ARTIST SPOTLIGHT – DAYZY
Liverpool’s Dayzy is a genre-blending force, weaving his Congolese roots with the city’s vibrant sounds to create music that’s as raw as it is innovative. His latest EP, Land of Zion, is a testament to his journey, showcasing his growth and passion for collaboration.
Dive into our conversation with Dayzy as he shares the inspirations, challenges, and vision behind his artistry.
From Congo to Liverpool
Moving from the Democratic Republic of Congo to Liverpool at such a young age, how has your cultural background shaped the artist you are today? Are there specific memories or experiences that influence your music?
“From moving from Congo to Liverpool, I think my mum—my mother—would always influence us and make us aware of our Congolese roots through different musicians. Musicians like Koffi Olomide, Pappa Wemba and lots of other Congolese artists she grew up listening to really helped to influence us as well.
I have specific memories because, as kids, we moved from place to place a lot. We lived in a couple of different houses and flats. I remember one time when we lived in a flat, and my mum used to play a song called Hello, Hello, Hello, Telephone. It’s a very vivid memory because that specific song showed so much culture and togetherness within the community. I feel like it was a French song, but it might have had some Congolese influence here and there.
That specific moment showed so much togetherness, and it also brought my family together because we all enjoyed it. We would dance along, sing, and just have fun.
So, my answer to the question would be: moving from Congo to Liverpool at such a young age has definitely influenced my music. I try to intertwine and show my African roots as much as I can in my work, and I think that’s probably what you hear so far.”
Influence of Liverpool’s Community
You’ve mentioned the strong bond among Scousers and how Liverpool’s community has impacted you. Can you share how this sense of belonging has influenced your sound and identity as an artist?
“As I’ve mentioned before, a lot of my music is about representing where I’m from—whether that’s Congo or Liverpool. Those are the two things I try to represent as much as I can.
I have a strong bond with Liverpool and Scousers because that’s where I grew up and learned so much about life. I’ve always been part of the scene and the community, and that’s had a big impact on me. Growing up, I spent time in youth centres, playing with other kids, and experiencing the different sounds and avenues within Liverpool’s music scene. That’s really helped shape my identity into what it is now.
Even things like watching Channel AKA on TV, then going to school and chatting with the mandem about the latest Skepta or JME track—that all had an influence. Different experiences like that have really helped me grow as an artist.
So to answer your question: yes, the community in Liverpool, and the strong bond with Scousers, has had a big impact on my music. I always try my best to show love for the city through my work and to highlight how influential Liverpool’s music scene is. It’s like I’m saying, ‘Look at us!’ I want to show love to the city and hope that the fan base out there picks up on that and connects more with the culture.”
Blending Genres In Your Sound
Your music brings together elements of rap and spoken word with influences from jazz, 60s and 70s Afrobeat, and 90s hip-hop. How do you approach blending these genres, and what do these musical influences allow you to express through your work?
“Blending genres in my sound is something I approach quite naturally. In my head, I just take whatever ideas I have and put them down on paper. Sometimes, I want to explore a specific avenue. For example, when I was working on Land of Zion, I really wanted to go back to my roots. My mum used to play certain tracks—Grand Kalle, all of that type of vibe, which is 1970s rumba—and that became the tone for the EP. It was about stripping it back and taking it to my roots, but still presenting it as me, the artist I am today.
I’m not from the 1970s—I’m an artist of today. So, naturally, my influences also include the music I grew up on: 90s hip hop and beyond. Artists like J. Cole, Little Simz, Nas, Jay-Z—all of that shaped me. That’s why I fuse a lot of different elements in my music. I take inspiration from things I love from the past but bring them into the present to create something new.
For example, I might mix grime with Afrobeats—maybe spit over a grime rhythm layered with an Afrobeat vibe. I just enjoy the process of fusing genres and making something fresh from two different things. To me, it works, and that’s what’s exciting about the creative process.
So yeah, if that answers the question, blending genres is really about merging the influences that mean something to me and making them work together in my music.”
The Making of ‘Land of Zion’
Your EP, Land of Zion, seems to mark a new chapter in your career. Can you tell us about the inspiration behind it and what you hope listeners take away from the project?
“Land of Zion is something I’ve been holding onto for a long time. I had this dream when I was about 19, so five or six years ago. It was a powerful dream I couldn’t shake—one of those vivid moments where you feel like you’re connecting with your ancestors. I kept dreaming of home, questioning what I represent and who I am. That dream stayed with me, and it pushed me to start writing.
I needed to put it all down on paper and turn this vision into something tangible. That’s how the EP Land of Zion came about. It’s rooted in the idea of Zion as a return to home, to my roots. Throughout the process of creating it, I tried to incorporate everything I’ve learned and experienced—both in life and in music.
In my earlier EPs, I was very experimental, figuring out my sound and enjoying the process of trying different things. With Land of Zion, I took everything I’d learned and brought it all together. You can hear elements of my earlier projects, like The Card Direct EP, where I was spitting with more rhythm and grime influences, or Expectations EP, where I leaned into that 90s boom bap style and was more direct with my flow.
This EP is a reflection of my growth as an artist, and I wanted it to feel collaborative too. I brought in as many Liverpool artists as possible because I think that’s something we don’t do enough—uplifting and involving local talent. I produced a lot of the EP myself, but I also had help from some amazing collaborators. My friend Nak worked on some of the production, as did Niall Billing. We recorded tracks at Cove Studio and Go Play Studio, and we had Kelly and Beth on backing vocals.
Even with the videos, I wanted to make it a family affair. My little brother and I took on directional roles, creating visuals as part of the rollout. This EP feels like a defining moment for me. It’s the one I think people will always look back on. For me, Land of Zion is like Drake’s Take Care or J. Cole’s 2014 Forest Hills Drive. It’s the one that sets the tone for my career and shows what I’m capable of.
I might experiment with different genres in the future, but I feel like this EP is special—it’s the one that will stand out as a landmark in my journey. I want people to listen to it and say, ‘Wow, this is something special.’”
Liverpool’s Hip-Hop Scene
You’ve spoken about building a bridge to Liverpool’s rap scene. What do you feel the local hip-hop community needs to grow, and what role do you hope to play in its development?
“That’s an interesting question. I think it’s all about finding your own niche—discovering where you fit and connecting with the people in that niche. Community plays a big part in that.
I’ve spoken a lot about the importance of community, and I think it’s about being together, showing love, and supporting each other. We do that a lot in Liverpool, but we need to do it even more.
Liverpool is a smaller city compared to places like Manchester or London, so it’s harder for us to get the same recognition. We’re often overlooked in comparison to those bigger cities, but as long as we stick together, collaborate, and show who we are, I think we can make an impact. Collaboration is key—that’s something I’ve really focused on this year, and I think it’s worked.
I’ve been collaborating not just with people in Liverpool but also with artists from outside the city—London, Germany, Spain, New Zealand, America. It doesn’t matter where they’re from. Collaboration helps you learn about their culture, and they get to know yours. It also allows different fan bases to connect and discover something new.
That’s something I’ll definitely be focusing on more in the coming year—collaborating and building those bridges between cities, cultures, and communities.”
Collaborative Projects in Liverpool
You’ve been part of some exciting collaborations, including campaigns with Liverpool Football Club, Converse, and New Balance. How have these experiences shaped your artistic perspective, and are there any other artists or brands you’re excited to work with in the future?
“Collaborations have really shaped my perspective as an artist. They’ve given me a better understanding of the industry, the creative lifestyle, and how everything works behind the scenes. Experiencing this has made me want to be part of the industry even more.
One of the standout moments for me was being at Converse HQ and speaking with the Converse team. I’ve also had the chance to work with and speak to the LFC (Liverpool Football Club) community—not as the face of LFC, but as a model representing the brand. Getting to meet the people behind the scenes and understanding their creative processes was eye-opening.
It’s been such a blessing because they’ve shown me a lot of love. My face has been used in different campaigns and in various places, which has helped build my image and create a positive connection with my fan base. It’s amazing to see people engaging with my work and recognising me in different spaces.
For me, the reason this experience has been so impactful—being real here—is because I’m a Black guy from Liverpool. I’m a Scouser, and it’s not always easy for us to get the recognition or love we deserve. I hope I’ve managed to set the tone and pave the way for others. I’ve gone through this as an upcoming artist and now, as someone more established, I want the next generation to know they can do it too.
It’s about being an inspiration to the next wave of talent, the young people coming up. If I can do it, they can too.”
Advice to Young Artists
As someone who’s worked their way up through Liverpool’s music scene, what advice would you give to emerging artists trying to make their mark?
“As someone who’s worked their way up through the Liverpool music scene, the best advice I can give to emerging artists is to do as much as you can for yourself. If you play an instrument, practise it. If you sing, sing. Learn what you can at home, even if it’s just experimenting or watching tutorials on YouTube.
I understand things are harder now—there’s a lack of funding for youth centres and community spaces, so it’s not always easy to find places to go and learn. But for me, I made the most of what I had. When I was at home, I’d research places I could go to or communities and projects I could get involved with. For example, LIMF Academy, Mazey Rail, or Sound City helped me understand more about music and connect with others.
It’s not just about playing music—it’s about understanding the music business, the theory, and everything that goes into being an artist. Learn as much as you can about the industry and how it works. That’s what really helped me.
Getting into the studio was a big one for me—recording, experimenting, and putting music out there to see what feedback I got. That helped me improve and grow as an artist. Don’t be afraid to collaborate, either. Work with people you know and even people you don’t. Collaboration is such an important part of building yourself as an artist.
Ultimately, just keep doing what you can, whether it’s learning, collaborating, or creating. The more you put in, the more you’ll get out. Dayzy out. Peace.”
Stream Dayzy’s new EP ‘Land Of Zion’ on all streaming platforms now.
To keep up to date with Dayzy, follow him here.
Words by Kieran Irvine