Disrupting stereotypes in beatboxing with Kimmy Beatbox

Kimmy Beatbox is one of the UK's top beatboxers. They started their career busking in Liverpool and Manchester, and now they perform across the UK and collaborate with global brands.

In this episode, Kimmy talks about why busking on the street is so important to them, and how they create unique sounds with just their body. And we're going to hear about why they're so passionate to teach beatboxing to people young and old. 

Instagram: @kimmybeatbox

Discover more about UAL Awarding Body qualifications.

Transcript

Matt: Hello and welcome back to the Teach Inspire Create podcast. I'm your host, Matt Moseley, Chief Examiner for Art and Design at UAL Awarding Body. Today, my guest is Kimmy Beatbox. Kimmy is one of the UK's top beatboxers. They started their career busking in Liverpool and Manchester, and now they perform across the UK and collaborate with global brands.

Matt: I'm going to be speaking to Kimmy about why busking on the street is so important to them, and how they create unique sounds with just their body. And we're going to hear about why they're so passionate to teach beatboxing to people, young and old. And I'm sure we'll be treated to some beatboxing along the way.

Matt: There is a transcript available for this episode. Please click the link in the episode description so you can read as you listen.

Matt: Kimmy! 

Kimmy: Hello! 

Matt: Thank you so much for joining us today…

Kimmy: Thanks for having me.

Matt: …on the UAL Teach Inspire Create podcast, it's amazing to have you.

Kimmy: Lovely to be here. I'm excited.

Matt: Brilliant. So, what would be a good place to start is to, sort of, dive straight in to find out a little bit about your first experience with beatboxing, like, where did you first hear it or how did you become aware of it?

Kimmy: So, my first experience with beatboxing came from hearing my older brother do it and I'm quite a competitive person. I think we're quite a competitive family to be fair, and always grew up [00:01:30] playing sports and that, and he used to beat me at everything. And I've always loved rhythm, I've always loved music, I really wanted a drum kit when I was a kid. Fair enough to my parents, they didn't get me one, don't blame them. So, when I heard my brother do this, I was like, that's sick and I want to beat him at something. So, that's how it started, I just wanted to beat my brother at something. But then I ended up falling in love with it and, yeah, he wasn't necessarily a beatboxer, he just did the typical boots and [00:02:00] cats that everyone does. I grew up playing piano and trumpet, and like I said, always wanted to play drums. I remember my primary school music teacher, she was so good. She was so rhythmical and teaching us songs like, “I said a boom chicka rocka chicka rocka chicka boom”.

Kimmy: And I just remember doing things like that and feeling unreal and then she let me play drums while she was teaching someone a keyboard lesson once and I just felt like a [00:02:30] superstar and I loved it. I mean, I wasn't very good, bless the keyboard player, but yeah, and so then drums with the mouth, I was like, alright, well, don’t have to ask for a drum kit for this I can just do this whenever.

Matt: Yeah, it's funny that isn't it, sort of, primary school you get loads of encouragement to be musical or to just express yourself musically, don't you? And then it's something that unfortunately gets, kind of, taken out of your education as you go on, isn't it?

Kimmy: I know and it's so fun, like, stick us in a room of instruments and we'll have the best time ever. It doesn't matter if you can't play it, I feel like everyone's inclined to have a go at that. So yeah, more instruments for adults, please.

Matt: So, you get interested in it, how did you get started? Like, what was the first, kind of, sounds that you started to make? Or, how did you… did you have any guidance, or did you just start to work it out?

Kimmy: Yeah, so, I'm totally self taught. I didn't really know fully what beatboxing was. I [00:03:30] just, I'd listen to songs and I'd try and recreate them by ear, from listening to it, whether it's on the radio or CD or whatever. And I was really into my house and techno music at the time.

Kimmy: I think the first beat I ever learned was Black Eyed Peas, My Humps. It was like [beatboxes], super simple, but…

Matt: But good!

Kimmy: Thanks mate! And also [beatboxes]. I remember getting booked for my first gig and I only had those kind of beats in my repertoire, looking back I'm like, “why did I get booked for that gig?” But, very sweet.

Matt: What happened next? How does it evolve? Do you go out and seek out ways to perform or, like, how does it, kind of, come out of the, inside the house?

Kimmy: I never thought I would pursue it as a job or anything. It was more just a party trick and on nights out, I'd do it in the smoking area. Like, just, yeah, connect with people like that. But I really never thought you could make a living out of it. I also don't really plan ahead as a person anyway, I just take each day as it comes, and then my friend, Amber, was like I want to take some… she's a photographer. She was like, let's go out onto Market Street in Manchester and I'll take some pictures of you busking. So I got a little speaker and went out busking, but I didn't put a money pot out or anything. The idea of doing that just felt so [00:05:00] uncomfortable to me. And then I remember getting a bit of a crowd and people were, like, trying to give me money, and I was like, no, it's fine, it's fine. And also, busking is nuts, I can't recommend busking enough to everyone and anyone.

Matt: Yeah, I want to talk to you about busking because, I mean, it feels like it's terrifying.

Kimmy: Oh, it is. And it takes a long time to get over that, but it's the feeling after you've finished that gets you going back the next time. It's the best thing ever. I've got busking to thank for my whole life.

Matt: Have you got, like, a good busking story, like, someone who's not maybe aware of beatboxing that suddenly, you know, encountered it?

Kimmy: Yeah, I mean, I've got a lot of stories. I think there's been so many beautiful moments and also some funny moments in that. I got egged once by some kids on a bike. It wasn't personal, but yeah. I've had people unplug my microphone whilst I'm [00:06:00] performing. But I've had, like, they’re the bad times, what I can count on one hand. The good times are infinite and it's… it just teaches you so much as a human. For example, one time I was busking outside Nike Town on Oxford Street and this man came marching up to me in a suit.

Kimmy: And he was like, “this is disgusting”, like, “you're making such a racket”, blah, blah, blah. And I was like, okay, and then I was back - because I used to busk there six days a week - back there in the same spot, same time, same day the next week. A guy marched up to me in a suit. I was like, “oh, here we go”. And he gave me a 20 note and I was like, okay. Shame on me for judging, thinking that he was going to come up to me. And it just teaches you not to judge anyone. It really… the homeless community, because you busk in the same spot, so you get to know regular people. And, I don't know, if the council come up to me, having a go at me, they'll come over and be like, “oi, leave them alone”, and they've got your back, and then you give them some money and some food, and just have a chat with them. And, it's just a really special sense of community, and you have a different set of eyes, especially on places like Oxford Street. Because most people on Oxford Street are going so…

Matt: Head down, a hundred miles an hour.

Kimmy: Yeah, yeah, yeah, exactly. Whereas if you're just stood still and you actually have the time to just take in everything around you, you just see the world in a totally different way and you get to connect with people that you wouldn't necessarily [00:07:30] connect with otherwise. Obviously, London gets so many tourists, so I've now touched parts of the world through videos going viral or whatever or just people seeing me that I would never have even gone to or connected with otherwise. 

Kimmy: I had a woman come up to me who was from Saudi Arabia saying “thank you so much for doing this because I'd get arrested if I did this in my country”, just things like that. And busking in Camden once, this guy, I'm not sure what country he was from, but he was like, “oh my god, [00:08:00] there's a man wearing leather pants, a girl with pink hair, and someone playing music on the street. I love London!” And I was like, it's things that we just take as, like, standard.

Matt: Yeah, yeah, I guess you just take it for granted, exactly, yeah, you know, you're just, you're just used to them. And so, sort of, stylistically, did you also start to understand, kind of, what lands with people? How is it starting to influence your, kind of, style of busking?

Kimmy: Yeah, I mean, for me, I love all genres of music, and I love that with beatboxing, you can really hone in on that, like, you can do any style, and you can blend that in, whilst, say, for example, if I was doing [beatboxes], as long as you keep the same tempo, you can do different genres. I think I'm quite blessed in the fact that it's a super male-dominated industry, and even now, compared to, like, busking eight years ago, there's still not many female or non-binary beatboxers that have come out the woodwork since then, which is nuts. So I… I feel very lucky that people aren't used to seeing someone that looks like me beatbox, basically. 

Kimmy: So, I don't think that my style necessarily changed for the crowds. I think I've always kept my own sound. I can't be anyone but myself and I'm not going to do something I don't like [00:09:30] doing. So if they come, cool, if they don't come, cool, I'm still going to do my own thing. But yeah, people aren't used to… well, people are just used to seeing guys beatbox and especially when you're doing [beatboxes], like, the low stuff, they’re like “what?”

Matt: What are the… do you have any, kind of, cornerstones of your style, like key musical influences or?

Kimmy: This is, I always feel a bit, I don't know, not embarrassed by this, but I live under such a rock. I don't really know who anyone is. I know when I was growing up, I really liked Missy Elliott, and that's the only artist that I can say that I've… it's not that I'm not a fan of people, but I'll just put a random Spotify playlist on and I won't really look at the artist. I'll just be like, “oh, this is nice” but then on to the next song. I think honestly, just through my going out to Sankeys in Manchester and listening to house music, that's where my influence came from and other than that…

Matt: I think that’s good though, I think there's a lot to be said for absorbing things, kind of, osmetically rather than… because it can be a bit overwhelming isn't if you're like “these are my favourite artists, you know, I've got them on a pedestal, I'll never get there” kind of thing. Whereas if you're, “I am just in the world, kind of, taking it in”, is it more liberating, do you think? Is it freer that way?

Kimmy: Definitely. Well, for me anyway, I mean, everyone's different. But for me, yeah, it depends on my mood. It doesn't have to be a song, it can be in the street, it can [00:11:00] be a car indicator going off, and I'm like oh yeah.

Matt: That’s interesting. So does that, do you just log that mentally, and then you, sort of, find a time to try and replicate it?

Kimmy: Yeah.

MMatt: What you're describing is a creative practice. That's an artistic practice, is this idea of the world being an influence and, you know, constantly engaged with your practice. I think one of the things that we often try to support students maybe listening to this podcast is about this idea of consistency and doing something for your practice every day.

Matt: I mean, is there ever a day where you don't beatbox?

Kimmy: No, no, it's impossible I think. And it's not like I sit in my bedroom and I'm like, “right, this is beatbox practice time”. Honestly, as soon as I go out the house for a walk, all I want to do is beatbox. As soon as I'm around nature and in space, beats just come out, so my phone is just full of voice notes for, like, when I get ideas.

Kimmy: But yeah, and the shower, shower's got great acoustic for beatboxing. Yeah, I even had tonsillitis a couple times and I found it really hard not to make sounds.

Matt: Well it sounds like you're totally intertwined with the thing that you do, like, it's not a, you said, you mentioned it's not, you know, it's not a job, it's just part of who you are authentically. That's cool. So what does an average day for Kimmy Beatbox, kind of, look like then?

Kimmy: Uh, no day is the same, but let's go with… I definitely try and go on a walk. I love being around nature, but yeah, a day can look anything from, for example, yesterday I was teaching in a primary school. So at 8.40am, teaching an assembly to the whole school, then from half nine for an hour, do a [00:13:00] workshop with each year group, do an hour workshop and hopefully inspire some new generation beatboxers, uh, and then try and fit in a F45 or gym session. Um, really into my weightlifting at the minute, and then get home, have a little fiddle on either guitar, bass, or go through my voice notes and think, “right, what can I create with this?” I buy instruments and don't know how to play them, but I just remember, like, where I've put my fingers on the strings, so I'll be like, “okay, that's five in two up kind of thing, and then try and beatbox along with that. Another example of a day could be performing in a nightclub at 2.00am in the morning, which is the polar opposite sleep routine schedule. I mean, I use the word routine, I have no routine in anything that I do. Yeah, every day is different, but I love that and everything's so last minute as well, so I could get booked for a job on the day.

Kimmy: But I've lived like that for 10 years now. So, planning, actually, is not a very comfy feeling for me. So, when I get booked, sometimes I get booked a year in advance for a gig and I'm like, “oh my God. I dunno where I'm gonna be. I don't know”. You know? But, I'm such a yes person. I'm such a big believer in just saying yes, even if you think something's outta your comfort zone. Last year I said yes to a hosting job for the creative industry, never hosted and totally winged it and smashed it. They've asked me back this year, which is amazing, but things like that, you just…

Matt: If you hadn’t been brave to just say yes to the opportunity, you might never have…

Kimmy: Exactly, and I loved it. So you’ve just got to try these things and not let the fear take over you.

Matt: I mean, you mentioned as well, sort of, being physically fit and, kind of, exercise. I mean, beatboxing seems like such a physical activity. Do you find it's necessary to keep yourself fit to do it, or?

Kimmy: I mean, I don't know if it's necessary because beatboxing itself, like you said, is a workout. So, your lungs are constantly… I remember when I was busking six days a week, my abs were ripped.

Matt: Yeah, yeah, yeah. A lot of diaphragm control and stuff like that I can imagine?

Kimmy: Yeah. But, I mean, it's gonna help you, whatever you do, if you're active and in the gym. But, I don't think it's essential.

Matt: Do you find it helps you in other ways, like mental health and stuff like that, you know, keeping fit?

Kimmy: Totally. Yeah, mentally, definitely. I feel invincible after doing a workout. It's the best feeling.

Matt: Your working life is intense and you've got this kind of big creative process that you're immersed in. But I'm hearing that it's important to make time for also, kind of, taking care of yourself in other ways?

Kimmy: Definitely. And mentally, like, it's, it's not an easy life, like, I've [00:16:00] struggled with loneliness, like, on and off throughout my career because it's such a lonely job. You don't have any colleagues that you see every day.

Kimmy: Every gig is totally different. I get booked for, on average, a 3 to 15 minute set. I'm in and out, and it's… ‘cause it's different hours of the day, it's quite hard to keep, or to find, a group of people that can kind of flow with that. Um, and so, yeah, I mean, I've found my people now, but it took me a long time.

Kimmy: And I remember in my busking days, like going out and feeling so full of love and connecting with so many people, but then you go home and you're on your own and you've not got anyone to share that with, kind of thing. And no one was there to… because you can tell people what happened, but no one was there to feel it. Do you know what I mean?

Matt: Yeah. 

Matt: So when you, kind of, then transitioned into the gig environment or the venue environment, was that more or less scary? Did you find that the busking prepared you for that? Or was that a new challenge?

Kimmy: I think, yeah, busking did prepare me for being on the stage. Although, it took me a long time to be able to speak on the mic.

Kimmy: I was so shy with that because I didn't grow up wanting to be a performer. I just fell in love with beatboxing, started busking, had that as my job, but I would never introduce myself on the mic and my way of connecting with people would be, I would always say thank you to every person that put a coin in.

Kimmy: So even if I was like ‘[beatboxing] thank you, [beatboxing] thank you, [beatboxing] thank you’ and some people would play on that and stand there with a handful of coins and wait for me to see if I would do it on time. But that was my only speaking on [00:18:00] the mic. So then I remember when I first started getting booked for gigs, they'd be like, “right now we've got Kimmy Beatbox”.

Kimmy: And then I'd just come on stage and go [beatboxes], and that's like me taking a really deep breath out, like, just making it into a sound. And then as soon as I'd finished my set, I’d just say “yeah” and give the mic to the nearest person. I was so shy!

Matt: So doing the presenting thing must have been massively out of your comfort zone then?

Kimmy: Yeah, especially ‘cause I was introducing, like, big people in the… in the creative game and, and because also I don't know who anyone is, I'm only getting told, “oh, this is BBC correspondent, blah, blah, blah”.

Kimmy: And also what was funny with the hosting is I had an iPad with, like, pointers and stuff. And phonetically, I think because I've only written beats down and I read words in their rhythm, so, for example, the word economy, I kept reading that as eh-con-omy. So, bless the camera person, was like, “economy, economy, economy”. And I was like, “eh-con-omy”.

Kimmy: So yeah, things like that are just so funny because I'm not very, I don't describe myself as academic. I'm just very creative. So, like, reading things now, it's funny because I haven't read in such a long time. And then just seeing how my brain has now changed so much. Yeah.

Matt: But then that's, I think that probably speaks a little bit of what we were talking about with school, you know, there's a question about whether kids are getting taught the stuff that they actually need in real life, you know, you're saying that, you know, you're in the world, successful, really successful in what you do. But there are some other attributes that you possibly, maybe, wish that you'd had, you know, supported in your, kind of, education that you've not been given.

Kimmy: 100 percent. Even in the school I did yesterday, the staff would come up to me and say “it was so amazing to see some of the girls that we, we never thought would ever get up and do something like that… and they ran up to the microphone and wanted to do it”. So it just shows how important it is to, to get creative things in schools and open that up, and because you're gonna connect with kids who don't have that opportunity in other fields. Like, I don't light up if someone's saying right we're gonna learn maths for the next hour, whereas if someone came in and said right, we're gonna do beatboxing I'd be like, come on then.

Matt: Yeah, yeah. So when you, I mean, I'm gonna fast forward to the school thing, I want to kind of go into that a little bit more if that's all right. So when you're preparing for a session, a workshop with these school kids at various different ages. What's the plan? How does that kind of come around?

Kimmy: The first workshops in education that I did was at music college. And me being last minute and top winger, I hadn't prepared a lesson [00:21:00] plan until I got there. And I was like, two hours is actually quite a long time.

Matt: Yeah, that's a really long time to teach.

Kimmy: And so then I was like, right, introduction about myself. Do a little demonstration, how I got into beatboxing. Then start with the basic sounds. So, it totally depends what age group I'm teaching. For example, in the primary schools, I'll be like, “right, who here has got a tongue?” And they'll all put their hands up like, “me!” I'm like, “oh, thank God for that. It's made my job a lot easier”. Like, “who here can breathe?” “Me!” Okay, we're gonna have a great day.

Kimmy: Whereas obviously, if I'm teaching in high schools, they're gonna think, “who is this coming in?” So when I do high schools, then I have to do a little bit more name dropping of artists that I've worked with to kind of prick their ears up and get them into it because a lot of, I don't know, teenagers might think they're too cool to… oh, they think it's gonna be boots and cats.

Kimmy: Say what money you can earn as well, yeah, because I think as well when I say that I busked, people, I don't think people know how much money you can make busking and I mean, every day is different, so you're never guaranteed a set price, but you can make really good money on the streets. So, I think they get excited by that, and then also, because beatboxing is such a niche thing, and being a non-binary or female beatboxer is even more of a niche thing, people pay. So, especially when I'm doing a 3 to 15 minute set, you can get paid silly.

Matt: But you are particularly good at what you do as well. I mean, there is, there is this idea of having to hone the craft, isn't it? You have to get to a certain standard, don't you? I suppose.

Kimmy: Yeah. I mean, there's so many factors, I think. And also you can't just turn up looking scratty. And because there's a lot of beatboxers that are bedroom beatboxers and, I mean, I don't book people, but my friend books beatboxers sometimes and they've put people forward, beatboxers forward, for gigs and they turn up in like grey joggers covered in mud and with holes in and, like, wear what you want innit, but…

Matt: So there is an idea of a brand thing. You've got to kind of be your own brand?

Kimmy: Yeah. Yeah. And just be presentable. I mean, don't get me wrong, I love a tracksuit, but I'll always wear a smart tracksuit.

Matt: I'm just sort of thinking about, ‘cause, for me, you know, the idea of going and busking feels terrifying, you know, that kind of vulnerability, the exposure, you know, the unknown, all of those kind of aspects that you've talked about and the brilliant things that have come that way, um, but I wondered whether there was that confidence in your ability and your craft, knowing that you've put the hard yards in.

Matt: Does that give you confidence to then go and do those things?

Kimmy: I think rhythm is the main thing. As long as you've got rhythm, because there's some [00:24:00] beatboxers who are… make incredible sounds, like, they're so, so amazing. But their flow isn't necessarily all that. Whereas I might not be as technical, or, or be able to make some of the sounds that they make. But I know that I've got flow because that's so important. Because you have to imagine if you're getting booked for a corporate gig, or, I don't know, maybe where there aren't very musical people. Sometimes the most [00:24:30] simple beat is the best for those ears.

Matt: Don't bamboozle them with tricks, just give them the…

Kimmy: Yeah, and just like, easy to follow, easy to flow.

Matt: So, you mentioned as well, just going back to the teaching thing, that you were from a, kind of, competitive family and that sports and things were, kind of, in your life. So yeah, had you had experience of coaching people or being coached before you then were preparing to teach?

Kimmy: So, that's what helped me massively with my first workshop. I did a bit of [00:25:00] tennis coaching when I was younger and I was thinking right, how can I, because I used to love games, I was like, how can I make games with beatboxing, or how can I make, like, a group activity? So at the end of my sessions, I split the class into groups of five. And I say, right, I'm giving you five to 10 minutes to go off and you have to make a 30 second performance that you're going to perform to the rest of the group.

Kimmy: The only rule is that everyone in the group has to make some noises. And I say, if you're not as comfortable going for a [beatboxes], then just go with a [beatboxes]. And you keep the beat going for the rest of the group. And then, yeah, um, and I don't know how that came from the tennis coaching, but it did. Um, so I think it definitely helped having a little bit of experience.

Matt: And a little bit of competition. You’re, sort of, building in a little bit of a competitive environment for them. So, cause I know that you've obviously entered competitions for beatboxing before and [00:26:00] what drove you to, kind of, do that? Was that part of your competitive nature? Did you want to put yourself out there against other people or were you invited?

Kimmy: I think for me, the beatbox industry, like I've said, is so male-dominated and the beatbox championships. So, every country has a beatbox championship. Then there was the UK Beatbox Champs and I entered in 2019 just to represent, to be honest, I thought, why not? I'm not competitive with beatboxing. I love creating, I love collaborating. That's me. I'm not bothered about competing against other people, but I'm glad that I did it. Although, again, winging my way through life, I didn't think that I would get far in the U.K. Beatbox Champs, just because the guys’ level is so high, but I just wanted to represent, so I entered. So, you send in a video, I think it's like 1 minute 30, and then judges, I think about 200 people enter, and then judges choose the top 30 and then you do an elimination round.

Kimmy: So you do, I think, 1 minute 30 or 3 minutes of a routine in front of a live crowd and judges again. And if you get through that, it's the battle round. So, that's the top 16 then. And I'd only prepared my elimination because I didn't think I'd get into the top 16. But then I did. And so I was half like, “oh, sick”. And I was half like, “oh, no. I have to come up with…”

Matt: But in the battle environment, are you responding? I mean, are these routines pre-planned or are they, are you, kind of, having to do a bit of winging it, like, respond to whatever's coming at you from the other person?

Kimmy: So all the boys definitely pre-planned about a year in advance and they plan as if they're going to get to the final.

Kimmy: So, they have multiple things that they can do. So, when you're in a battle, you do 1 minute 30, then your opponent does 1 minute 30, then you do 1 minute 30, then they do 1 minute 30. So, essentially, you need 3 minutes of fresh material for each one that you get through. And then, because you don't have that much time in between the next battle, I’d just run off to the toilet and try and come up with… like, in the club whilst beatboxing is going on so my fingers are in my ears to try and make it quiet so my brain can try and think of something. And then, went into the next round, managed to get through that [00:28:30] and then went into the next round and then I think I started with, [beatboxing] “I didn't think I'd get this far, so I didn't prepare anything for this battle”.

Kimmy: And then just repeated that, and then I was like, “big up the girls” [beatboxes] And like, the crowd was just backing me, because they, obviously they were happy to see someone that wasn't a guy, I think and just, yeah, backing that, and then the fact that they could just see that I was winging it totally.

Matt: So, because it sounds like, as well, stylistically, I mean, people that probably aren't, kind of, fully engaged with the beatbox world maybe think that it's a box of tools. But it seems like beatboxers have very distinctive styles.

Kimmy: Totally.

Matt: If you were to describe your style, what is your style?

Kimmy: I, it's a good question, but I don't actually know. Um, feral.

Matt: Feral, right. Yeah. That's just because like, you know, Rahzel, I guess, [00:29:30] was kind of well known for this sort of singing element, wasn't it? Of his beatboxing. And then like, Killa Kela was kind of a big tricks, wasn't it? And lots of, kind, of bass notes, really big bass sounds. And so, do you have, like, things that, kind of, define you from other beatboxers?

Kimmy: I think I'm just a bit of a pick and mix. I think very four to the floor. Four to the floor, it's like house music, very like, boop choop, boop choop, boop choop, boop choop. Yeah, like four four rhythm, but also [00:30:00] I'd say not many, well, I don't think that other non-binary and female beatboxers can do a lip roll, which is the [lip rolls], not in the UK anyway.

Kimmy: So maybe that? And also when I go [beatboxes], that little sound.

Matt: That's cool. And so, because you can sing, obviously, but can every beatboxer sing? Is that, like, a necessary part of what people need to develop?

Kimmy: No, not every [00:30:30] beatboxer can sing and sometimes I can't sing. Sometimes a note comes out and I'm like, “ooh”, but it definitely helps.

Kimmy: And I think the beatboxing world has developed so much because obviously when it first started, it was very hip hop, very… and I think maybe even like five, ten years ago, beatboxers just wanted to do the most technical thing that they could do. Whereas now, it's quite beautiful seeing a lot more beatboxers using their voice and singing and creating space and making actual songs, instead of just being like [beatboxes quickly]. People are just, yeah, it's a lot more musical, I would say.

Matt: Yeah. And do you think, with technology, it's become easier for beatboxers to become musicians in that respect? In terms of making actual songs?

Kimmy: Yeah, defo. So, you can just record yourself, plug in a microphone to Ableton or whatever software, and you can be the drums, you can be the trumpet, you can be…

Matt: So are you producing as well, alongside, kind of, what you're doing?

Kimmy: I'm trying. This year, I'm on it. I bought Ableton, so that's dipped my toe in, because yeah, I really want to. It doesn't come natural for me, like, my brain, as soon as I open a laptop, I'm like, “uuh”. Like, I'm a lot more practical, uh, I'd love to just play instruments and have someone press the buttons and that.

Kimmy: But I think it's good, good to learn to do that stuff as well, so yeah, this year I'm on that. [00:32:00] And also with singing, beatboxing's my little comfort blanket. I've done that for so long. And, like I said, using my voice was never, I never thought I would do that, and it took me years to even say, “Yo, thank you, I'm Kimmy Beatbox, blah, blah, blah, blah, blah”. Nevermind singing. But that's really what I want to start doing. So, yeah. Doing that in the comfort of my own home is, yeah, it's where we're at right now, as long as no one else is in.

Matt: So for any, sort of, aspiring performers that are listening to this, obviously for you beatboxing is kind of the vehicle. That's what's driving everything. What other skills have you had to learn along the way? You know, obviously you mentioned, you know, this idea of, sort of, management, time management, you know.

Matt: Sounds like you've got to, kind of, communicate with a lot of people. What are those key attributes that you've had to develop?

Kimmy: So much. And I mean, I struggle with [00:33:00] consistency, I can't lie, but if you're listening, try and stay consistent. But yeah, social media, recording videos, how to be on calls, emails, being on it with that.

Kimmy: Yeah, so just having to do everything. Turn up, perform, be… you're everything. You're your manager, you're your agent, you're the performer, you're the social media. So, looking after yourself as well is so important. But you're doing like six different job roles in one.

Matt: So it's good for people to start developing those skills early, you think?

Kimmy: Definitely. Yeah. And just connect with people. I know it's not easy for everyone, but social skills have helped me so much. And I think I get booked a lot with jobs because of my personality as well as… because if I was just a shy little thing, then I'm not going to connect with people and get those rebookings and stuff.

Kimmy: I know there's a lot of introverted musicians out there, and I know it's easier said than done. But the more you practise, [00:34:00] and even going to open mic nights, and chatting to people, and having a jam, and collaborating with other artists, all those little things help so, so much.

Matt: Yeah, so just developing, even if it's just in a professional manner, just to be outgoing enough to, kind of, manage those relationships is, is important? Because you… you work with brands as well, don't you? What's it like working with them?

Kimmy: Yeah, brands are ace, I mean, when they book you, they treat you so, so well, so it's lovely. I remember busking on Brick Lane and someone that worked for Coca Cola saw me, took my socials, and I ended up doing two Coca Cola adverts.

Kimmy: First they wanted me to do it for free, naughty, but then…

Matt: Yeah, what's your, what's your position on that? Because sometimes, there's an expectation, particularly where people are at the start of something, that they should be willing to work for free, or they should be, they should be doing things for [00:35:00] the love of it, you know.

Matt: What do you sort of think about… how should the industry be treating new artists?

Kimmy: I think, pay, pay the people, it's… the exposure thing is horrible. They know people will do that as well, and as a creative, obviously, you want the opportunities, so it puts you in a really difficult position, but from what I've learned, whenever I've been like, this is my fee, if they want you, they'll, they'll at least come with a knockdown offer.

Matt: Yeah, Coca Cola have probably got a few quid knocking around.

Kimmy: Do you know what I mean? Come on haha.

Matt: Yeah, I reckon they can afford to, uh, yeah, pay up.

Kimmy: Yeah, so you just have to be brave and show yourself the respect you deserve because I promise that jobs will pay you. And if they don't, then I wouldn't really wanna be working with someone with morals like that because yeah, they… it's a tough industry.

Matt: But at times with that consistency thing that you were saying about, you know, be consistent in terms of your practice and your craft, but also be consistent in your own self-worth and, yeah, maintain that in all the different spaces that you're in.

Kimmy: Yeah, and know your worth. You're special, know that you've got something different to bring to the table.

Kimmy: Whether you're a beatboxer or a singer, I know singers, there's a lot more singers than there are beatboxers, but you've got a special sound. No voice is ever the same. So, really, clock in with that.

Matt: That's great advice. That's really good. Thank you. So, we might have someone sitting at home listening to this thinking I'll give that a go. How do you get started? If you were starting, winding back to Kimmy beatbox day one. What are those basic skills that you would recommend?

Kimmy: So, the basics I would say, there's three sounds that you want to get covered, which is the kick drum [00:37:00] [beatboxes kick drum sound], which is like that. So you want to keep your lips together at the side and focus on the sound coming out the middle and use your diaphragm to push that. Don't be disheartened if it sounds like “p, p, p, p, p”, because obviously your lips and muscles, the more you do it, the stronger it's going to get.

Kimmy: So, yeah, that's number one. That's probably the most common used sound, so [beatboxes kick drum sound]. Even if you listen to a song on the radio, just have a little p, p, p, p, p along to it. Second sound is the easiest sound in the whole world. Everyone will be able to do this. It's the “tsss”. It's the hi hat. It's like the letters T and S.

Kimmy: You can do short ones, long ones, tss, tss, tss, tss, tss, tss. And even with the kick drum and the hi hat, taking me right back to Sankeys, but you've got a [beathboxes] “pt, pt, pt, pt, pt, pt, pt, pt”. So, that's a beat in itself. Then, the third sound is the snare drum. There's different ways to do this. The easiest way is to do an outward one, which is a [beatboxes snare drum] ck.

Kimmy: However, if you put your hand on your tummy when you're doing a pp and a tss. You'll realise that you're pushing air out. So you need to breathe back in. So you need to get…

Matt: Because consciousness, remaining conscious is important.

Kimmy: It helps. Yeah, it helps. So if you can do a sound that gets air in.

Kimmy: So we do an inward snare. And the way I teach this is, if anyone's ever stubbed their toe. I mean, if you haven't, it's coming for you. You can't get through life without stubbing your toe, but. And you go, [00:38:30] [beatboxes] and you suck all the air and spit back down both sides of your mouth. And to turn this into a beatbox sound, you put the tip of your tongue on the roof of your mouth and do a [beatboxes] KSH!

Kimmy: Short, sharp one. KSH! And it kind of feels like when you go dentist and they've got that horrible cold air sucky thing and it's like KSH! That's the feeling we're going for, unfortunately. So, those three sounds “P”, “Tss” “KSH!” They're the most important. And, I think people always think, “oh, you must have to learn so many different sounds as a beatboxer”.[00:39:00]

Kimmy: No! Even with them three sounds, you can do a hip hop beat [beatboxes a hip hop beat], or you can do reggaeton [beatboxes a reggaeton beat], or drum and bass [beatboxes a drum and bass beat]. It's just about putting them in a different order, so you don't have to learn a hundred sounds. You can just learn three sounds, and think “oh, let me switch up the [00:39:30] rhythm” and then you've got a totally different beat. And then a couple of bass sounds, I'll teach, lip bass, super easy [does lip bass] It's like if you've ever done a vocal warm up, but just take away your voice and you're left with [does lip bass]. That's lip bass.

Kimmy: For anyone that can roll their R's [rolls r], we're gonna take away our voice again and you're left with [beatboxes]. Now I love doing that one. The more of a smile you have, the higher the pitch [beatboxes while changing pitch]. [00:40:00] And one, for any Peppa Pig fans, you can add a [beatboxes honking sound]. That's a super fun bass, you can be like [beatboxes]. Yeah, have a little play around with it.

Kimmy: And any sound is a sound. So, like, there's no right or wrong way to beatbox. I think that's a really… I love saying that when I teach, ‘cause people are so embarrassed to beatbox and I get it 'cause we're just used to speaking and using our voices or singing. But beatboxing feels so unnatural if you've never done it [00:40:30] before.

Matt: And what, how does, like, technology kind of play into that as well? 'Cause obviously you see people using loop stations, microphone position. Like, what sort of techniques do you use with tech?

Kimmy: So, I have a loop station and I love, I love using that, but you don't even have to be a beatboxer to, to do a loop station 'cause you can, you can make yourself sound like that without, without sounding like that.

Matt: Can you explain what a loop station is and how it just, like, basically works?

Kimmy: Sure. So a loop station is a [00:41:00] device, you can have different numbers of pedals on it. My one's got five different stations. So for example, if I went [beatboxes] and then pressed the button, then it would keep looping that over.

Kimmy: And then it enables me to layer, layer as many layers as I want, so you can even add… you can plug in an instrument so you can have keys on there as well. You can do harmonies. It's a sick piece of equipment. So I highly rate them.

Matt: It’s like the modern equivalent of the sort of one person band.

Kimmy: Yeah, exactly. And as a beatboxer as well, because, when you do solo gigs, you have to think, right, I've got to speak, I've got to do the drums, I've got to do the bass, I've got to do the vocals. So you've got to do everything. Whereas if you have a loop station, that creates so much more space for you to take your time and not have to do everything in one.

Kimmy: Say, for example, if I wanted to do drum and bass and I'm doing a solo gig, I'd have to be like [beatboxes] [00:42:00] “How's that sounding? How's that sounding?” And, like, do everything. Whereas, like, if I had a loop station, then I can just layer it up and then I can speak over the track. And interact with the crowd that way.

Matt: So it makes it more performative as well. I guess there's, you've got more dimensions to play with.

Matt: That's brilliant. Look, thank you ever so much. So, we usually finish up things by asking our guests to set some sort of provocation to our listeners. So, that can be anything from a call to action, a task you'd like them to do. Just wondered if you had anything that you would like to see or hear the audience doing as a result of this.

Kimmy: I mean, I have, I would love to hear some people beatboxing. But I think for me, do something out of your comfort zone every day. And that could be as simple as complimenting a stranger. So I have written on my whiteboard, compliment three strangers a day. And it could be if you just see someone wearing a bright colour, be like, “that is your colour”. And then you walk on. It's… it's not as scary, and that just helps so much with social skills and spreading kindness as well and you feel good when other people feel good. So yeah, spread love to yourself and to others.

Matt: You can't argue with that. That's brilliant. Thank you very much. Look, it just remains for me to say a massive thank you to you, Kimmy, you've been a fantastic guest. I mean, just brilliant performances, you know, such amazing insights and we're incredibly grateful. So thank you ever so much for coming on today.

Kimmy: Thank you, mate. You've got lovely vibes, so thanks for having me in.

Matt: Again, a massive thank you to Kimmy Beatbox. So incredibly cool to speak to them, to bear witness to their fantastic beatboxing skills and to understand how they've got to where they are today. Thank you very much, Kimmy. If you want to know more about Kimmy, you can follow them on TikTok or on Instagram @kimmybeatbox. You can find the links to these in our episode description. So, are you rating us? Are you subscribing? Have you told your family and friends about us? If not, please do. We really need your ratings and reviews to help us to improve this podcast. It helps us to understand what you think of the show. Thanks for listening and until next time, take care.