BLACKSMITH: BRIDGING BRISTOL AND COMPTON ON A GLOBAL FREQUENCY: 2026 INSPIRING INTERVIEW
Rooted in Bristol but operating on a global frequency, Blacksmith has quietly built a career defined by longevity, integrity, and connection. Blending soulful production with introspective lyricism, his music reflects lived experience rather than trend-chasing a quality that’s earned him respect on both sides of the Atlantic. With the release of ‘Last Days’, featuring Westside Boogie, Blacksmith continues to bridge worlds, pairing honest storytelling with collaborations that feel earned, not manufactured. We caught up with him to talk inspiration, resilience, and the journey that’s shaped his path so far.
What inspired ‘Last Days’, and why release it this year?
‘Last Days’ started with producer It’s Nyce, who sent me a folder of beats. The title track already had the hook, and the soulful production instantly resonated with me. The concept of living with no regrets until your last day came naturally, and I wrote my first verse quickly. I sat with it for a while, figuring out the right direction, and the timing ended up lining up perfectly. Even though it was recorded earlier, releasing it this year felt right — everything fell into place when it needed to.
How did the collaboration with Westside Boogie come about?
I’d been a fan of Boogie since ‘Everything’s for Sale’. I shared his Tiny Desk performance on my Instagram, he reposted it, and we started talking in DMs. From there, the conversation turned to collaborating. ‘Last Days’ already had a spare verse and felt like a perfect fit for him. I sent it over, and he turned his verse around in under a day and absolutely killed it.
Were there any challenges working across continents?
The music itself was easy, that part’s pretty seamless these days. The main challenges came with coordinating schedules and figuring out how to shoot the video in LA. But with some planning and flexibility, we made it happen.
How did the music video come together, and what does it add to the story?
After the song was finished, the video felt essential. We linked in London while Boogie was on tour, then locked in dates to shoot in LA. Shout out to DJ Hydroe for helping us find locations around Downtown LA, and to Jesse at Rxtn Film for bringing it all together. We ended up filming Boogie’s scenes on a downtown rooftop with an incredible city backdrop. The final touch came from This and That Media, who added the lyric graphics that really elevated the video.
How did you first get into hip hop, and what was the Bristol scene like back then?
I grew up on Soul, Reggae, and Ska, so Hip Hop was always inevitable. Albums like ‘The Score’ opened the door, and seeing De La Soul in Bristol with Doc Brown supporting really changed everything for me. That was my first time seeing a UK MC live, and it set me on this path. Bristol’s scene has always been community-driven. Events like Cheba’s ‘Weapon of Choice’ gave so many of us a platform, and it’s dope to see how many artists from that era are still thriving today.
What are some defining moments in your career?
Releasing ‘Price of Love’ with Skinnyman, produced by Statik Selektah, was huge for me. Skinny’s a hero of mine, so that collaboration meant a lot and opened many doors. Working with Jeff Wootton and co-producing for Hodgy, then getting Zane Lowe’s Hottest Record in the World, was another major moment. More recently, the response to ‘Last Days’ [with] New Music Friday, Charlie Sloth support, On The Radar — feels like another milestone.
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This interview is part of our Viper Presents long-form series, now hosted exclusively on our Substack. To read the full conversation with Blacksmith and gain access to our archive of deep-dives into the architects of Hip Hop and global culture, head over to the Viper Substack.
[READ THE FULL INTERVIEW HERE]
Interview by Dejee Baptiste
