roll Deep and 2024 Grammy award winner): I first came into contact with Rinse in the mid ’90s. Me and my friend sent a demo tape in, hoping to get on there. We didn’t hear nothing back. Then maybe in ’98 I got to meet Geeneus. 

D Double E (MC, DJ, producer, member of Newham Generals, joined Rinse in 1999): In the early days, Rinse was in mad spots. You had to climb up round the sides of a building, into a warehouse – you couldn’t just be a good DJ or MC, you had to be a climber. 

Geeneus: Everyone thinks we planned to make this thing called grime, but actually, we were trying to make garage. It was our version of something that transpired to be grime.

Dr Mykaell Riley (curator of the Beyond the Bassline exhibition): Not restricted by the commercial formatting of playlists, pirate radio stations were more able to innovate and experiment with new music. It meant Rinse FM, like other pirates, had the power to play and popularise new music – which incentivised the rapid evolution of grime as a genre, with rappers, producers and DJs constantly pushing the boundaries of sound.  

Josey Rebelle: Grime was exciting – it felt very, very different to what was out there at the time. 

Geeneus: It was a tricky time. Everything was really popular but there was trouble across the board. Everyone turned up, but not everyone who turned up was nice. I knew that there was going to be a lot of drama, so I banned all of the MCs – they call it the MC ban – while I was transitioning dubstep onto the radio. Everyone left and went to another station.

Radio would come alive in the evenings and weekends

Elijah (DJ, founder of Butterz, joined Rinse in 2008): I did a show with a bunch of grime producers, 10 of us – it was an instrumental point in our journey. Having everyone in a room, playing tunes, was a sick thing.

Flowdan: Rinse was paramount to my career. It’s the first platform I ever had a space on, it was the first place I felt comfortable to try out my craft and hone my skills. 

Always on air

Rinse was so relentless in its attempts to keep the station on air, the DTI set out to ‘make an example of them’. Eventually, in 2005, Slimzee was arrested and given an ASBO, which would send him to prison if he was caught above the third floor of a building. 

Geeneus: They [the DTI] were trying to find our studio, so I remember going to the Apple store and buying loads of iPods to put on tower blocks with plug-on transmitters. I was setting up dummies all over the place.

Slimzee: They were watching me for about maybe six to seven weeks, collecting evidence and photos and stuff. I found a little camera the size of a screw in a light switch. Then they built up a case.  

Geeneus: One morning, we woke up and they’d raided a studio at our block and Slim’s house at the same time. While he was in the police station, I had us back [on air] within six or seven hours. He got the ASBO and they tried to completely eradicate us, taking a transmitter off us every day for 13 days. If we lost two transmitters in a week – £300 each – that was a lot of money. Me and Slimzee would sell Playstations; I sold a TV from my mum’s house. She came home and was like, where’s the telly? Eventually, we came up with a solution called subs where we charged everyone to come on the radio. It started off as a pound per month. We ended the pirate days at £20 pound a show.

Jamie Brett: The stations also gave rise to their own micro-economies. Beyond the music, they became centres of entrepreneurial activity— selling rave tickets, promoting local businesses. The grassroots approach created opportunities for young people to gain skills in business and media, providing some economic agency in a landscape where traditional opportunities were often limited. 

Slimzee: When you’re young, you want to get into pirate because it’s something to do. You get a buzz from going up there because you’re not meant to do it. 

Geeneus: We had one more attempt after he got the ASBO. We were 20 floors up a tower block in north London with scaffolding poles and an aerial when we saw the police coming. I managed to get the aerial in the hole but Slim had tried to run for his life. We got arrested and spent, like, 15 hours in the police station. After that, he didn’t go on the tower blocks ever again. 

Josey Rebelle: Pirate radio is cloaked in secrecy. [Joining] Rinse was the first time I truly understood what goes into providing a platform like that. 

Early days of dubstep

Geeneus established Rinse Recordings as a label in 2003. It was then that dubstep was coming to the fore, finding a home on the dancefloors of FWD>> at Shoreditch nightclub Plastic People and on the foundation’s airwaves through DJ-producers like Benga and Skream. In about 2006, Geeneus met Katy B and worked with the network of Rinse talent to eventually drop her legendary debut album, ‘On a Mission’. 

Geeneus: There was a point in 2002 where we realised that Rinse was a lot bigger than London. We were getting people messaging us, saying they’re buying our tapes off the markets in Birmingham and Manchester.

Josey Rebelle: I used to play in Plastic People, where someone who worked at Rinse approached me. I hadn’t even been on the look for a radio show: I just had my head down in the zone, just listening to music.  

Geeneus: When FWD>> started, it was just based on new music and a darker garage sound which turned into dubstep. The point of the party was to have a space for DJs to play music that no one had played before. During that time, we brought Skream onto the radio. 

Mala (Dubstep producer, one half of Digital Mystikz, founder of DMZ): I first came into contact with Gee as part of the early dubstep movement, around 2003 or 2004, when I went to  FWD>>. A lot of the guys who were coming through back then would play their music through Rinse FM. It was just mutual respect through the music being made at the time. My event, DMZ in Brixton, started in 2005. 

Katy B (Singer-songwriter, ‘Lights On’): I met Geeneus at a garage rave when I was 17. We were rolling in the same circle and he was looking for vocalists, because UK funky was taking off. I was in two different bands, studying for a degree in music – I’d come home from working JD Sports, have a nap, then go out. You need tactical naps when you’re a raver.  

Geeneus: I’d been making grime up until that time and I was like, okay, I’m gonna produce some music for a singer. She comes to the studio, I give her a track and she wrote onto it and sung. I was like, I’ve never seen something like this – the skill she had. 

Katy B I just started hanging around the Rinse offices. It’s amazing how much it was just a pair of decks and a microphone. That’s the thing about radio, it’s your imagination.

Mala: Rinse was massively important back then because the internet wasn’t as prevalent. So much underground music was getting made and Rinse FM was the place you could hear it. 

Geeneus: Katy was on holiday when we dropped the video for ‘On a Mission’. It got millions of views. I was like, what’s going on? They’re like, yeah, Annie Mac played it. I was like, who’s Annie Mac? So we were off on that journey. 

Katy B: I kind of thought it was going to be this underground mixtape. It took on a life of its own. 

Going pro

In June 2010, Rinse was granted a community licence from Ofcom, meaning it had to continually prove its worth to its community and could broadcast radio legally, without running from block to block. It was the result of stars aligning – the success of Katy’s album, the welcoming of presenters onto the station – but also a lot of work, including dozens of meetings and a 100-page document.  

Geeneus: I ventured out, wanting to get into presenting land. I went and found Maya Jama and Julie Adenuga and created some presenters out of thin air that I believed were good personalities. 

Jammer: I remember when Maya and Julie first came to the station and started presenting. There was just a whole new wave of talent, people who were inspired by what we’d done before.

Julie: Back then, it was perfect chaos. There were no dogs biting anybody by the time I joined, but had it been super professional, I would have felt out of my depth. Then it got professional and we grew together. 

Slimzee: It took like a year to go through all that stuff for them to get their licence – it ain’t an easy thing. You have to show what you can do; it’s like getting a visa. 

Geeneus: By the time we became a legal station, we had the most sophisticated tech for a pirate radio. I think one of the reasons why Ofcom gave us the licence in the end was because they couldn't stop everything we were doing. So they just gave up. 

Julie: Rinse were the first people to ever see that I had some kind of talent and put me on air straight away, no prep. I was working in the Apple Store, selling computers. After two years, they gave me their first ever drive-time show – the second biggest show in the entire station. Nobody else ever has ever given me an opportunity to that scale, off the back of nothing. At that time on Rinse, there was never any presenter-led anything, outside of Scratcha doing breakfast. I’m eternally grateful. 

There’s always someone at Rinse pushing the boundaries of what club music is

Geeneus: When we gave up the pirate side, it was for the greater good of the actual brand. We can’t spend our life running away and hiding, but at the same time, we gave up the organic purity of just creating our own thing with no rules. Now, when I get an Ofcom complaint, I say: I’ve still got all of the transmitters still and I’ll switch it back on. 

Josey Rebelle: They had their FM licence by the time I joined [in 2011], but it was still so exciting. For the first few months of my show, I’d be there at three o’clock in the morning, take the reins from Elijah and Skilliam who were before me, then just stand in this room with the lights off, DJing by myself. It was magical.

Jammer: The studio got better through the years. We got to flats, then we got to illegal, semi-pirate stations, then an internet radio station. By the time I was successful in my career, for the kids that were coming up [on Rinse], it was like Disneyland compared to when we started. 

Julie: I was on air for three hours every day for the whole week. If you ever heard me play Frank Ocean’s ‘Pyramids’, which is nearly 10 minutes long, it was because I left the studio to go upstairs to sing ‘Happy Birthday’ in the office, before running back down. 

The next gen

Things were getting bigger and bigger. In 2014, Rinse launched their French arm. Then, in 2018, Geeneus left Rinse to take some time out and go travelling. He returned a year later when the station wasn’t working out ‘as they’d hoped’. He started from the beginning, in what he called a ‘destroy and rebuild’: shrinking the team down to just four and ‘making the interns the managers’. In the years that followed, there were big changes. During lockdown, Rinse built seven studios – including radio, recording and podcast studios – and acquired videographers, graphic designers and photographers which talent signed to the label management could access. In 2023, Gee acquired Kool FM and SWU FM in Bristol. 

Geeneus: Commercially, financially, there was a lot of pressure on the company [in 2018]. The general advice was: we think it’s gone too far, maybe it shouldn’t continue. I was not prepared to let that happen. What did Rinse stand for now? I looked at the roster and removed a bunch of DJs. I went back to focus on the underground. I was like, I’m not interested in anything that’s big, I’m only interested in the next thing. We put together the next generation of artists: like Nia Archives and Eliza Rose and Taylah Elaine.

Josey Rebelle: Rinse stayed true to their original intentions, which is providing this platform for people, building a sense of community and bringing new generations through. 

Raphaela R-B (Rinse Senior Curation and Events Manager, joined in 2019): Gee took me in as a mad 20 year old, with no clue what the working world was like. I started in radio and was terrible at it. I’d rock up late with a giant pair of sunglasses on and coffee in hand from being out the night before. He trained me up and definitely showed me the reality of it pretty quickly. Five years later I’m still here.

Interplanetary Criminal (DJ, producer of ‘Baddest of them All’, real name Zach Bruce): When I started getting into this music industry properly, Gee just gave me a text, and was like, if you need any help, give me a call. He had my back with major labels and helped me a lot. 

Geeneus: Only in Covid was I able to get an Arts Council grant. Radio has always been shunned as not essential. We’ve got Radio One, but they’re not doing the job we’re doing. I don’t think it’s their responsibility to, but it’s given a shit ton of money. If you give us three percent of that, we could build a better feeding system for the whole economy. 

Katy B: There’s always someone [at Rinse] pushing the boundaries of what club music is, what electronic music is. It’s just a fun place to hang out as well, especially in the summer, because they have really good barbecues. 

Jossy Mitsu (DJ, producer, joined Rinse in 2018): Rinse to me is one big family. It’s been a really present powerhouse for the scene – I’m the same age as Rinse, so they're really documenting everything. 

Nia Archives (DJ, producer, joined Rinse in 2021, real name Dehaney Nia Lishahn Hunt): If I’m correct, I first met Gee when I was in the Rinse studio and we made the [2022] tune ‘Mash Up The Dance’ with Watch The Ride. I was so gassed, because I love Randall, [DJ] Die and Dismantle, so it was really cool to come together on a tune like that and put it out on Rinse – one of the most iconic British foundations of all time. 

Surusinghe (DJ, producer, joined Rinse in 2023): Being from Australia, I felt so far away from this scene and MC culture and bass music. I always loved that sound, but I never was a part of it. Rinse was a really good outlet for me being far away to kind of hear these sounds and get to know this world, then come here and be a part of it.

 Now, there’s a generation not fixated on what genre it is

Geeneus: I’m most excited about the diversity of the music [now] and the way there’s a generation not fixated on what genre it is, but taking influences from what has been built over the past 30 or 40 years in the underground scene. It sounds a bit like jungle, feels a bit like garage, there’s an element of dubstep. Everything that we’ve worked on and Rinse has represented has come to a centre point. 

Interplanetary Criminal: It’s easy to get soaked up in all this new music. You have to keep an eye on who’s doing things properly – it’s almost like knowing the difference between someone that’s just a DJ because they want to be a DJ, and someone that honestly knows their history and their tunes. Rinse has just got a good eye for that sort of thing. 

Geeneus: It costs a lot of money to keep going. People think Rinse is like Google: you’re going to wake up and we’re always there. But, in all honesty, it grows increasingly more difficult to maintain [from a money perspective]. People always advise me to let go of the radio and I refuse. They completely lost their minds last year when I bought two more stations.  

Julia Toppin (Lecturer in Music Enterprise and Entrepreneurship, University of Westminster): The impact of stations like Rinse FM and Kool FM is almost immeasurable – jungle, grime and other forms like garage and drill are globally popular music cultural forms that generate millions.

Sim0ne (DJ, producer, model, real name Simone Murphy, joined Rinse in 2023): I only started DJing in the lockdown. When my agent got an email from them, he was almost fangirling over Gee because he has been following Rinse for such a long time. I’m always really grateful, because they gave me a lot of credibility when I was making the transition from the fashion industry over to music. Gee has a good eye for seeing what the next wave is going to be. He can just sort of smell what’s coming next.  

Geeneus: We’re known for doing credible stuff, but it’s never credible at the time. It’s always later that someone says, that’s really cool. Everyone I put on the radio at the beginning, everyone’s like, are you sure? 

30 years young 

2024 has been a landmark year for Rinse. They’ve had birthday events at Glastonbury, Bristol’s Love Saves the Day, curated Project 6 festival in London and hosted parties around the country. They’re also looking ahead. Focussing on growing Rinse into a bigger ecosystem, Geeneus is working on a proposition in Australia. After a few years off from hosting a stage at Notting Hill Carnival, they’re back on the streets of west London with Rough But Sweet Sound System and a stacked after-party at Paradise by way of Kensal Green – a full three decades since they made their first broadcast in Bow. 

Geeneus: We’re completing new offices in Paris: it’s a shop front so you’ll be able to watch the DJ, sit down, order a coffee. The team currently are very motivated to do a lot of stuff, they’re very driven to achieve. 

Raphaela R-B: Our [Project 6] festival this year was a proud moment. I remember standing on the main stage looking out at thousands of people, like a sea of happy faces. It felt like a 360 really – I’d gone from being a kid going to a load of Rinse events to putting on a Rinse festival.  

D Double E: Rinse has done everything in terms of pushing the UK culture as we know it today, getting in there early and learning from the elders in front of us and giving the youth an opportunity. Rinse is the future as well as the past. 

Flowdan: Before you actually start to do commercial music, or you actually get your following up, Rinse is the place that allows you to try out your tracks, your dub plates, your lyrics. Seeing how thriving London is, I would blame Rinse for a lot of that. Radio might not be as integral to the music industry as it was, but it’s still major. 

Malcolm James (Author of ‘Sonic Intimacy: Reggae Sound Systems, Jungle Pirate Radio and Grime YouTube Music Videos’): Much of the music championed by pirate stations was side-lined by mainstream radios and criminalised by the media. Before the advent of YouTube, pirate radio provided a means for young people to hear the most exciting innovations in music.

Julie: Radio is curation by people that you trust. Now you have playlists – but ultimately, those playlists are made by machines, or by teams of people who have some kind of ulterior motive, like they want the artists to get bigger, they have deals with this person, it's good for the algorithm. Radio is someone who has a belief and a joy and a love for music. 

KETTAMA (DJ, producer, joined Rinse in 2018): Rinse is a breeding ground for underground music in every genre, ever. It’s done more than you can really put into words.

Jammer: Gee facilitated for everybody to express themselves. To be free to shout, be free to play their music. Play their music loud. It could be in the kitchen, in some mad flat, with some crackheads in the front room, but it worked – you know what I’m saying? From dirt, you always make diamonds. Pirate radio station culture wasn’t a pretty thing. It's a very risky business. For everyone to come out shining like this is just a beautiful sight to see. 

Reek0 and IZCO (DJs, producers and Brighter Days frontmen): Rinse is like my school, my university. Over the last 30 years, I grew up following a lot of DJs careers on Rinse. My uncles. To see that transcend down to my generation is impeccable. 

Julie: Rinse has been the father-slash-mother of birthing everything that we enjoy in music today. I love that anyone I meet, all the people that I came up with at Rinse all exist in different parts of the world now – not just in London or the UK. We all come back to this one family, this one home we all grew up in. 

Geeneus: I don’t care about if we’re cool, and I don’t care about if  we make a lot of money. Looking at all of the people here today, I’m like, actually, they all started here. Look at them now. That’s why we should continue.

Additional reporting by Agnes Sali and Clementine Yost. 

Photographer: Jess Hand @jesshandphotography
Design director: Bryan Mayes @bryanmayesdotcom
Senior designer: Jamie Inglis @818fpv
Photo editor: Laura Gallant @lauramgallant
Stylist: Kiera Liberati @kieraliberati
Stylist assistant: Jennifer Eleto @jenelectro
Maya Jama stylist: Rhea Francois @reeree.f
Hair: Andrew Dylan @andrewdylanhair @theonly.agency
Maya Jama hair: Patrick Wilson @patrickwilson
Makeup: Levi-Jade Taylor @levijademakeup @carolhayesmanagement
Maya Jama makeup: Letitia Sophia @lletitia
Location: Netil 360 @netil360
Sound system: ASHA Sound System @ashasoundsystem
Thanks to Yard Sale Pizza @yardsalepizza

Arthi wears @Goodamerican, @Ksubi, and @Casadeiofficial. Julie Adenuga is wearing @__Minena__, @Drmartensofficial, @_jekeun, @prettylittlething. Katie B is wearing @Raychustudios, @pullandbear, @cultgaia,@uchaworld. Emerald wears @pullandbear, @__minena__, @Lacoste. Slimzee is wearing @levis, @vans, @neweracap. Izco wears @truereligion, @unknownuk, @bbcicecream. Lu Re wears @Rebeccavallance, @haikureofficial, @casadeiofficial. Reek0 wears @neweracap. Spiro wears @bbcicecream. Jossy wears @bonnieclyde, @drmartensofficial