Following the release of his sixth solo album, the Sheffield-based artist and MC speaks to Joseph Food about a return to the live circuit, paying dues to the hip-hop genre and why he’s more at ease with writing introspective lyrics.
During our last interview, which took place in November 2021 following the release of his fifth album, Kid Acne described how much he enjoyed producing “the most straight-up, traditional hip-hop I’ve ever made”.
By this point, the MC had solidified a formidable alliance with Chicago-based producer Spectacular Diagnostics (Robert Krums) and Sheffield-based mixing maestro Dean Honer through 2019’s Have A Word. Together, the trio continued where they had left off with the follow-up, Null & Void, imprinting their stamp on the golden era of boom-bap and taking listeners on an immersive journey through a dystopian world destroyed by the arrival of new technology.
An embedded sense of direction and self-assuredness in the process is evident on their third album linkup, Hauntology Codes, which continues with a winning combo of gritty beats, mind-bending rhymes and impeccably delivered flows.
“We’ve now got our system and formula in place,” he says on achieving a hat-trick with Honer and Krums. “I think this a natural follow-up to Null & Void, and we’ve revisited some beats and lyrics which laid dormant but made more sense alongside the newer material. It feels like a really balanced album, an enjoyable start-to-finish listen and something that can serve as part of a broader playlist with the other two [albums].”
The latest release has also heralded a return to the live circuit, where a half-hour set will feature a mix of tracks from Have A Word, Null & Void and Hauntology Codes. His first run of live shows in years, the MC recently performed a hometown in-store gig at Bear Tree Records and later took to the stage in Leeds alongside long-time collaborators Juga-Naut and Sonnyjim.
Kid Acne performing at Headrow House in Leeds earlier this month. Credit: @searle.visual
Back in the Steel City, Kid Acne is looking forward to heading up a bill alongside Jackie Moonbather, Lil Jay Erryday, Tom Newell, Zeeni and True Fiction at Church – Temple of Fun on Friday 22nd March. “I performed last year as part of an exhibition with visual artists in Denver and I suppose it was a bit of a baptism of fire show,” he reflects. “It’s just a case of getting back into it now. I think for me, there’s a sense that if you leave something too long with art and music, you start worrying about whether the rust has set in.”
For those who’ve closely followed Acne’s musical output, they might discern in Hauntology Codes the odd shift in tone amidst familiar servings of unadulterated hip-hop topped with a distinctly British garnish (cabbage, hedge privets and pebble-dashed cul-de-sacs all get a shoutout on the record). Compared to previous offerings from the artist, there’s a noticeably increased presence of vulnerable lyrics coming through the mic.
“Can’t sleep without valerian / Wrestling thoughts staring up at the ceiling,” he raps on ‘Dues Paid (Now I’m Overdrawn)’ – a standout track that pulls no punches in reflecting on the artist’s personal development. Further references to a transformative journey undertaken can be found in ‘Eat Right’ (“Went through some shit when I wrote this / It’s not like anybody noticed / Except my girl and my bro did / And they helped me maintain focus”) and ‘Quicksand’ (“It’s a shame we adore those who ignore us / And in turn we ignore those who adore us”).
“Political statements and emotional outpourings aren’t really my thing, but there are definitely some more vulnerable moments on this album,” he answers when we get onto this subtle but meaningful shift in lyrical content. “I think when I was younger, I maybe exacerbated the comedic side of things in the lyrics and played up to that role. My biggest self-criticism would be that it took over from learning the basic skills of rap; I was more about a punk-style approach back then, driven by raw energy. But as I got older and mellowed out a bit, I realised that studying the art of rapping would be a useful thing to do, and while I can’t do it the same way as other people do, I’ve found my own way that I’m actually more comfortable with.”
As well as the honing of rap skills, there has been significant personal progress made, bringing him to a place where he’s more at ease with himself and, as a result, can now delve into more introspective writing. The loss of his dad nine years ago due to the effects of alcohol abuse led him to make a number of lifestyle choices, including going teetotal and seeking bereavement counselling.
“Political statements and emotional outpourings aren’t really my thing, but there are definitely some more vulnerable moments on this album.” Credit: @searle.visual
He explains that given his family’s experience, sobriety came easy to him, but therapy was where the hard yards were to be found, leading to years of unpacking and analysing until a sense of self was rediscovered. “Looking in at yourself is an uncomfortable thing to do. But over a number of years, I started finding my voice again. I’ve since found that everything’s easier in terms of my creative output, as how can you be authentically you if you’re avoiding the difficulty in your own life? I think there’s a relatability to that, and I’ve had more MCs contact me about this album than any other. When they’re giving me props for what I’ve done, it makes me think I must be doing something right!”
While external validation from peers provides a natural boost, it doesn’t automatically confirm the record a success for Acne. “For me, success comes from the fact that I’ve made the thing I wanted to make. I stuck to the deadline, chose the songs carefully and brought along some meaningful guests. Cappo, Sonnyjim and King Kashmere are three high-calibre emcees who are renowned internationally and I have personal relationships with all of them.”
Looking in at yourself is an uncomfortable thing to do. But over a number of years, I started finding my voice again.
As we round off the interview, we touch upon how last year marked the 50th anniversary of hip-hop – a milestone commemorating the time DJ Kool Herc used his turntables to play the instrumental drum breaks of popular funk and soul songs at a party in the Bronx. I wonder aloud whether the celebrations allowed for some reflection on what the genre, which has infused his art and music for so long, means to him.
“It means everything to me,” he replies without missing a beat. “When I found hip-hop in the early ’90s, I found a frequency which resonated with me and I wanted to be part of it. Hip-hop is so unique in the sense that it’s a participant-based youth culture, so it came packaged with all these extra elements: breakdancing, DJing, rapping and graffiti. It was something you could actively partake in rather than just consume.”
There’s a thoughtful pause before he continues. “I was fortunate enough to go from a small market town in the East Midlands to meeting my heroes at international graffiti jams, from growing up in a council house and working in a factory to travelling the world and supporting my favourite hip-hop artists. That’s amazing. It’s a genuine phenomenon, a youth movement born out of poverty and making the most out of difficult circumstances using unconventional methods to create something groundbreaking that remains relevant to this day. It really did change my life; without it, I don’t know what I would be doing.”
Hauntology Codes is out now. Kid Acne plays Church – Temple of Fun as part of a Tha What 0114 Presents bill on Friday 22nd March. Tickets (£8/£10 otd) here.
