KOF: ON MUSIC, COMMUNITY, AND LEGACY

KOF has been a key figure in Liverpool’s music scene for years, blending R&B, hip-hop, soul, and reggae into a sound that’s as authentic as his story.

From growing up in Wavertree and Anfield to experiencing East London’s grime explosion, his journey has been shaped by rich cultural influences. In this interview, KOF reflects on his musical roots, the importance of supporting emerging talent, and how fatherhood has inspired his latest work.

You’ve been a key figure in Liverpool’s music scene for years. How did growing up in Liverpool (and spending time in London) shape your sound and approach to music?

Liverpool gave me my roots, but London expanded my vision. Even though I was still young when I left, I’ve always known Liverpool to have a rich musical heritage, from The Beatles to reggae sound systems and grassroots hip hop. I was born in Wavertree, but when my dad relocated to Ghana for a few years, My mum and I moved into my nans in Anfield, which was a big cultural shift. I remember being the only kid of any other race in an all white school. That experience shaped my perspective in ways I probably didn’t realise at the time.



Moving to London at five was a turning point. I ended up in Newham, East London, which was the mecca for some of the biggest new sounds that were emerging at the time, garage and then grime. The estate I lived on, Windsor Park Estate, was a 15 minute train ride to Bow, and 10 minutes to Plaistow, both areas considered as the birthplace of grime. It was regular to go to a youth club or a house party every other week and see Kano, Ghetts, D-Double or DJ Mac-10 sharpening their skills. You might walk through Roman Road Market and see Wiley cutting through or Dizzee Rascal outside Rhythm Division, which was the record shop that was more or less a hub for garage and grime at the time. These were the artists that were crafting the sound and culture, even before they knew how far they’d take it and I grew to be influenced by that.

 It was that kind of environment, everyone was in the mix, whether you were spitting, DJing, or just absorbing it all.

Your music blends so many different genres R&B, hip-hop, soul, reggae, and more. Was that always intentional, or did it evolve naturally over time?

It was never forced, it’s just who I am. Growing up, music was always playing in the house. My parents would have Bob Marley, Earth, Wind & Fire and Marvin Gaye on rotation, along with a lot of Highlife and West African artists like Daddy Lumba and others from that era. That mix of soul, funk, reggae and African rhythms was ingrained in me from early on.

 Outside the house, I was discovering hip-hop, neo-soul, UK garage, and later, grime and dancehall. So when I started making music, blending those influences felt completely natural. I never wanted to be boxed in, I wanted my music to feel authentic, like a reflection of my experiences and the sounds that shaped me.

You’ve worked with big names like Wretch 32, Terri Walker, and Ghetts. What’s been one of your most memorable collaborations, and why?

Every collab has its own energy, but if I had to pick the most special one, it would have to be my most recent, working with my then one-year-old son, Ziggy, aka Ziggy Smallz. We just released a track called ‘Sorry Not Sorry’, and having him feature on it made it a completely different experience. Music has always been personal to me, but this was a special moment, capturing his voice, his energy, and being able to share that with him.

 Another standout collaboration is a track I’m yet to release called ‘Young Lion’ with KRS-One. He’s a legend, and to have him jump on a song that speaks about resilience and struggle was huge. It wasn’t just about the music, it was about the message and the cultural impact. Seeing someone of his stature co-sign the movement was surreal.

Beyond making music, you’ve played a huge role in supporting emerging artists in Liverpool. Why is that so important to you?

Because I know what it’s like to navigate this industry without guidance. Liverpool has so much raw talent, but not always the infrastructure to develop artists. That’s how GoPlay Studio came about, not just as a place to record, but as a space where artists can feel comfortable to create, experiment, and grow without pressure. A lot of studios can feel intimidating, especially for newer artists, but I wanted GoPlay to be a place where people feel supported and encouraged, whether they’re recording their first track or refining their sound. 

I’m working on a collaborative venture at the moment, bringing together different creative minds to help push Liverpool’s music scene forward in a fresh way. It’s all about making sure the next generation of artists has the support and opportunities to grow.

From hip-hop to soul, Black music has shaped Liverpool’s sound in ways that don’t always get the spotlight. Do you think the city is doing enough to celebrate that influence?

Honestly, not enough. Black music has been at the core of Liverpool’s cultural identity for decades, but it doesn’t always get the recognition it deserves. There’s a lot of cool stuff being created at the moment from both musicians and visual artists alike but it’s often overlooked in favor of the city’s more ‘mainstream’ narratives. Things are shifting, though. More people are pushing for visibility, and platforms like yourselves are helping to bring that to the forefront.

Your creativity extends beyond music—you’re also involved in filming, editing, and designing your own visuals. How does that side of your work influence your music?

It’s all connected. The way I see music is very visual. I don’t just hear sounds; I see moods, colours, and scenes. That’s why I take an active role in directing and editing my own videos. It allows me to tell the full story, not just sonically but visually. I want people to experience my music in a way that feels immersive, like they’re stepping into my world.

Looking ahead, how do you see your sound evolving? Are there any new projects or collaborations we should be watching out for?

I’m in a space where I’m really refining my sound and trying to push boundaries. The Dusty Knees project is a big one for me, it’s raw, introspective, and speaks to the journey I’ve been on. Then there’s the ‘Childish Wisdom’ project’ with WRIGZ, which dives into fatherhood and personal growth. Beyond that, I’ve got ‘Little Miss Influencer’, which takes a satirical look at social media culture.

Finally, if you could give one piece of advice to an upcoming artist in Liverpool, what would it be?

Know your worth. Don’t wait for validation, build your own scene, find your audience and stay consistent. Liverpool has always had a unique voice, and if you tap into that, people will pay attention. Also, never be afraid to experiment, some of the best art comes from taking risks.

To keep up with KOF and see what’s next, follow him here.