Creole Cuts is an all-female collective made up of DJs and creatives celebrating the sound of their Caribbean Heritage. Formed by Anja Ngozi, Jodie Yates and Rabiah, these three women place value on the ability to learn from one another as they take their place behind the decks and explore their own individual sound. As a collective they confidently move between rare jazz, soulful discos and deep dub goodness, trusting their synrchonised spirit to nourish the sets they perform together. At an impressive rate, Creole Cuts has established its place within the London music scene with a monthly show on Balamii radio, as well as collaborating with prestigious companies such as Merky Books (Stormzy’s YA book publishing label) and The Vinyl Factory.

We asked Anja, Jodie and Rabiah to talk us through the organic Creole Cuts journey and how working together has helped them all individually.

Hi Creole Cuts, we’d love to know what brought you together as a collective?

JODIE - It began when I first met Anja and Rabiah, and I was like “I like these girls, I like their vibes individually, how about we all come together and foster something new and original and make a really nice space for us, as three mixed raced girls DJing in London”. We were all united by our similar Caribbean heritage - we’ve got Jamaican and Grenadian within us - and we wanted to embody what we thought was the spirit of the Caribbean. To us this is carnival, conviviality and community, so whether we do radio shows, DJ, or playout, we want to continuously embody these three elements.

Creole Cuts has been running for a year now, what had been your experiences of DJing before that?

ANJA – I first got a controller five years ago which I practiced in my bedroom. Then coming to London 2 years later I picked it up again and have been playing properly, DJing and playing out for the last year or so.

RABIAH- I started DJing 3 and a half years [ago] at University and when I came back to London it was something I really missed, so I did some parties and then through radio I connected with Jodie.

J - I’ve been DJing for a year alongside the conception of Creole Cuts. I’d wanted to DJ for years but didn’t have the facilities or anyone around me DJing and then the more radio I did, the more those facilities became available. I’m still learning but I wouldn't have been able to get to where I am today without these guys. Being around the energy and watching their different techniques, doing it myself with my own twist and style of music - that is how I’ve become the DJ I am today.

A- We all learn from each other. Because we play different things and we have different modus operandi for how we want to do our sets, it naturally means that one can’t really be better than the other. I think if other people are able to have collectives and little groups, like we do, they’re lucky because it’s really special.

What other benefits have you experienced since creating your own collective?

A – Creole Cuts has allowed me to work in a space with people who are already on a level with me. Not only from a gender perspective but from [being] a child of the diaspora, and culturally the challenges you face as a woman and a person of colour in a place such as the UK. Being able to share that with other people and to use our work as a catharsis to discuss things is really bonding. It makes me feel part of a community that I helped to create and maintain – it's really good for the soul.

R - Creole Cuts has had a really positive impact in my life and it came when I was going through a bad time; it allowed me to heal and gave me purpose at a time when I really need it. This has allowed me to be more confident and just trust the process. One of the good things about us is that we keep things organic, we don’t force things. We started the year with no bookings and we’ve been busy doing two or three events each month and that’s been really reassuring.

J – We’re really lucky to have created a channel where our own self-expression can just come out in such a positive and organic way. Together we have this little community where nothing's the wrong answer, nothings invalidated, we are just free and liberated to express ourselves. For me there are few groups, people or spaces where I feel I have full trust or that I have full control. [But that] has come from these two, because they provide a safe space and if you’ve got that then you’ve got the freedom to do anything. I think if other people are able to have collectives and little groups, like we do, they’re lucky because it’s really special.

How has the Creole Cuts creative process developed?

A – We have our own individual processes and as a trio it works organically. We don’t send each other track lists, we don’t plan things, we come with our own ideas, we come with our own sense of what we want to play and it always crosses over. We will have a few tracks that we share between us and we’ll all go in different directions with it. The creative process is us being ourselves.

R - One of our best ever sets was at the Vinyl Factory Radio, we turned up with our records, we hadn’t planned a thing and we just played. Listening back, I'm really proud of us because we sounded really good.

J - With us you’ll find that there’s a synergy that you can’t force. We didn’t know each other at all - who knows why we were meant to cross paths, but we did – and since then it’s been seamless and effortless. We come to the floor and it just works.

Your experience of understanding one another, both professionally and emotional seems very special. Do you relate that to a sense of sisterhood?

A – My definition of sisterhood is being in a space with other women and not having to explain yourself or the things that you go through as a woman to other people, you’re on a level. Being able to work in an environment like that and do music (which is such a fundamental part of myself), doing the two together, showed me different ways that I can do what I want and expand my own knowledge of music.

J - I have siblings, they’re all amazing but they don’t get [what I do], that’s how I describe it - “they don’t get it”, because none of them are creative. My two sisters are also both mixed raced and I feel they’re condition is different; one of them is really pale and she appears white so her experience of the world has been different to mine. There are so any levels on which we can’t connect so I've always been a true believer of having family outside of your blood family. For me that is important because you need to build your family for yourself.

R – That feeling of kinship and the process of kinship is what sisterhood is to me. I have an identical twin and we’re quite close. With these girls I've experienced that same closeness, without having to explain things, they just get it.

Define sisterhood as chosen and that they get it.

For me it’s important to know that family isn’t just confined to those who are related to you and not be limited by that because it can put pressure and doubt on you. Go out into the world and find your family. Your family should be those who you can relate to and those who support you - and I’ve found that in these girls. They’re my sisters because they just get it. They provide a safe space - and ultimately as long as you’ve got that, you’ve got the freedom to do anything- Jodie

And finally, how can you sum up your gratitude for one another?

A - I love them. The fact that we connect not only on a personal level but also musically means that its elevated. I feel a wicked energy with them, I can’t ask for much more.

J – Stay the same because you’re both perfect.

R – Thank you for existing! I’m really proud and grateful to have Creole Cuts.

Follow Creoleo Cuts on Instagram @creoleocuts

Credits

Director: Sheena Bonsu Brobbey DOP: Julia Fiona Brown Stylist: Femi Ayo Photography: Shonay Shote MUA: Wendy Asumadu MUA: Francesca Daniella Hair: Sheree Jourdan & Phebe Checks Wendy assisted by Amari Fisher Frankie assisted by @phebe.checks Photography assisted by @florenceakano Hair assisted by @nasa_raye Creative Assistant: Siphiwe Mnguni Creative Assistant: Ryanna Allen Edit: Shaquilla Alexander Words: Bethany Burgoyne