Glasgow’s LuckyMe collective are an integral part of the second half of the story (part 3 of the book to be exact). Of the cities that acted as physical nodes for the beat scene’s digital network in the late 2000s, Glasgow was the most important in Europe, challenging London’s long-standing hegemony as the place for cultural and musical innovation in the UK.

LuckyMe put Glasgow on the map for a whole new generation of kids, beat heads and electronic fans. I spoke at length with the two founders, Dominic Flannigan and Martyn Flyn, about the label’s history and growth, from the bedrooms they inhabited in the 2000s to working with Kanye and producing stage shows for the likes of Hudson Mohawke and Cashmere Cat, two of the biggest acts to have emerged from the tight-knit group. And of course there’s also some words about how MySpace played it into all.

The piece is published over at The Fader and it gives you an idea of what will be touched on in the book (likely chapters 8 and 11). Chapter outline and synopsis are here.

After LuckyMe became a label it needed a way to be heard, and in the late 2000s there was only one way to do that. “We first gained a level of worldwide awareness thanks to MySpace,” Flyn admits. Able to discard their geographical outsider status, LuckyMe quickly established a global network of connections. They channeled that energy through a regular club night, the Ballers $ocial Club in Glasgow, where residents and guests would mix up genres, styles and eras in a way that presaged hip-hop’s reunion with its electronic roots in the following years. Much like Low End Theory, their club night counterpoint in Los Angeles at the time, LuckyMe is a MySpace success story that has lasted. But while Los Angeles has remained attached to the beat scene long after the hype around it died off, LuckyMe has pushed forward into the unknown. Looking back on those early years, Flannigan notes that it “felt like we made it through a gate.” As long as it excited the two founders, they’d do it.

Read the feature here.

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