Meet Oscar #worldpeace, an up-and-coming rapper from Tottenham, North London. Born and raised around other big names in the grime scene, such as Skepta and Wretch 32, #worldpeace’s music takes a unique path, exploring issues of politics, race and sexuality – topics which have been put into question now more than ever before.
His new single, ‘Twix’, as well as his other tracks (from his latest EP ‘IC3’) open up to people of all different backgrounds, giving everyone a place to feel represented. In this interview, we learnt his influences behind the music, why he chooses to take a different path to the other artists around him, and his opinions on race politics and the changing view of the media towards people of colour.
So let’s start with your background. Did you always see yourself becoming a musician?
Oscar #worldpeace: Music stuck with me. I wanted to be a footballer, then a boxer, but whilst doing both I was always doing music. I had older cousins that did music and I wanted to be like them. Music was for them to be impressed by me.
How did you come up with the name Oscar #worldpeace?
OW: I don’t know really… I just said, ‘let me use my real name because this is who I am’, then I just thought…what’s something everyone should want? And that’s ‘world peace’. That’s why the hashtag is there: it’s more of a statement, rather than a name.’
Were your family supportive of your decision to become a musician?
OW: They were supportive, yeah. My mum had me at 17 and she’s always been supportive of what I want to do. She’s like, my number one fan.
Do you think that being a black male from the area that you’re from made it harder for you to get into music? Or was it a little easier to get your foot in the door?
OW: I think the experiences make it easy. What people gravitate to is the stories. What we’ve been through as a collective, black men and women, it brings that reality, and it gives you a sense of belonging. It’s definitely an advantage.
What were your inspirations behind the video for your new single, ‘Twix’? There’s so much love in it…
OW: I was referencing the first time I was in love with someone when writing the music. I feel like that’s something everyone can relate to and it is real for me. I incorporated all types of love in the video because that’s what I see on a daily basis. There’s so many different types of people, and love.
Do you feel like current music has lost a bit of its meaning and is now more just to sell records?
OW: I feel like [deeper music] is harder to find, but it is there. I can name a bunch of people: Sean Kuti, for example. I feel like music is separated and tiered, right now. Let’s get all different people together and give the youth another narrative… that’s the whole point!
What was it that made you choose to have a different sound and a different message to everyone else that was around you?
OW: I feel like these artists are a big influence to me. I’m a direct person, if I’m gonna make a tune that’s about police brutality or love, i’m not gonna put it in one bar, I’m gonna put it in a whole song… That’s how I approach music, thinking about the wider spectrum of things. Mine’s from the heart.
In the past couple of years rap has been picked up by like a wider audience. Do you think this is good?
OW: More people listening to the music is always a good thing. I think it’s up to the artist to take responsibility on what they’re going to say or do. With this torch that’s shining on us, it’s up to us to decide how to control it. Music is for everyone; it’s a universal language.
As a black male rapper, do you ever find that you’re sexualised and looked at almost like a trophy by this new, mainstream audience rather than just as yourself?
OW: Personally, I still feel like i’m myself, I haven’t been looked at like that. Everyone that’s followed me so far is here for my music. I do feel like a lot of brands have woken up to black culture, they use us as a tool to sell. As long as you don’t feel like you’re being used, then it’s cool. Right now, it feels fine – but let’s see how it turns out.
At the moment, the news is talking a lot about how the crime rate is increasing, and blaming grime and drill music for it… what do you think?
OW: I think that’s ridiculous. If we’re gonna enjoy music, let’s enjoy it from both perspectives. They’re trying to get themselves out of it When you’re taking these things from these kids, they’re just gonna get more angry. There’s always gonna be violence and denying young people of what they like, that’s a way of raising it more. Why don’t we take away movies that promote violence? And then let’s see how people react to that.
Do you feel like society blames black people for these problems because it’s an easy demographic to target?
OW: It’s 100% the reason. They don’t wanna try and understand anything, but it is these boys’ truths, whether they like it or not. Let’s take Giggs: his music was more aggressive before but now he’s turned 360. He still has these elements in his music but you see him on Instagram, always talking about ‘Put the knives down, let’s be proper.’ People look up to him. We need to know how they [the politicians] came up with this ludicrous ideas from? They should take some responsibility.
What do you think is like the cause behind this increase in violence?
OW: I don’t know, but I would love to try and help tackle it. I wish I could find a way to help it. All we can do as role models is to speak to them. That’s what I try to do to my siblings. They’re always gonna do what they want but I want to give them a healthy direction.
Let’s talk future: are there any projects you’re interested in pursuing in the coming years?
OW: I’ve always wanted to start a foundation for single black parents and youths, especially because of my mum. I have also always wanted to build something in Ghana. I feel like music is just a start: it doesn’t just stop here for me.
And music wise, who are some artists on your collaboration wishlist?
OW: Sizzla – he’s top of my wishlist for my album. The stars will align somehow and bring us together. Also, Ebo Taylor. Those two, definitely.
Interview by Liv Dennis
