Ms Banks wants you to tap into the divinity of feminine energy.
Her new extended play, ‘Bank Statement’, is a fluid continuum of breezy afroswing rhythms, whip-smart lyricism and infectious hooks. A slick collection of songs with production credits from the likes of 4Play, DA and Karma Kid, it builds on the playability of her last release, ‘The Coldest Winter Ever, Pt. 2’ but ventures further down the diasporic route, bridging her Ugandan-Nigerian roots with her homegrown South London-honed vernacular.
From the brash bravado of opener ‘Bluff’ to the body-talk sass of ‘Get Low’, Ms Banks role-plays with different vocal inflections, modulating her voice to match the elevated fantasy she elicits in these lustful riddims.
CLASH spoke to Ms Banks on the eve of her new release as part of our digital PLTFRM series, exploring her autonomous spirit, her deep appreciation for South London OGs, her personal connection to the afrobeats takeover and why she’s playing the long game.
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Let’s start by touching on your roots, revisiting the teenage you enthused by the long lineage of South London rappers that came before. Who was Ms Banks before Ms Banks?
I was always drawn to gifted writers and rappers that could really rap and nailed their bars. I remember battling with the boys on my block; I was the only girl who was competing to rap with them. I was bold! That’s where the creativity came from, that’s where the fierceness and energy in my bars came from. I wanted to be the one breaking out and showing off my talents. I remember being really into Fix Dot’M, who was from my ends. Lioness, Youngs Teflon and Giggs were the other rappers from South London that inspired me.
Congrats on the new project, ‘Bank Statement’! You teased this EP teased back in 2020 but took your time rendering this new era. How does it feel to finally have it out in the world?
Honestly, I feel like a huge weight has been lifted off my shoulders. Now, it’s about getting the people to listen and connect with who Ms Banks is in 2022. Who knew that Covid was going to hit when it did? I had the project ready in 2020 but I refined it early this year. I thought if I’m going to drop a project after lockdown, it had to be a strong body of work. Originally it was going to be a mixtape, but after discussions with the team we settled on an EP, although admittedly it’s quite a long EP.
Dress by Cou Coo; Jewellery by Feather Pendants; Shoes, artist’s own
Artists today are toying with the concept of a long-form projects more than ever before. There’s less distinction between an album and a mixtape; a mixtape often has the impact of an album. It feels much more fluid now…
Gone are the days when the album was the only defining release in an artist’s career. Of course, I’m building up to my debut (LP) but there’s less pressure around releasing a full-length now. I quite like playing around with length as long as it has substance and feels cohesive.
‘Bank Statement’ is the title of this project. Was that the title from the beginning or did you have others in mind? What does the title connote?
It was ‘Bank Statement’ from the beginning. I named it that because when you need to show a proof of identity, you get asked for a utility bill or statement and if you want to know where I am in my journey as an artist, the proof is in the pudding – it’s in this project. Double entendre aside, it’s proof of my creativity. It’s versatile, a level-up from what’s come before.
This project represents you navigating your mid twenties. It’s pleasure-seeking, easy-going and doused in escapist vibes. What events in your life and in your career seeped into the project?
When I started making ‘Bank Statement’ in 2019 I was 25 and my outlook was all about living my life to the fullest as a single woman. I’m not a homebody; I love nightlife, I love a good party, I enjoy music and I enjoy dancing. The material reflects that. I get that from my Mum! That was my whole inspiration this time. When I first came out on the scene, my material reflected my come-up and there was more storytelling at play because I was documenting my struggles.
With this, I embraced the club element of my identity. You hear the search for escapism on tracks like ‘Bounce’. But I was also conscious of being too one-note, so I made sure I included tracks like ‘Bear With Me’ and ‘Too Far’ that show my more vulnerable side. Still, when you listen you get the breezy Banks, the sexy Banks and the sultry Banks.
You released ‘The Coldest Winter Ever Pt. 1 and 2’ in 2018 and 2019 independently, that’s a tricky feat in this climate. Have you settled into your artistry now?
I have. I feel more confident in myself because I’m older and wiser now. I took my time with the production and songwriting, embracing collaboration and different voices. I listened to their input, took on their perspective. Honestly, I was just more honest this time round. I kind of invoked my earlier self where I touched on my roots but then merged it with the experiences I’m having as a twenty-something.
‘Bluff’ is the opening song off the project, a defiant statement of intent with classic UK rap instincts. Why was this the song to start this new experience? What did you want to convey to the masses from the off?
My longtime fans know me for the straight-talking, bold Banks. I felt it was important they got that from the start. Honesty is the best policy, whatever emotion you wish to convey. I’ve been in this industry a long time now, I’ve had to be learn to be savvy and create a healthy work environment with my colleagues. I’m nice, I get on with everyone but sometimes you need to set the tone, to say I’m not the one to be played with. I just wanted to talk my shit! I’m about the action. Don’t let the pretty face fool you: I’m still on smoke and I’m going to call your bluff.
I’ve come from the block. Like I said I was competing with the mandem so I’m built for this. It’s not a battle rap, but I want people to know that I’m up there with the best of them. You can hear that in my wordplay, my flow, my emotion.
Karma Kid co-produced this number. The overall sound design is slicker this time round. Talk me through why you handpicked the likes of Ebenezer, Karma, JD. Reid on tracks like ‘Typa Way’. What conversations were you having with them in the studio?
I wanted to build on my love of afroswing and my love of melodies. When I got into the studio with these producers, the word I kept saying was “international”. I wanted the vibe to be easy, free-flowing and something that gets the body moving. I wanted to also embrace working with new collaborators, the likes of Ebenezer and JD. Reid, who put their own spin on the sound I wanted but were also respectful of how I wanted to incorporate my culture.
Talk me through your embrace of afroswing. It’s massively popular and lucrative in the UK – particular amongst the West African diaspora. What’s your connection to the regional sounds of Africa? Is this project about reconciling with the sounds of your forefathers…
My Mum is Ugandan and my Dad is Nigerian; I’m second-generation, my parents came here when they were younger. Being born here, I’ve never known how to speak their languages but the surrounding culture has always been important to my identity. My Mum is very patriotic and so is my Nigerian Dad. There was always a push and pull between my parents, but I’ve always been reminded how important my origins are and that’s something that’s strengthened over time, this need to reflect on my relationship with home. The way I know how is through music. You’ll hear inflections and dialects in my songs. This project is me crossing over into markets back home and connecting with artists there; it’s important for them to see we’re serious about exploring our origins and that we’re trying to close that gap.
You mention experimenting with different vocal inflections in your songs. Talk me through switching from rap to a rap-sung cadence to melodic singing?
Interestingly, the vocals are all me. I was so conscious of sounding good, on key and easy on the ear. I was told you need one vocal producer with you throughout, recording the vocals and it’s something I want to embrace going forward. Honestly, there’s no particular mode when I’m in the studio, it’s quite organic the way I’ve taken to singing. I do want to get lessons for when I’m singing live. The focus is always on the source material but you need to be rehearsed and practised when you’re on stage – they’re two separate things.
On the track Favourite Girl, you list men from around the world as if their acquisitions. Your writing is often imbued with humour, with one eye on the digital world and the dating scene. Are songs like this based on your dating experiences?
Parts of it are based on my life and experiences but the inspiration for ‘Favourite Girl’ came from my supporters and my fans who message or DM me from around the world. It’s me sitting back and thinking how I’m able to touch parts of the world with my music, or what they’ve seen on TikTok and how surreal that is. It’s the fantasy of being a favourite girl. As soon as I heard the beat, I started freestyling about my white guy and my Nigerian guy…
The video for ‘Favourite Girl’ plays on desirability tropes. Did you create the treatment for it?
Big up Teeeezy C, he’s an amazing director. Yes, I usually write up treatments for my videos; I’ve done that for the past two years ever since ‘Hood Bitch’. I always have a vision of what I want to portray. What I wanted for ‘Bank Statement’ in general, was to emulate women who use their sexuality to lure men in. In the end, I collaborated with the director to show the sweet, innocent side and then the desired side with the men laying next to me. It was his idea to make me look like a Goddess.
What’s your process when you’re in writing mode. When you hear the beat, is it instinctive? Are you an on-the-spot freestyler? Are you a rapper who constantly revises their lyrics?
I freestyle a lot. I like to lay down melodies first before I write. I try not to overthink the process, and write from a free space. I latch onto a good hook and build around that.
I want to single out your feature on Tinashe’s ‘Die A Little Bit’. I remember thinking then then we need Ms Banks to glide over more house-inspired beats. How did that experience come to be?
I was in talks for a minute with Roc Nation and they manage Tinashe. I was given two tracks to feature on, ‘Die A Little Bit’ and another hip-hop number. I wrote bits for both but ‘Die A Little Bit’ was epic! I went to LA, and we shot the video. It was a surreal moment.
Top and skirt by Cou Coo; Shoes by Jimmy Choo; Sunglasses by Dior from The Vintage Trap; Earrings, artist’s own.
This is the summer of house music. Can you see yourself exploring more of that sound given you have an affinity for the club?
I’ve been working on house and amapiano records. They’re really dope and I’m loving the direction of these tracks but I’m very intentional about what I put out. It’s about finding the right project for it to live on. When you give people too much variation in sound, it can be confusing. Even me coming up as a rapper and transitioning into afroswing, that’s still a shift that some people might need to get used to. I want my projects to be cohesive. You’d be surprised with what I’ve recorded and what I have sitting in my archive; house, pop, funk. If I won’t release them I do think they can be given to other artists.
Your bio references how you’ve always explicitly supported homegrown black female emcees, that you can all co-exist and have your own space. Do you feel you’ve finally arrived, that your commanding respect in these spaces?
There are people I’ve looked up to approaching me and respecting my pen game now. There’s genuine love and support there. At my launch, I felt that love. They all came out; Skepta, Giggs and Lethal B. These are rappers I grew up listening to and watching, so to hear their words of encouragement – that they’re watching what I’m doing, it means a lot.
You affirm your pride in being a black woman in male dominated spaces. Why is it important you reclaim power in this industry and surround yourself with a team that reflects your worldview? Why is it important your visible?
We’ve come a long way but we’re still discredited in this industry and we’re seen as inferior to our counterparts. It’s just not true. It’s just that men make up most of this industry, especially behind the scenes. You have a really low percentage of women occupying industry roles; producers, engineers, A&Rs. I know countless women that are way more qualified to be in these positions. They only way to counteract that is to be vocal and constantly push the messaging of empowerment and visibility to the forefront. It’s so easy to be overlooked in this industry, especially as women.
You’ve been carving out your own independent lane in rap and beyond. What’s the blueprint to the long road to success? How does the next nascent female rapper picking up a pen for the first time find her voice and sustain a career?
Look at the people you like that are winning, observe them but make it your own. We’re all influenced by what came before, so take that but reinvent it in your own image. I always say to the next gen: put yourself out there, make sure your links are working and on all platforms. Do the easy things and do them right.
It’s hard being an artist when it’s so easy to be critiqued. I’ve seen so many artists I love get mad backlash about their art, or comments saying they’re mid. It gets you ready to be in a position where you experience love and hate because not everyone will like your art. That’s okay. As long as I have belief in me and I have confidence in what I’m putting out, I know it will connect with someone. Feedback isn’t always easy to take in, but there is the healthy kind and it will make you better.
Who are you enjoying right now? I read that Flo Milli is a go-to artist for you…
I haven’t listened to Flo, I’ve been meaning to! I’m loving the new Brent Faiyaz record.
What’s your take on the debate around “toxic” RnB and the streak of nihilism in music, Brent Faiyaz one of handful of musicians being labelled as such...
You know what? For so long, I didn’t listen to Brent for that reason. But you have to be honest with what you put out. What do you want? You need honesty and authenticity. As a public figure, you’re scared of being ridiculed for showing your true colours but now I know honesty is the way to go. I’d rather Brent be honest than dishonest. I watched his interview where he said I wasn’t aware it was a toxic because it came from an honest place. I’m in love with his music, I’m completely a fan. People will take you as you are. They’ll either love you or hate you. If it ain’t your thing go listen to afrobeats – they be saying the sweetest, most poetic things!
When a listener presses play on a Ms Banks track what do you want them to feel?
I want them to feel empowered and I want them to feel like a baddie. That’s what my music is. I want you to feel sexy, step into your bag and be lit. We listen to men say the most outrageous things over and over, why can’t we tap into that energy?
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Words: Shahzaib Hussain
Photography: Sophie Mayanne
Styling: Sabrina Soormally and Felicia Brown
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