Haseeb Iqbal

Name, where are you from? 

Haseeb Iqbal, London born and raised and never leaving.

What do you do? 

I play records out and about as well as on the radio too. I also interview people, write stories and shine a light on moments of historical importance. I enjoy bringing context to overlooked periods of culture, bridging certain connections that may have been forgotten. My multi-disciplinary approach certainly aligns with the intersectional nature of culture in general. It’s all linked somehow.

Describe your style in three words? 

Spirited, effortless elegance.

What’s the best gig you’ve ever been to?

Ezra Collective at Brainchild Festival 2016 was a hugely pivotal moment for me. It was the first time I saw live music with an energy that was indicative of the club environment. It highlighted the raw, reciprocal natural that live music affords; the exchange between the dancers and the performers, and the unprecedented magic that can evoke. The gig was also at a time where live music and club culture in London was really starting to interlace again. Underground radio stations such as Worldwide FM and NTS have certainly helped drive this naturally. Radio shows have almost become a filter for what happens in the club – it’s where the DJs look for new tunes and it’s where the musicians look to have their tunes played. So, it’s become a healthy vessel for all sorts of exciting music to be heard and understood before it’s manifested on the dancefloor.

If you could be on the line up with any two artists in history?

Hugh Mundell would certainly be one. He was an incredible roots reggae singer who released five studio albums before his untimely death at the age of just 21 in 1983. He is somebody whose life I have explored in depth and I am so intrigued by how politicised and active he was in his short life. He took Roots music to a whole new level: the softness of his voice combined with the importance of his words create a compelling sonic spectacle. I’d play some of my deepest dub stompers and try and squeeze in an interview after.

The other would be Miles Davis. I’ve been fortunate enough to interview a number of people who made music with him and they all have at least one hilarious story. On top of that, I have huge respect for the boldness with which he approached his craft. He was never afraid to unsettle the listener and had faith in his own vision before anybody else did. He was a boundary breaker who thrived off subverting what people expected of him. He created a mind-blowing discography that has gone on to influence almost every sound since, however, people have only recently appreciated this. He is a symbol of believing in yourself and not caring too much about what people expect from your artistry. If they’re curious, they will get it eventually. I think we would get along and he would like some of my super weird records.

Which subcultures have influenced you?

The Mods – I first watched Quadrophenia when I was five years old and that has influenced the way I dress ever since. I received my first Fred Perry polo from one of my sisters when I was seven and that deepened my love of the whole vibe. I’m also pretty influenced by Soundsystem culture and how that manifested in the UK through via the Caribbean. The cult reggae film Babylon has had a huge impact on me in respect to music, London and fashion. Funnily enough both of those films were written by Martin Stellman – I only found that out when I interviewed Trevor Laird, who actually starred in both of those films. The DIY approach of the soundsystem subculture also aligns with the squatting movement which has fascinated and inspired me a lot: the innovation and confidence to repurpose space and create culture. The relationship between space and people is the most crucial for me and I’ve been lucky enough to grow up in a space such as Total Refreshment Centre, somewhere that has certainly been inspired by that squatting approach. It has changed the way I view a room – a space is an opportunity.

If you could spend an hour with anyone from history?

Kanye West without a doubt. People seem to be surprised when I say he is my biggest inspiration but he has been that since I was five years old, when I first bought The College Dropout from HMV. I’ve been lucky enough to see him three times, including once at the Hammersmith Apollo and also at the O2 for the legendary Watch The Throne tour with Jay-Z. I could spend hours explaining why but it’s almost pretty similar to what I said about Miles Davis earlier. The only difference is that I felt I grew up understanding Kanye compared to appreciating someone like Miles more recently in my life, from a retrospective approach.

Kanye is the only artist I can think of in the 21^st century who has made 14 studio albums that all sound completely different – all of which have shaped and shifted the way music has been created throughout this time. He is also somebody who made me feel, from quite a young age, that I should not feel bound to thriving in just one craft. His multi-disciplinary ambition has been so important for me and has inspired me a lot. He’s definitely somebody who is largely misunderstood but I have the utmost respect for his honesty, boldness and creativity, especially at a time when so many people seem to be treading so carefully, looking to please those around them. He’s done what Miles did but in a time of heightened social scrutiny. His work will only truly be recognised for its worth in decades and centuries to come.

I think we would have the sickest chat, so yeah it would be him 100%. Closely followed by Jah Shaka.

Of all the independent venues you’ve played, which is your favourite?

Bunker Club, Deptford. A London gem which is where I essentially started DJing and I will always return there. In fact, I am putting on a party there next week which I am so excited for. I owe a lot to Annie and Dave who started it and allowed me to start putting on nights there before anybody else was willing to book me. The intimacy of the spaced combined with the rawness of the interior always creates a cosy, sweaty dance where everybody feels very much together. It’s a discreet basement off Deptford Broadway and filled with so much character – it’s always a joy to play there. Certainly unlike anywhere else!

Your greatest unsung hero or heroine in music?

Badal Roy. He was a tabla player from Pakistan who went over to the USA in the late 60s to study but ended up working in a restaurant and playing his tabla on certain evenings. He ended up being seen by John McLaughlin who featured him on his debut album before introducing him to Miles Davis. His tabla plays a pivotal role on Miles’ seminal ‘On The Corner’ from 1972 and Badal went on to work with Pharoah Sanders, Lonnie Liston Smith, Ornette Coleman, Chick Corea, Herbie Hancock and so many more legendary jazz heads. He featured on a ridiculous number of records and has the most extraordinarily broad discography, whilst also playing his instrument on some of the most important jazz records. He played on Sanders’ Love is Everywhere as well! He has been hugely overlooked and sadly passed away a few months ago. I had the fortune of interviewing him last year and have shone a light on his life in writing and on radio. He is somebody I look up to as an artist who was deeply in love with the music he made, and up for playing with whoever. He also helped bridge a very delicate gap between western jazz and eastern approaches to music, informing some of the wisest jazz cats in America and beyond.