He’s signed to Columbia, worked with producer James Ford, crafted several recording studios with his own bare hands (“just about to go and sand the floor”), and built more buzz than an angry bumblebee after your sausage rolls. South London’s Mellah is an interesting chap.
Hey Mellah, when did you first realise you wanted to be a musician, then?
Don’t think it was a realisation as such I just have always had a desire to make noises. When I was a kid I used to incessantly tap on everything and anything, I was kicked out of most lessons at school for drumming on tables. I always thought in rhythm, everything I did, walking, writing, chewing… I used to make a beat out of it. I started on the drums and then progressed to more melodic instruments, but I still play everything like I’m playing a drum.
How did you come to be in South London, did you grow up in the area or move there like all the other bands seem to have done?
I grew up in Wandsworth, south-west London, moved south-east to Forest Hill with my dad when I was 16. I had a brief stint north of the river in my early twenties but came back to what I knew pretty sharpish. It’s a different city down here. It feels like much more of a community. The music scene in north felt really fragmented and quite competitive. I think the reason the scene has blossomed so strongly in the south is that everyone is so supportive of each other and willing to collaborate and share ideas. It makes for a really creative and supportive environment.
Tell us about musician life so far. Did everything click into place fairly quickly, or has it been a slog?
I’ve been in bands since I was 14, I’m now 29. There’s been a fair amount of slog but I love it, so it’s always felt worth it. I’ve been writing songs since I was about 16 but only started thinking about sharing them about five years ago. It all started clicking when I decided to put an EP together with a producer friend of mine called Oli Rustwood a couple of years ago. I sent it to a label called Lucky Number, and they decided to release it. It’s been fairly hectic since then, but it feels good to have people relate to what I’m trying to do. The only reason I wanted to put out my own music was that I wanted to give back what music had given me, essentially a voice that made me feel less alone.
