” I always felt like music was another way for me to express myself,”
An eclectic soul with a creative mind; Jevon is the embodiment of the word artist. Hailing from West London by way of Coventry, Jevon’s rise to fame is a story that not too unfamiliar. Born and raised in Mozart, West London, the 25-year-old found his calling in music after being relocated to Coventry to live with his grandparents. A self-professed “bad-kid,” Jevon is a cerebral artist who draws from his personal experiences and channels his trials and tribulations as a youth, to create music that is personal, ultra-relatable and transcends across the usual barriers of boroughs, postcodes and genres. Introduced to the world via his work on Nines’ 2017 album One Foot Out, Jevon would play an integral part in defining a new sound of RnB that would across the U.K before stepping out onto front of house with his own breakout single, Man Of The Hour. Now a little older, a lot wiser and with a brand like Havana Club onboard, Jevon is ready to debut his album that has been four years in the making.
With a heritage born out of Cuban street culture, and a growing following in the UK, Havana Club have launched a program to give a little something back to the scene. By continually collaborating with up- and- coming talent from a variety of disciplines, the rum brand are providing a platform for rising stars to develop their craft. The recent partnership with Jevon is a continuation from their projects with Rapper Skinny Malone & Designer Mia Joseph.
We caught up with Jevon to talk about everything from his distinctive mashup of Grime, Hip-Hop, RnB and Reggae, to why his debut album may be his ONLY album.
So you grew up in Coventry, that’s a bit of a way from London. How do you think that experience plays a part in your art now?
I think it just gave me a different outlook, especially being away from London. I was hearing music away from London, I was taking in music from people that were making music up in Birmingham and Coventry. I was hearing different styles, you know so I was open to trying new things and implementing that in my music because it was a different bounce, you get what I’m saying.
Do you think how the album is received or how well it does, and it meets all those aspirations that you previously had – your career trajectory changes and you’re bound for the stars – do you think that’ll change your mind on still wanting to be an artist or does it now matter to you now?
Do you know what it is bro, I’ve set myself a realistic goal of what I want from this album. So who knows, because I’m not expecting anything from this album I just want people to just listen to it, take it in and that’s all I need, and just respect what I’ve done and appreciate the art. But, I’ve already set my expectations, like your saying, I’ve already said I’m going on, I’m going to swim to this point and get my carrots and swim back to the beach, or just get my fish – I’m not trying to get more fish than I need and then end up drowning myself. That’s like a weird way of explaining that. I’ve set a realistic expectation and I’ve got some many other things I can focus on musically, just in terms of around me right now, there’s so much talent which I’m like yeah, I want to help you, you’ve got something, let’s put you in with this person here or this producer. I’ve done that a lot and I feel like a lot us don’t share knowledge bro and it’s annoying. People don’t share knowledge and it pisses me off because I’m thinking fam, the whole point of you learning is so you master what you learn and then pass it on and share your knowledge. I just like curating and putting people together man.
So is that the next path you’re going to take? Because the way I see the music scene now there’s a lot of eyes on emerging and upcoming talent, so as someone who’s had to deal with the pressure of realising their own potential, how did you deal with it, and what knowledge would you share with someone else on dealing with pressure to make it?
The first thing I say is there’s no pressure because ultimately I can work with an artist and say them, I can hear what their potential is and I can say right cool, “what do you want to do?” but you have to be realistic with them and say anything is possible but it’s going to take a lot, it’s going to take a hundred and ten thousand hours in the studio but it can happen and it’s just about guiding. I’m all about quality control. I’m all about making sure the art and the music are perfect, is right before you start thinking about other things and before you start thinking about videos and all the other stuff. Just think about the music first and then go into what’s next.
And looking a bit forward now, when it’s all said and done how do you want your contribution to music and to the scene to be remembered? Especially with you saying you’ll be taking a step back from being an artist.
I just want people to study it, and appreciate it being a classic. Like you see how we look at The Miseducation of Lauryn Hill and being always able to just listen back to it; I want it to be that kind of album where you can always go back to it and listen to it and be yes, this is my tune.
Yes, timeless. Play it at your wedding and play it at birthdays.