Tinie Tempah

Like the arts in the UK is one of our biggest exports.

It's like a huge soft power of ours.

And some of these venues are iconic venues and they're going rapidly.

Like I saw that in Germany, Berlin specifically, they got UNESCO to come and kind of put this, give this special title to their techno scene, like make it like a protected sort of heritage venue.

place of influence or something.

I don't, I can't remember the exact term, but in my mind, I was like the UK for all the bands and DJs and acts that we've had come out of all of these little pockets of Bristol or Devon or London or Manchester or whatever, we should be preserving it and protecting it in the same way.

Not at all.

And if you're not in that sort of 5% of artists that you've named, the reality is you're earning the majority of your income from live performances.

And so if we lose all these venues and you have nowhere to play.

Live's where it's at for money now, really.

Yeah, that's where it's at for money.

And you're killing the spaces where people can earn a living.

So it's just a bit shit, mate.

So I was like, you know what?

This feels like something that I'm passionate about.

This feels like a message I can convey.

It's definitely been a part of my come up.

Some of my biggest records, Miami to Ibiza with Swedish House Mafia, Drinking from the Bottle with Calvin Harris have been dance leaning records.

Like, let me just do this.

So that's kind of where I'm at now.