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That same need for control has led toward building something more independent. The decision to launch a label is less about ex- pansion and more about owner- ship. It creates space to release music without compromise, to define output without external pressure.
“My label Fate will be launching around the same time as this article. In all honesty I didn’t ex- pect to start a label this early in my career, but a few things pus- hed me in that direction. The way some parts of the industry ope- rate now has changed quite a lot, sometimes getting signed can come down to things like how many views you have, and I’ve also spent upwards of eighteen months waiting for music to be released. That made me realise I wanted more control over my own output. The name actually came about in quite a funny way. A couple of years ago I bought a cap that says ‘Do you believe in fate?’ and people always ask me that question when I wear it. My answer has always been yes. I think if you’re meant to do something you’ll eventually find your way there, but the path to get there is your free will. The de- cisions you make along the way shape how everything actua- lly unfolds. When I was thinking about starting the label I happe- ned to be wearing that cap, and my girlfriend Marney just said, ‘Why don’t you just call it Fate?’ It stuck instantly. The label is really about returning to what I originally imagined Inafekt be- ing. To begin with it’ll mainly be a platform for me to release music that’s been sat gathering dust for a while, along with some collabo- rations with friends.”
The balance between reach and credibility remains
unresolved,
but intentionally so. The expe- rience of moving through larger platforms has provided visibility, but not necessarily fulfillment. The shift now leans back toward spaces that feel more immedia- te, more connected to the roots of the culture.
There is a recognition that sca- le does not always translate to impact. That distance can dilu- te the very thing that made the project resonate in the first pla- ce. The focus returns to proximi- ty, to rooms where the exchange between artist and crowd re- mains intact.
“When it comes to major labels it can sometimes feel like a bit of a game. I played that game for a while and it definitely brought some recognition, but it didn’t really satisfy me creatively. At ti- mes I felt like I was making things that weren’t completely me, and once you’re in that world there’s a lot of baggage that comes with it. Even now people still request some of those bigger tracks when I’m playing, but I steer away from them. At the moment I’m much more focused on getting my ar- tistry across and playing music that reflects where I am right now. For me, success leans much more towards credibility. That’s what leads to the grassroots gigs that this whole culture was built on. I’d take a dark, sweaty room full of energy any day over a big stage where you feel miles away from the crowd.”
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