HURTS Preview: Exclusive Interview and Photoshoot for FAULT Issue 27 – Best of British


Theo wears jacket, roll neck and belt by Dior Homme;  Adam wears roll neck and jacket by Ermenegildo Zegna.

A heritage band in the making, HURTS have succeeded in doing what few British bands have managed since the Beatles. In regularly playing to crowds of over 10,000 at national stadia across Russia, the Baltics, and more, the cross-Pennine duo can well and truly claim to have conquered the Eastern European market.


Now on their fourth studio album, and embarking on their biggest ever arena tour, Theo Hutchcraft and Adam Anderson are firmly en route to becoming part of the music industry elite.


HURTS‘ latest music videos –  for ‘Beautiful Ones’ and ‘Ready To Go’ –  don’t shy away from poignant matters in today’s society. From freely expressing male emotions to using their platform to highlight contemporary issues facing transgendered people, HURTS have rightfully earned their spot as one of the most relevant musical acts in 21st century’s every changing pop climate.

Sweater and coat by Dior Homme


Let’s talk progression. Sound-wise, your albums are nearly polar opposites. What’s your take on the way that your music has progressed?

TH: It’s strange for us ’cause we just make pop music.  For the second album, we had a plan, we wanted to make an album that sounded a certain way. But with Surrender and this one, we just set out to write a bunch of the best pop songs you could write. In some way, we’ve developed because we don’t want to repeat ourselves. I think it’s mad that we’ve made it to 4 albums.

If you take Desire back to back with Happiness – the first is elusive whereas the latter is vivid. How do you access those vulnerable spots and then channel them?

AA: I think it’s always a progression, every inch of our albums. We were at different stages, psychologically. Everything was always changing. But you never get the opportunity to write music as innocently as you do when you write your first record.

TH: We weren’t writing for a purpose, everything was just very honest. We were just writing songs about how we felt and we’ll never quite get that same perspective again. With this album, we just tried to have a more direct approach.

AA: The first album was soaked in an atmosphere underneath, which made the songs what they were. But it takes a lot of skill to try and strip things back. I feel like that’s a big progression that we’ve made.

Roll neck and coat by Ermenegildo Zegna; waistcoat by Dior Homme


With ‘Ready To Go’ – you touch upon a series of very poignant matters. It’s  an allegory between life and death, love, grief, and vulnerability. What led you into that particular direction?  

TH: The song is about living your life and being happy. It was quite interesting to tell a story about death but in a different way. There was something about male emotions that we thought was quite interesting. Men have a very difficult time dealing with their emotions and explain their emotions publicly. It was a story of someone having a difficult time, but in the video, it becomes a dance. It becomes something that the character can’t escape from.

It’s a nice message because it’s a big problem. It’s a really big problem for men all around the world. Society is built in a way that makes people not to have the confidence to express themselves.


Shirt by Ermenegildo Zegna; trousers by Coach


You’ve received a lot of applause for the music video for ‘Beautiful Ones’. What has been the most intense reaction that you’ve received?   

TH: It was a big subject and a big thing to speak about. We believed in it, but it was hard to know how people would react to it. It was all-positive – people said that it has affected them. It had a purpose and its purpose was to make people realize that this stuff goes on. It’s not the kind of video that you see for a pop song. We’re in a position to put a message across and that’s not something that we take lightly.


On a lighter note – can you describe what your first experience on heels was like?

TH: It was hard. I had to make my dinner in them. It’s really hard, especially with ones that high! I had to walk around my house a lot and I had to learn how to run fast in them! But when I ran, I couldn’t stop, so the problem was that I was running full speed but people had to catch me because I was like ‘I can’t stop, I can’t stop.’ So there was someone who had to like catch me at the end. It was a fun process.


What’s your FAULT?

AA: Fuck me, I’ve got millions of them. Mine would be impatience. I want everything right now. Theo is better at seeing the bigger picture. I don’t have that perspective.

TH: From a personal perspective – mine would be that I’m very rarely satisfied with things. I strive for a perfection that doesn’t really exist. It’s not great on a personal level, but it’s positive on a professional level.

Jumper by Filippa K; trousers by Ermenegildo Zegna

Words: Adina Ilie

Photography: Charl Marais

Fashion Editor: Kristine Kilty

Grooming: Enzo Volpe using Lab Series and Fudge Haircare

Fashion Assistants: Lily Davies and Hannah Sheridan

Photo Assistant: Lotti Brewer-Gmoser

Special thanks to Circus, London





FAULT Weekly Playlist: Ella Vos

Ella Vos is one of those artists whose true captivation comes from her live performances. Though petite in stature, Ella has a unique ability to command attention with her cool confidence. As well as being a rising artist, Ella is also a new mother, proving that indeed, you can have it all.

After the runaway success of her singles “White Noise” and “Little Brother,” Ella recently released her debut full-length album, written in the wake of her son’s birth and was inspired by the challenges she faced as both a new mother and artist. With more than 90 million streams on Spotify to date, Ella is well on her way to becoming a household name.

We asked Ella to put together some of her all-time favorite tracks for a FAULT Magazine exclusive playlist. Check out her selections below!

Leslie Gore – You Don’t Own Me
“My friend Garrett Borns turned me onto this song. I remember him showing it to me and saying, “Isn’t it crazy that this came out in the 60’s?” I agreed, it’s crazy because it was such a strong statement then, and it still is now. It hasn’t lost any weight or meaning. It’s really empowering.”

Dolly Parton – Jolene
“This is by far my favorite Dolly song. After I heard the story about this song—which was basically how she’d joke with her husband that she was worried he might leave her for their tall, slender, red-headed banker—it made a new impression on me. I guess it really stuck with me how it is such an honest and simple story, but at the same time so heavy. It made me think about how I write music; how it can be about a single feeling or moment, but also about everything.”

The Beatles – For No One
“The entire Beatles catalog was released on Spotify when my son was a few months old, and it was all I listened to those day when most of my time was spent with him and I was writing some of my first tracks. The Beatles have always inspired me, regardless of where I’ve been in life, but especially during my Postpartum Depression as it offered me some sort of an escape. The melody on “For No One” is one of those songs that is constantly popping into my head.”

David Bowie – Quicksand
“Throughout writing this album we lost several great musicians. It was really strange for me, as a new artist, to be releasing music in a time when all of my musical heroes were leaving this earth. I reflected a lot on what their music meant to me, and what I would do with that meaning. I always ask myself—am I adding something of importance or change to the world, or is what I’m doing going to have a positive impact? Will anyone care? I was listening to this song quite a bit, strangely enough just before he passed away, while I myself was struggling with depression and the meaning of life. ‘Knowledge comes with death’s release.'”

Big Thief – Paul
“My producer showed me this song at the beginning of the year, and I quickly fell in love. I’ve probably listened to her more than any other artist during the process of writing this album, and she’s one of my favorite new artists. Rarely do lyrics stand out to me the way hers do, in a way that makes me want to actually read them over and over and over.”

Lana Del Rey – God Knows I Tried
“The first time I heard this song I literally said, “FUCK THAT’S A PERFECT SONG, I wish I had written it.” Lana Del Rey is one of the only new(er) artists that has really inspired me and shown me that there is still room in the world to say and do something new. I’m a huge fan.”

Alice Boman – Waiting
“This song came up several times as a reference while recording “Words I Never Said” because we loved the piano sound so much. And it’s just a gorgeous song. Additionally, I was watching the show “Transparent” while writing a lot of my songs. “Waiting” appears several times in the episode when the Pfefferman’s go to the “Wimmins Music Festival.” This episode really made an impact on me because it so hilariously embodies everything that turns me off about exclusivity in “female empowerment,” and that was just really cool to see in a television show.”

James Brown – It’s a Man’s World
“This song, and the story about this song, was a source of inspiration when I was thinking about what it meant to me to be an independent female artist in a male-dominated industry. The song is about how man has achieved everything, but he couldn’t do it without a woman—but the kicker is that James Brown didn’t write the lyrics; his girlfriend did, and he ‘forgot’ to pay her royalties.”

Beyonce – ***Flawless
“This was another “Oh shit” moment for me. I’ve always been a Queen Bey fan. As she’s taken her voice and platform to another level, she’s impacted me even more. It’s hard to choose one song, but the spoken word in this song hit me hard. It’s a sample of spoken word from Nigerian writer Chimamanda Ngozi Adichie, basically asking the question “Why do we raise boys and girls differently?” To hear this in a pop song by Beyonce, made me realize that it’s going to be ok to say what you think. (Maybe not easy, but you’ll survive.) And if you don’t say it, then what’s the point.”

Pink Floyd – The Great Gig In The Sky
“I can’t leave this one out because, 1) it’s from my favorite album of all time and 2) I heavily referenced it on the bridge of “White Noise.” This album, more than any other album I’ve ever listened to, is one that I know I can listen to when I can’t explain or even comprehend what I’m feeling, and it understands me.”

Ella Vos Socials:

Seal Exclusive FAULT Magazine Issue 27 Menswear Covershoot Preview


“These are people who succeed.”

Seal FAULT Magazine cover

Photography: Dvora | Menswear Editor: Kristine Kilty | Grooming: Evan Huang | Fashion Assistant: Lily Davies | Fashion Assistant: Hannah Sheridan |

Shot on location at Blacks Club, 67 Dean St

Words: Miles Holder


With a career nearing its thirty-year milestone, Seal is one of the few British artists to reach a universally agreed upon “legend” status. Never one to compromise on his artistry, style and unique God-given vocal talents; with four Grammy awards to his name, over thirty million records sold worldwide and releasing a brand new album entitled ‘Standards‘, we sat down with Seal to discuss just what it takes to carve out a career as prestigious as his.


Let’s take it back to the Seal of the early 90’s, for you, what has been your greatest area of growth?

The most significant change would be my understanding of the point of performance from the perspective of the audience. Performance is about communication, and I don’t mean that as simple question and answer, but where you and your audience share dialogue on different levels. I now understand my audience appreciate that they are as much a part of the production and experience as I am. I would like to think I’ve made a much more significant point about communicating and engaging with my listeners when I’m on stage.



Seal FAULT Magazine cover


What’s been your hardest personal FAULT and hurdle to overcome?

Fear. Fear in all of its other forms, its hurtful and deceitful forms. The most significant hurdle for me is very much the same thing. I find myself drifting too far from the moment, and when you’re a performer, that’s not healthy.


Why did you think now was the best time to release a standards album?

I always toyed with the idea of a standards record, and ultimately I love the songs as opposed to them merely being “standards”. They’re written in a time which is all focused on the voice, a time where singers sang, and dancers danced.


You’ve said that Smile is now your favourite song and it seems the people who love the song that’s it’s therapeutic, a reminder to themselves to smile through their underlying pain, is that the same for you?

I can’t listen to ‘Smile’ without tearing up. I like it because it doesn’t matter who you, what age, your culture, gender or outlook on life, the sentiment will relate to you. At some point in your life, we have all gone through an experience where you’ve had to force a smile through a situation. Smiling even though your heart is aching and all you want to do at that point is break down in tears, and you’ve got to smile through it. I find it the happiest and saddest song for me on a personal level. I feel the song, and now in my life, I feel the song resonates more than ever before.

We are living in a very turbulent time and hearing a song like ‘Smile’; it just holds a message that I most want to communicate. It’s chaotic, and it’s turbulent, but for me, the critical thing is to find balance and always remember to smile.


What is your FAULT?

Relationships. They’re hard for me, but I’m learning. And that goes for relationships of all kinds. Even with my children, when I’m trying to get through to one of then, and my method is not working, I’m learning that sometimes the best solution is to try something new as opposed to keeping to the same old routine.




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Liam Gallagher – Exclusive FAULT Magazine Issue 27 Covershoot and Interview Preview


Liam Gallagher

As you were. As you are.


Words: Adina Ilie

Photography: Jack Alexander

Menswear Editor: Kristine Kilty

Grooming: Natalya Chew


FAULT Magazine is proud to present our Issue 27 cover story with non-other than Liam Gallagher. With a career spanning over 25 years and a myriad of stories to tell, we sat down to discuss the ups and downs of his career and get to know Liam Gallagher as he was and as he is. Enjoy.


FAULT: Do you recall the first 24 hours after Noel quit the band? What was going through your mind at that point?

Liam Gallagher: Oh fuck. That very moment I just went– right, there have been certain powers at play. It wasn’t too big an argument; we’ve had worse arguments. What went down was something that was pre-planned.


FAULT: What was the lead up to that point that makes you so sure that it was pre-planned?

Liam Gallagher: Lots of things. A lot of sneaky little meetings. People might say that it’s paranoia. But you can never be too paranoid in life. I kind of knew he was going to map it at some point. It was going to happen at V or it was going to happen at Reading. It only got postponed until Paris. I knew he was going to jump ship at some point. And that’s what made me feel that my paranoia was right. Or maybe I’m clairvoyant; I’ve got 6 senses.


FAULT: Did you feel Noel’s absence while writing this record?

Liam Gallagher: Yeah – because I don’t want to be solo. I don’t want to do it on my own. I’m not a guitar player or a prolific songwriter. I can write a few songs every now and again but I miss being in a band. I miss my brother the way he was back then. I miss singing those great songs that we all made great.


FAULT: Were you disappointed that your former bandmates did not reach out to you in times of crisis? Are you resentful in any way?

Liam Gallagher: My older brother has always been there. I thought I’d at least get a call from Noel, but there was no call. I thought I’d get a call from my other manager, but nothing from them fucking cunts. But then I met Debbie and she’s been there all the way. A lot of my mates are gone; I don’t really have anyone in London and that is fine. The universe is my mate.


Liam Gallagher: I’ve been through a lot of shit, but it was shit that I caused. When you cause shit – you man up and fucking deal with it. Sometimes you have to fucking man up to your shit.




FAULT: Did you ever feel that you were done? That you hit your peak in ’96 in Knebworth and then it was all downhill from there? 

Liam Gallagher: I feel like I’ve maintained it without turning into the traps of the business. I’m still outspoken, I’m still wearing my heart on my sleeve and if people like it that’s fine. If you don’t then you don’t. I’m not a ‘yes man’.


FAULT: Did you ever see yourself hitting the top once more by yourself?

Liam Gallagher: The night Oasis split I felt absolutely disappointed and then I felt exactly the opposite when my album went number 1. In this day and age, rock’n’roll has got cobwebs on it. I never actually saw myself hitting the top once more. But if you truly believe, things will happen. I’ve been good to rock’n’roll and I reckon rock’n’roll will be good to me. It saved me twice.


FAULT: Hollywood is ablaze with accusations of sexual assault against Harvey Weinstein. Have you seen similar occurrences in the music industry? 

Liam Gallagher: : Not really, but you know it’s there. The shady little fuckers at the top. It’s not even with just men and women, it’s men and men too. All these pop bands – you hear about it with Take That but I’ve never witnessed any of it. Nobody would come near us. We were caught up in our own bubble. We weren’t hanging about with the record company. We’d go to the awards show and they’d be there, but we’d just get off and do our own thing. And I certainly didn’t see any weird shit.


FAULT: What changes do you reckon we should make to keep things safe for both men and women alike?

Liam Gallagher: That’s a big tough question. Obviously get rid of all the shit bags. Obviously, if everyone took care of their shit – everything would be cool. We all live together under one sky at the end of the day. Everyone just needs to cool the fuck out.


FAULT: Do you think Liam Gallagher has the power to get people to go back to the roots of rock’n’roll?

Liam Gallagher: I’ve got a lot of fans out there and I always have. My oldest kid is 18 and my friends have kids about the same age – so they’re going to bring them to the shows. That’s a good thing. All you can do is make good music and do good gigs. Do good interviews and try to sell it how it is. Stay honest to what you are and don’t get carried away with all the show business shit. That’s all that I can do. I’m definitely not the savior of music, I’m the savior of me.


Liam Gallagher:I don’t get involved with the industry and the business side of it. I let my manager do that. That’s the problem with music today – it’s got no fucking soul. I get being business minded, but it can overpower. You forget about the fucking music.”


Find out who else will appear in the issue here




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FAULT Issue 27 – The Best of British Issue – is now available to order

We are pleased to announce that FAULT Issue 27 – The Best of British Issue – is available to pre-order NOW.

Official release: 27/11/17

FAULT Issue 27 cover star Liam Gallagher was shot by Jack Alexander and styled by Kristine Kilty. Click here to pre-order your copy of this issue!

FAULT Magazine – the Best of British Issue – proudly presents exclusive shoots and interviews with:

Liam Gallagher (front cover)

Paloma Faith (reversible cover)


Gary Numan

Jake Bugg



Fall Out Boy

Reggie Yates

Rae Morris

Jared Harris

Plus our usual FAULTless selection of the finest Film, Fashion, Music & Photography to inspire the British Isles and beyond as we celebrate FAULT’s 10 year anniversary!

This is your FAULT




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FAULT Magazine Attends The UK Music Video Awards 2017


Last night FAULT Magazine attended the 2017 UK Music Video awards at London’s Roundhouse. Now in its 10th year, the award honours the greatest and most creative music videos and the people that make them – say what you will about 2017, it’s undeniably been a great year for music and music videos.

Hosted by the hilarious Adam Buxton, the night saw big wins for Kendrick Lamar who won the Artist of the Year award and alt-j’s 3WW won Best Alternative Video and Best Cinematography.

The night saw US director Ryan Staake win big, for his work on Young Thug’s Wyclef Jean – picking up a Video of the Year, Best Editing and Best International Urban Video award. By now, you’ll no doubt have seen the music video which nearly never was – but thanks to his innovation and problem-solving skills Ryan managed to pull it off!

In the Pop categories, Dua Lipa’s New Rules triumphed among the UK videos, while Haim’s Want You Back took the International award with US director Jake Shreier collecting the trophy. Other international directors who took awards include Barcelona’s CANADA for Beck’s Up All Night, and France’s The Blaze, who directed their own video for Territory. British directing team The Sacred Egg won the UK Rock/Indie Video trophy for their work on Royal Blood’s Lights Out and Hector Dockrill took the UK Urban Video award for Ray Blk’s Patience.

The UK Music Video Awards editorial director, David Knight, says, “More than ever, the music video is the place where musicians collaborate with filmmakers to create astonishing works of creativity. The winners and nominees at the UKMVAs have demonstrated that with their exceptional work in the past year.

All in all, we had a great night at the Roundhouse celebrating alongside such a talented room of individuals! Cheers to the UKMVAs and another 10 years of success celebrating the wonderfully diverse talents out there!

Find a full list of winners below!

Here is the full list of winners:

Best Pop Video – UK in association with Rushes
Dua Lipa – New Rules
Director: Henry Scholfield
Producer: Campbell Beaton
Prod Co: Caviar
Commissioners: Alex Burford / Kirdis Postelle for Warner Bros

Best Dance Video – UK
Bonobo – No Reason
Director: Oscar Hudson
Producer: Matt Posner
Prod Co: Pulse Films
Commissioner: John Moule for Ninja Tune

Best Rock/Indie Video – UK
Royal Blood – Lights Out
Directors: The Sacred Egg
Producers: Natalie Arnett / Tom Birmingham
Prod Co: Riff Raff Films
Commissioner: Jennifer Ivory for Warner Music UK

Best Alternative Video – UK
alt-j – 3WW
Director: Young Replicant
Producer: Sarah Park
Prod Co: Pulse Films
Commissioner: Andrew Law for Infectious Music / BMG

Best Urban Video – UK in association with PPL
Ray BLK – Patience
Director: Hector Dockrill
Producer: Stephanie PaeplowProd Co: Pulse Films
Commissioner: Hal Hudson

Best Pop Video – International
HAIM – Want You Back
Director: Jake Schreier
Producers: Alex Fisch / Jackie Kelman Bisbee
Prod Co: Park Pictures
Commissioners: Semera Khan / Saul Levitz for Polydor Records / Columbia Records

Best Dance Video – International
The Blaze – Territory
Directors: Jonathan Alric & Guillaume Alric (The Blaze)
Producer: Roman Pichon HerreraProd Co: Iconoclast
Commissioner: Manu Barron for Animal63

Best Rock/Indie Video – International
Father John Misty – Things It Would Have Been Helpful To Know Before The Revolution
Director: Chris Hopewell
Producer: Rosie Lea BrindProd Co: Jacknife FilmsCommissioner: Sub Pop / Bella Union

Best Alternative Video – International
Beck – Up All Night
Directors: CANADA
Producer: Laura SerraProd Co: Canada
Commissioner: Kevin Kloecker for Capitol Records

Best Urban Video – International
Young Thug – Wyclef Jean
Director: Ryan Staake
Head of Production: Kevin Staake
Exec Producers: Ryen Bartlett / Nathan Scherrer
Producer: Jeff KopchiaProd Co: Pomp&Clout / FreenjoyCommissioner: Emmanuelle Cuny Diop For Atlantic Records / 300 Entertainment

Best Pop Video – Newcomer in association with giffgaff
Charlotte Cardin – Like It Doesn’t Hurt
Director: Kristof Brandl
Producers: Vlad Cojocaru / Jakob Preischl
Prod Co: Colossale / Bwgtbld
Commissioners: Alex Auray / Jason Brando for Cult Nation

Best Dance Video – Newcomer in association with giffgaff
Obongjayar – Endless
Director: Matilda Finn
Producer: Nick HayesProd Co: Friend
Commissioner: Theo Lalic

Best Rock/Indie Video – Newcomer in association with giffgaff
Lemon Twigs – I Want To Prove To You
Director: Nick Roney
Producer: Andreas AttaiProd Co: Agile Films
Commissioner: Gabe Spierer for 4AD

Best Alternative Video – Newcomer in association with giffgaff
Bonnie Banane – L’Appétit
Director: William Laboury
Producer: Theo GallProd Co: Division
Commissioner Jules De Chateleux for DIVISION

Best Urban Video – Newcomer in association with giffgaff
Oscar Worldpeace – Tate Modern, Wary, Pearls
Director: Taz Tron Delix
Producer: Kiran MandlaProd Co: COMPULSORY

Vevo MUST SEE Award
Marika Hackman – My Lover Cindy
Director: Sam Bailey
Producers: Lucy Bradley / Katie LambertProd Co: Agile Films
Commissioner: Connie Meade for AMF Records

Best Interactive Video in association with The Mill
Naïve New Beaters – Words Hurt
Director: Romain Chassaing
Producers: Nicolas Tiry / Edouard Chassaing
Prod Co: Solab
Record Co: Capitol Music France

Best Production Design in a Video
Bonobo – No Reason
Production designer: Luke Moran Morris
Director: Oscar Hudson
Producer: Matt Posner
Prod Co: Pulse Films
Record Co: Ninja Tune

Best Styling in a Video in association with i-D
The Blaze – Territory
Stylist: Juliette Alleaume
Directors: Jonathan Alric / Guillaume Alric (The Blaze)
Producer: Roman Pichon Herrera
Prod Co: Iconoclast
Record Co: Animal63

Best Choreography in a Video
Kanye West – Fade
Choreographers: Guapo, Jae Blaze, Derek ‘Bentley’ Watkins
Director: Eli Linnetz
Producer: Kathleen Heffernan
Prod Co: Iconoclast
Record Co: Good Music

Best Cinematography in a Video in association with Panalux
alt-j – 3WW
DOP: Dustin Lane
Director: Young Replicant
Producer: Sarah Park
Prod Co: Pulse Films
Record Co: Infectious Music / BMG

Best Colour Grading in a Video in association with CHEAT
Mick Jagger – Gotta Get A Grip
Colourist: Mark Gethin at MPC LA
Director: Saam Farahmand
Producer: Amalia Rosen-Rawlings
Prod Co: Black Sheep Studios
Record Co: Polydor Records

Best Editing in a Video in association with Cut+Run
Young Thug – Wyclef Jean
Editors: Ryan Staake & Eric Degliomini
Exec Producers: Ryen Bartlett / Nathan Scherrer
Director: Ryan Staake
Producer: Jeff Kopchia
Prod Co: Pomp&Clout / Freenjoy
Record Co: Atlantic Records / 300 Entertainment

Best Visual Effects in a Video
Leningrad – Kolshik
Director: Ilya Naishuller
Producers: Dimitry Mouraviev / Ekaterina Kononenko
Prod Co: Fancy Shot / Versus Pictures / Great Guns

Best Animation in a Video
Katie Melua – Perfect World
Animators: Karni & Saul
Directors: Karni & Saul
Prod Co: Sulky Bunny
Record Co: Dramatico

Best Live Session
Mura Masa ft Damon Albarn – Blu (Live)
Director: Colin Solal Cardo
Producer: Christophe “Chryde” Abric
Prod Co: La Blogothèque
Commissioners: Emily Tedrake / Semera Khan for Polydor Records

Best Live Concert
Rammstein – Paris
Director: Jonas Akerlund
Producer: Svana Gisla
Prod Co: Black Dog Films
Commissioner: Rammstein

Best Commissioner
Semera Khan

Best Producer in association with WPA
Nathan Scherrer

Best Production Company
Pulse Films

Best New Director in association with Time Based Arts
Matilda Finn

Best Director in association with Locomotion
Oscar Hudson

Best Artist
Kendrick Lamar

The Icon Award
Jake Nava

Video of the Year in association with Promo News
Young Thug – Wyclef Jean
Director: Ryan Staake
Head of Production: Kevin Staake
Exec Producers: Ryen Bartlett / Nathan Scherrer
Producer: Jeff KopchiaProd Co: Pomp&Clout / FreenjoyCommissioner: Emmanuelle Cuny Diop For Atlantic Records / 300 Entertainment

FAULT Magazine In Conversation With Reggie Yates PT.1

Photography Joseph Sinclair | Styling Rachel Gold @ Red Represents | Lauren Alice @MandyCoakleyRepresents using Medik8 and La Roche Posay

Words: Miles Holder


For those who grew up watching 1990s terrestrial television, Reggie Yates has always been a household name – the recognisable young face who young POC across the country grew up with as their pillar of cultural representation on children’s television. Programs have come and gone since he made his debut on the Desmond’s in 1993, but still to this day, Reggie is still a mainstay on our television screens.

In 2013, we were introduced to a new side of Reggie through his documentary ‘Reggie Yates’s Extreme South Africa’, I say this was a “new side” of Reggie, but for many of us it was the first time we’d ever gotten to know Reggie Yates the person as opposed to the Saturday morning television presenter. Lying alone in his tent and discussing how South Africa’s race issues were affecting his own perception of self, it was a million miles away from the Reggie I remembered interviewing Atomic Kitten on ‘Smile’ or from his seldom spoken about appearance on Celebrity Fame Academy in 2005. A real Reggie; down to earth, an undeniably, unashamedly “black” Reggie Yates.

As more projects have released, the idea of Reggie Yates as a documentary maker has gone from career pivot to career-defining; critics and viewers alike now hold his work in the same esteem as one might the documentaries of Louis Theroux or Andrew Marr – a merit not many young British stars achieve.


FAULT: All those years of presenting children’s television, was the plan always to move into documentary making?

Reggie: No, and to be honest, there has never been a plan until now. It’s only in the last decade that the focus has been on doing projects which I genuinely care for. I know where I’d like to be at forty years of age in my personal and professional life and at the age of twelve I just wanted to have fun and as I’ve matured my desires for my career changed.

FAULT: Your career is an anomaly; it prompted The NewStatesman to run a story entitled ‘Does Reggie Yates Have The Weirdest Career In Television?’ – do you feel as though it’s been weird?

I don’t think I do have the weirdest career on television, I would replace “weird” with “authentic”. When I was eighteen, the BBC were telling me that I was going to be a ‘Blue Peter’ presenter and I was like, “no I’m not.” I never watched ‘Blue Peter’ growing up, and it never spoke to me, and quite frankly, I didn’t care for it. For those reasons, I didn’t do it and they just couldn’t understand and didn’t get it.

FAULT: Blue Peter is a big gig to pass up, what did you do instead?

What I went on to do was doing children shows where it felt like I was allowed to be me in, I helped create ‘The Crust’ a sitcom we did in a tower block, and it had a predominately black cast and I was twenty-one at that point. I always did things that feel right at the time, and that’s why there’s been this crazy flow but if you study my career, it’s always moved me forward, and now, everything aligns. The book makes sense next to the documentaries, the documentaries make sense with the photography, and that’s what I’m spending my life doing. All about empathy and learning, growth, sharing and I’m not just taking pictures for the sake of it like I used to do, I’ve just shot an exhibition for amnesty international on refugees, and their stories are as important as the imagery, and that’s where I am in my career.

The night before our interview I had watched ‘Reggie Yates In A Refugee Camp’ which saw him enter the largest refugee camp in Iraq alongside 30,000 Syrian refugees. A news report played on the television showing the death of an Iraqi journalist only twenty miles from the cafe where Reggie sat. This now deceased journalist, much like Reggie, placed herself in the line of danger to get her story. One does wonder if that journalist was possibly the Iraqi counterpart of Reggie Yates, one whose career mirrors his own  and what it must be like to watch someone with such a shared experience, meet such a tragic end.


FAULT: What was it like to sit and hear the news on a journalist, possibly one whose careers closely mirrored your own killed so close by?

I can see why you can make the comparison, but I think I disengaged from the similarities because I’m not a war journalist, and in situations where bombs are going off, that’s the last place I’ll be. I put myself in situations which are difficult, yes, but it’s human interest stories which drive me. I look to find the heart of the issue through the people that I meet, and I don’t feel like I’m in a similar level of danger. It did sadden me though; her life was cut short because she was trying to do the right thing and open conversations and that’s wrong.


Throughout the documentary, we’re shown all the damning emotions one might expect from the people now forced to seek shelter within the refugee camp, but through all of this, Reggie reminds us of the power of friendship, love and compassion can make the worst of circumstances, that little bit easier. In the later episode ‘A Week in a Toxic Waste Dump’ we’re introduced to the Burner Boys, a group of young men working in dangerous conditions in the largest electronic waste dumps in the world – Accra’s Agbogbloshie. Much like the formerly discussed episode, we also end with the Burner Boys a little closer to happiness from when the documentary opened.

This isn’t the case with all of Reggie’s documentaries. In the previous series, we’ve seen him come face-to-face with the far-right, misogynists, racists and projects do inevitably end with his subjects no happier or less angry at the world than when the documentaries started.


FAULT: Has there has ever been a particular person who he wished he could have steered into seeing a happier way of living?

Every film there’s someone I meet that I wish I could steer to a happier future, but I think I have to be realistic about my capabilities. I can’t fix everybody that I meet in a documentary or the real world. My job is to connect with people and tell their story, but it’s not to change the world, and it’d be irresponsible and unfair for me to promise a relationship with everyone. A lot of people had said to me, “please tell me you stayed in touch with the Burner Boys and did more” but it’s hard because two weeks earlier I was in Iraq, and a month before that I was in jail in North Carolina and what about staying in touch with those guys?

I don’t do these films as a one-off project; I’m not some kid on a gap year building a house in Africa and pissing off forever. I have plans where there is legacy, and I return; for instance in Kenya and Iberia, I’ve been back several times. In Awal, I was affected by being there and my connection to the land from being of Ghanian decent I’ve started the ball rolling on a campaign to bring about change. It’s not something I feel the need to shout about here because I’m not doing it for promotion, I’m doing it out of personal responsibility as a Ghanaian the position that I’m in.


FAULT: You touched on a point saying that you’re not a student on your gap year going in and fucking off. How do you respond when people counter with the argument that you’ve gone into Iraq, made your documentary and then like you say, fucked off?

It’s a very easy answer; the difference is I’ve made a film about it which you and many people have seen across the country. It’s started a conversation which wasn’t there before, and we don’t know what the legacy of that documentary will be – it could sell internationally, and it explains displacement in a way I’ve never seen before. I’ve done something different and original, and it will effect change even if it’s just in the attitude of the audience watching it.


FAULT: Do you have any career regrets?

I don’t have any. There are things I could have done better, things go wrong all the time, there are documentaries which I’ve made which have been a bit rubbish, but I’ve learnt from all of them, and it’s cheesy textbook crap, it reigns true. It’s essential that I celebrate my failures as much as my successes because of nothing is a better teacher than failure.



In Pt2 – we’ll discuss Reggie’s new book, future projects, race and above all else – FAULTS.

Coming Soon…


Unseen: My Journey by Reggie Yates published by BBC Books, price £18.99 | THE INSIDER S2 is available on BBC3

FAULT Premieres Jake Bugg’s ‘Waiting’ ft. Noah Cyrus and photoshoot preview

Photography: Conor Clinch | Curated by Rachel Gold | Styling: Alexx Dougherty |Words: Miles Holder

In a time when sensation and the absurd makes the artist, Jake Bugg is a fresh retreat from all the industry fluff. Jake Bugg first came to prominence with the release of his self titled debut album and while his sound has evolved, his impeccable songwriting talent hasn’t wained.

Today, we’re very proud to premiere the latest music video to come off from album ‘Hearts That Strain’ as well as a preview of our exclusive photoshoot and interview with Jake for our upcoming print issue. Entitled ‘Waiting’, The video is shot in LA by acclaimed director Andrew Douglas. The yearning tone that we’ve all come to love from Jake Bugg’s vocal (especially on this new record) blends surprisingly effortlessly with the juxtaposed country vocal of  Noah Cyrus, perfectly evoking the song’s sultry yet melancholy sound.




You told NME that this album was “make or break it” for you and that’s a lot of pressure to put on yourself?

I think I’m always going to feel that way when making music and quite honestly, it’s the truth. If my music doesn’t work out, then there’s a chance I can lose the ability to continue doing the things I love. For me, that’s playing music and travelling the world, and I’m always going to feel that but I’m really happy with the album, we’ll just have to wait and see.


You were very young when your debut came out and you were c0ntintually lauded as the “next big thing”, was that kind of media expectation and hype unhelpful from your perspective?

I got into this to play music and travel the world, and that side of the press comes with it so there will always be media pressure, but I didn’t get into it for the journalist approval, so I never let it affect me.


Hearts That Strain was fully recorded out in Nashville, what was your main reason for recording it out there?

There’s a whole sophisticated music scene out in Nashville, and I love country music, so that was one reason. The level of musicianship is so high in Nashville too so it was also great to get out there and play with amazing people and I’ve always been inspired by a lot of the musicians out there too.


Lyrically, Southern Rain is one of the darker songs on the album but you’re singing it over a comparatively sunnier melody, is that something you always intend to do with your songwriting?

I believe it’s nice to have songs and even the darker songs there should be a glimmer of hope. I like that you say that, I like to hear people’s interpretations of songs and I think it’s important for everyone to keep their narrative and that’s one of the reasons I’ve never liked music videos so much because they paint a story for the listener. I’ve always like the idea of one song meaning one thing to me as the writer and an entirely different thing to you the listener.

What’s changed most about you since your debut?

My determination to get the finishing product when it comes to my songs. I’m determined to work a lot harder, and it’s worked. This album was written and produced in a couple of months, and to me, it’s my best body of work.



What is your FAULT?

My biggest FAULT is thinking that music is the most important thing in the music industry because it’s quite obviously not that way anymore.


Is that something you’ve come to accept or does it still effect you?

There’s no escaping it, and the only thing I can do is try to stick to what I do best and try to write the music that I do. I’m never going to compete with the stuff in the charts because it’s not about your song making it talent, success in the industry is just fueled so much by your celebrity and sales figures. Fashion first, music second.


Look out of the full photoshoot and interview in FAULT Issue 27 – COMING SOON…