Skaiwater is a rebel. An innovator. Someone who is always looking for opportunities to shake the table and wake everyone the fuck up. “I'm trying to create chaos a little bit,” Skai tells Complex. “I feel like shit's been a bit stagnant for a minute. Everyone else is scared to do different things. I'm here.”
That’s a big reason why the biggest artists in the world are paying such close attention. In the past year alone, the 23-year-old Nottingham, UK rapper has been co-signed by Playboi Carti and collaborated with stars like Lil Uzi Vert and Lil Nas X. Whenever the biggest, most forward-thinking artists in rap come across Skaiwater’s music, they usually stop what they're doing and try to get involved.
But why? Well, the music is undeniable. Skaiwater makes cutting-edge songs (the majority of which are self-produced) that break the rules while somehow remaining catchy and immediately digestible. Under all the distorted bass and unconventional production choices on standouts like “rain” and “#miles,” you’ll find sneakily sturdy songwriting and melodies that’ll crawl inside your brain and never leave. Innovators tend to gravitate to innovators, and Skai’s I-don’t-give-a-fuck approach has caught the ear of all the right people.
As a teenager, Skaiwater fell in love with albums like Travis Scott’s Rodeo. But it wasn’t just the beats and the melodies that caught Skai’s attention. It was Travis’ relentless drive to alway try new shit. “He was just thinking harder than n***as were thinking at the time,” Skai says. “I try to radiate change. That's what I'm going for.” And now, the rising rapper is taking that same mentality with them as they encounter new opportunities of their own.
After spending a week at Rick Rubin’s iconic Shangri-La studio, Skai ended up with one of the best songs (“New Slaves”) on Pigeons & Planes’ April 2024 album See You Next Year 2. A few months later, Skai dropped a new album called #gigi on June 24 that’s somehow even bolder and more adventurous than their previous projects. “My goal with every project is to evolve my music and create a cohesive vision for where I’m at as an artist,” Skai explains.
This spring, Skaiwater sat down with Complex to discuss new music, the Pigeons & Planes sessions, rave culture, and more. The interview, lightly edited for clarity, is below.
What takes up most of your time these days?
Music takes up the most time in my life. And if I'm not recording, I'm just trying to figure out how to make sure my shit is understood. I used to live in fear of what people thought, so I'm trying not to live in fear at all. Fear is very powerful, so I'm trying to make sure people understand what I'm going for in the loudest way.
Last year, you went out to Rick Rubin's Shangri-La studio and made music for the new Pigeons & Planes album. What was that experience like?
It was turnt, bro. It was my first time ever going to that side of California, and the first time I've ever been in a studio like that. It was fun.
Shangri-La is a legendary space. How would you describe the environment out there?
Very zen. I feel like it's like a meditation space. When we first got there, they had us all meditate and breathe. It's very open.
There were a lot of cool young artists out there at the same time, creating together. What was that experience like?
It was cool. I've had the blessing of being around a lot of artists coming up, so I'm used to the social feeling of it. But it was cool meeting up-and-coming people from different sides of music.
Your song on the album is "New Slaves" with Billy Lemos. What do you remember about the making of that?
I recorded that whole thing outside. There was a little directional Shure mic, and there's a stage in front of the chapel, which is outside. So I was just pacing back and forth recording that, but still punching in. Being able to hear it loud outside was different, and I think it came together quicker than it would have if I wasn't outside. That shit was definitely the most surreal creation experience I had over there. It was just so quick.
Were you trying anything new on that song, on a musical level?
With every song, I try to find something I haven't been able to find before and try to use that. So there are some little voice things on that song that I hadn't done before.
When you think back on that week, is there a funny or memorable story that comes to mind?
I brought my partner there and one of the employees' dogs did a drive-by kiss on her. That was crazy. It was wild. It's all grass and trees out there and the dog is super calm, runs back, [kiss sound], and gets out of there. It was crazy. That's my core memory, because that's when I started really fucking with dogs. I got my dog around that time, so I definitely remember that.
What can you tell us about your dog?
Oh, Biggie! That's like my brother, my son, my spirit animal. He's held me down a lot, especially coming out here and not really knowing too many people.
I heard you had an experience with mushroom tea at Shanri-La, too?
Yeah. [Laughs.] The whole time, they had this tea. It's called Space Tea. And it's like fake shroom tea or whatever. And then the last day, they gave me a bottle and I'm thinking it's the same shit. [Makes exaggerated drinking sound effect.] I got fucked up. Fucked up my whole shit, bro. I was tripping. I realized maybe 30 minutes later. [Laughs.] We were sitting in the same part of the chapel, and I was like, "These trees are definitely not staying still." I was like, "I know this feeling. I know this feeling." So I was like, "Could we leave?" That was the last day and it sucked because I had to leave abruptly because I was fucked up off the shrooms. But it was fun, though, and I definitely kept the tea. [Laughs.]
For people who don't know your story, let's take it back. What first made you want to make music?
My dad taught me how to produce when I was younger. He taught me how to start recording shit when I was like 16, so I bought a mic and an interface and shit, and I just didn't stop from then.
Were there any albums that inspired you in a big way early on?
Rodeo by Travis at the time. That's about it for a minute. Rodeo was really the standard. It was elevated trap, very early. I also really fucked with [Kanye West’s] My Beautiful Dark Twisted Fantasy and 808s & Heartbreak. When I found Frank [Ocean] and SZA, I really tapped into those, but that was way later on in my musical journey.
But early on, it was Rodeo that inspired me. It just showed me you could elevate some shit. He was just thinking harder than n***as were thinking at the time. He was taking from trap and finding the new sounds of trap, but also adding things that come from other sides of music that made it more luxury. It was like luxury trap at the time, and I just respected the evolution.
Do you still try to put those things into your own music?
Yeah, it helped me blueprint a little bit in my process. I'm always trying to find new things, new ideas, and introduce new sonics to people that are listening to me. I try to find ways to evolve it for a different audience. Sometimes it just takes a different element for people to understand what you're going for.
What was it like growing up in Nottingham?
Nottingham was very cool, but there was no money out there for me to make. I miss home all the time, but I be feeling like I'm spiraling over there, bro. Nothing's getting done...
Like, there isn't much of a music industry out there?
There isn't as much of a creative industry in England in general. I feel like everyone's a little bit held back by whatever else is going on. But out here, there are more opportunities. People are more creatively inclined and more open.
How would you describe your childhood? What kind of kid were you growing up?
It was cool. I don't really remember a lot before music to be honest. It was cool, though. I was supported. That's what I really needed to get here, just being supported.
Do you think you were more influenced by your surroundings in the UK or by the internet?
I think I was more influenced by my parents than anything. They didn't really want me on the internet too much, but at the same time, it took me a minute for them to really trust that my surroundings were cool for me, and that my surroundings were going to help me get to wherever the fuck I wanted to go. So it was mostly my parents, and then obviously the internet helped me, too.
Was there a moment when you think you found yourself as an artist or found your voice?
Probably at the end of 2021. I had been making what I wanted to hear, but also what I thought people wanted to hear, but then I got back into the mindset of just trying to think of something new that would surprise me. I think that just helps you express yourself in general, when you're not thinking about how it's being perceived.
When you make music, is there a mood you usually try to put people in? Or is there a specific energy you're usually trying to achieve?
I always move with emotion. When it comes to art, I always try and move from an emotional standpoint or an expression standpoint. A lot of people say it's sad music, but with uptempo production. But I don't know, I don't have a word for it.
What makes you stand out from other artists?
I think it changes all the time, bro. You always have to be evolving. People hate change, but people want to see change. So I try to radiate change. That's what I'm going for.
You produce a lot of your music yourself. How did you get into that, and why do you like making your own beats?
My dad showed me how to do it, and how to actually use the program. I was like eight, or maybe 11. And then when I was like 19, I was like, “I need to actually learn how to do this.” But beats are just distracting and, I feel like if someone else sends me a beat, they've already given me a preconceived notion... They've given the blueprint for how this song is going to turn out. So I just got tired of it, and just felt like it was too much of a process.
When you make the beat and do everything on a song yourself, do you feel like it's a more full expression of yourself?
Not necessarily. Everyone gets into shit for different things. Your full expression might be picking the beat that you fuck with from a producer you fuck with and then saying what you want to say. Everyone has different approaches. I feel like my music serves a different purpose than anyone else's. We all serve specific purpose for whatever people need in that moment. We're all expressing ourselves.
Do you have dreams of producing for other artists?
I've done a little bit of that, but I want to make sure I'm solidified before I keep giving my energy to people.
Is there someone who you dream about producing for someday?
Beyoncé, bro. Or maybe not even produce. I just want to do something for Beyoncé. I just respect where she—even what she's doing now [in country music]. I just respect how much thought she still puts into the music.
I feel like you're part of a generation of artists who are very DIY and can handle every part of the creative process themselves, but there's also a community and everyone is willing to hop in Discords and shit to collaborate. Have you noticed that?
I think it's just the evolution of music, bro. I feel like shit just gets more accessible and easier over time. Me and my dad talk all the time about how different his shit would've been if he even had FL the way I have FL. You know what I mean? Now you can make a Billboard hit on your phone. I think everything's just more accessible and easier, and the next generation is going to have even more at their fingertips. It just feels like a natural evolution of what was already happening, because you saw Bryson Tiller recording his shit in his house and Billie Eilish doing her shit in her room... It's just the way shit goes.
I'm sure you got comfortable making everything in your room by yourself. When you ended up in a big professional studio with a bunch of other people for the first time, was that a shock?
It wasn't a shock, but it was definitely a learning curve trying to turn it into my natural process. I was used to recording by myself. But I think there are benefits to the studio and then there are benefits to being able to do it by yourself. They're options.
What do you think of genre labels? Do you think there are some labels that fit your music or no?
I feel like labels just help people understand the world we're in. So there's always a label that can apply to what people are doing. But people just make whatever now, man. They make whatever they want. I mean, you could say [my music is] dance music. You could say it's hip-hop. You could say it's r&b. You could say it's sad music, happy music. You could say it's experimental. You could say it's ass. You could say it's profound. You could say it's old fashioned. I feel like things just subjective.
And it goes song by song, too. Not all of your songs are the same…
Yeah, that's why I find it hard. I don't want to lie to somebody and be like, "Yeah, I'm spitting," and it's acoustic.
What do you think of the term underground?
I don't even know what it means anymore, bro. I feel like it used to just mean a small artist, but now it's just like a whole thing…
Do you think people use it incorrectly?
Words just change. Before the whole SoundCloud shit, you had a definition for the "underground." But I think times just change because I don't even know what that shit means anymore. It's like a clique now. It's giving what “scene” was. Back then, it was more of a movement than a definition of whatever it was before.
Yeah, some people use the term “underground” to talk about a scene or a subgenre or a movement. But by definition, “underground” makes it sound like you're also saying, “Oh, it's not very popular...”
I was literally speaking to my manager about this on the way here... And I feel like hip-hop's going to have to evolve in some way. I think alternative hip-hop could definitely be one of the directions we go in. Just like a punk version of something that's very mainstream now. Because it didn't start that way, you feel me?
What is one thing you hope changes about the music industry?
Everyone should get paid more and on time. That's all.
I know you're into rave culture. What's your most memorable experience at a rave?
Those abrupt exits are always the most memorable. Hearing my own music at raves was cool. But the most memorable? Probably having to run out after some bullshit. [Laughs.]
Was there a moment when you started going to raves that you realized, like, “Oh, I feel comfortable here”?
When we used to do them at home, I'd always feel comfortable. That's where I picked up on that culture from. It's been weird out here, though, bro. It's like a whole different thing out here. It's cool, though. It's fun. But it was interesting seeing the difference between the two, for sure.
What about rave culture speaks to you?
It's the community aspect of it. It's like what my parents came up on. That's what the culture was before the whole drill Afro shit in the UK. It was like garage, bassline, warehouse, you know what I mean? Pirate Radio, things like that. I think it's just in my DNA, bro.
What do you think people misunderstand about rave culture?
I think they think it's just like EDM festivals. Like, "wooooo!" But everything comes from a smaller, more genuine place.
What's one thing you learned while being on tour with Lil Nas X?
I definitely learned how to play in front of big amounts of people. I don't think I'd even played a thousand people before that. The first show was like 5,000 and the last show was 20,000. And it was a two-week span, so it was definitely a learning curve. But it was fun. It was definitely a blessing to even have the opportunity to learn those things in real time.
Do you get to spend much time with him?
Yeah. A little bit less now. Life is just changing very fast in general. But yeah, I still see him now and again when I'm in Cali and shit.
Is there anything that would surprise people about him?
He's like an angel in my life, bro. He's definitely done way more for me than he had to. I don't like the word “celebrity,” but a lot of people think celebrities can be assholes after a certain point in time, but I've seen him stay very genuine.
What was it like working with Lil Uzi Vert?
It was fun. Everything was happening very fast back then, so it was a lot. But it was another opportunity that was a blessing to learn from in real time. It was fun.
How did you make the connection with Uzi in the first place?
He just hit me on Instagram. I feel like it's always way simpler than a lot of people think it is. People just see what you're doing and want to embrace it or show respect or whatever. But yeah, he just hit me on Instagram, and we sent a couple songs back and forth for projects and shit. "Miles" was just one of the songs I'd sent, type shit.
I asked you what you hope changes about the music industry earlier. Taking things a step further, what is something you hope changes about the world?
Oh, man. It's the opposite of my last answer. I feel like money is holding us all down too much. It's a very powerful thing. I feel like we would be better off without it probably. But I don't know what that option would be. I don't know what the alternative would be. But that's probably the number one issue in my head. Maybe I shouldn't say that, but...
That's a real thing, though. As an artist, you want to figure out a way to maintain yourself so you don't have to get a job and you have time to make your art, which can be a challenge...
I think outside of being an artist, though, from a world perspective... Money was stressing me before this shit. It's on the top of everybody's head. It definitely affects a lot of things.
What's the smartest thing you've ever done?
Creating jersey club. No, I'm joking. I'm joking. I'm joking. [Laughs.]
What's the dumbest thing you've ever done?
Say that.
What's your favorite thing on the internet right now?
Dog videos, bro. My whole algorithm is just dogs right now. I can't help it.
What's your least favorite thing on the internet right now?
Trolls, bro. That's about it.
What should people know about you right now?
I'm just trying to make noise, man. I'm trying to create chaos a little bit. I feel like shit's been a bit stagnant for a minute. Everyone else is scared to do different things. I'm here. I'm here. I'm here.
How would you describe this next chapter for you?
I definitely feel more free. I feel like freedom. I just don't really have the same filter I did.
What's the meaning of life?
To get cunty. That's it.
