Exclusive Interview
Dec 6, 2024
Produced by: Rudy Manager
Edited by: Rudy Manager & Andrej Aroch
JB Made It – “Rome wasn’t built in a day, and neither will your career”
In this exclusive Studio Talks interview, we sit down with JB Made It. Known for producing Drake’s "Demons" featuring Sosa Geek and Fivio Foreign, JB is a key figure in UK drill and co-founder of Finesse Foreva. He has collaborated with top-tier artists like Central Cee, French Montana, Skengdo & AM, and more. JB shares his journey from a church drummer in Croydon to producing global hits and building a trailblazing label. He also offers valuable advice for aspiring music producers. This interview was conducted by Rudy Manager via video call on November 18, 2024.
Could you share your journey into music and how you transitioned into music production?
My journey into music is actually quite simple but also serendipitous. I started as a church drummer, which was my main thing and my go-to when it came to music. I’ve always loved music, but my production journey didn’t start until I was about 15.
A friend of mine suggested we try making something in the studio—just for fun, to experiment. It wasn’t anything amazing, but it opened my eyes in a way I hadn’t expected. Before that, I hadn’t really thought about how music was created; I just assumed songs were songs, without considering the process behind them. But when we started experimenting, something clicked for me. I realized how interesting production could be, and I wanted to explore it further.
Around the same time, I co-founded my first company, with some friends. It was meant to be a one-stop shop where you could film, produce music, record—basically do everything creative under one roof. Through that, I discovered my passion for music production.
By the time I turned 18, I made the decision that this was going to be my career. Nothing else mattered—music was it. That’s when everything became clear to me.
Now, years later, I’m working as a producer and running Finesse Foreva with two childhood friends. It’s been an incredible journey.
Did you have any mentors when you were starting out, or did you attend an institution to improve your music? How did you go about learning and growing back then?
I didn’t really have any mentors in the traditional sense. I pretty much learned on the job. There wasn’t anyone teaching me one-on-one how to produce or make music—I picked it all up through experience.
I spent a lot of time in studio sessions, recording people, and learning through that process. Being in those environments taught me how to collaborate effectively and refine my skills. But there wasn’t a set pathway for me; it was all about figuring things out as I went along. Every studio session was a learning opportunity, whether it involved recording or producing for someone.
I also gained a lot from working with co-producers. It didn’t matter if they were more experienced or just starting out—there was always something to learn. I made it a point to ask questions, like How did you achieve that effect? or What’s your process for this? Applying those answers to my own work helped me develop a formula and a clearer process for my music.
Once I understood the foundational aspects of production, things became much easier. From there, it was all about building on that foundation and adding new skills. Ultimately, experience was my greatest teacher and my most valuable mentor.
How do you usually approach new productions? Do you mostly use samples, or do you prefer making beats from scratch? What’s your process like?
Lately, I’ve been doing a lot of sampling, mainly because of the environments I’ve been working in. When you’re constantly in sessions and trying to finish tracks within tight timeframes, starting with a sample can make things a lot easier.
That said, I’ve always had to learn how to create melodies from scratch, especially back when I was starting out. Back then, tools like Splice or other sample libraries weren’t available, so I had no choice but to figure melodies out on my own. And even though I wouldn’t say I’m the best at creating melodies, some of my biggest tunes have been built around melodies I’ve made myself.
Sampling, however, speeds up the process. It gives me a quick starting point or idea to work with, which can be a huge help when time is a factor. My approach depends on my mood. If I feel like I have a melody in my head, I’ll lay it down from scratch. But if I’m not in that zone or I’m short on time, I’ll turn to samples to get things going.
Recently, sampling has been a bigger part of my process.
Do you have any kind of creative routine?
I wouldn’t say I have a strict routine—it really depends on what I’m feeling in the moment. The genre I’m working on often dictates my approach.
For example, with Afrobeat, I almost always start with the drumbeat because it’s such a driving force in the genre. The way the drumbeat carries the song sets the foundation.
For R&B, though, it’s usually melody-driven. I’ll focus on finding or creating a melody first because that’s the core of the genre. With house music, it’s a bit of a mix. Sometimes I’ll start with the drums, but other times it might depend on my mood or the vibe I’m going for.
One consistent part of my process, regardless of genre, is structuring the track early on. I like to map out the song layout—placing the verses, choruses, and other sections—so I have a clear sense of direction. This helps me visualize the track and gives me a clear sense of direction. From there, I can decide what to add, like layering melodies, cutting sections, or experimenting with transitions.
You produced “Demons” for Drake, which is one of your biggest tracks. Could you share how that song came about and what was the process like?
A lot of my career moments feel like serendipity, and "Demons" was no different. It all started when I was in New York for a UK-US collaboration writing camp, arranged through my publishers. I was put into sessions with different artists, including an up-and-coming Harlem rapper named Snubbs. We made a couple of tracks, and there was an A&R in the room who I didn’t really know at the time.
That A&R ended up connecting me with Sosa Geek. When we got to the studio, everything was chaotic—nothing was working. The speakers were down, and there was tension in the air because, apparently, there had been a shooting nearby earlier. The room was packed with about 30–40 people, and the atmosphere was tense.
Since the proper setup wasn’t working, they brought out this big venue-style speaker and told me to just play some beats. I started flipping through my catalog, and someone asked if I had anything with a choir or something more “scary” sounding. I remembered this beat I’d made on the plane to the U.S. It wasn’t even finished—I’d just thrown it together as a random idea. I played it, and suddenly the energy in the room shifted. People got hyped, and I could feel that they loved it.
At that moment, I was still confused because, honestly, I didn’t think much of the beat when I made it. It took me about 30 minutes, and I didn’t even consider it finished. But clearly, they saw something in it.
I stepped out to use the bathroom, and one of my guys started banging on the door, yelling Drake’s name. At first, I thought something bad had happened, especially given how tense the day had been. But when I came out, the vibe had completely shifted. People were telling me, “Your life is about to change.” Apparently, while we were in the studio, Sosa Geek had gone live on Instagram while playing the beat, and Drake had joined the live. He’d heard the beat and loved it.
Fast forward a few months—I saw a clip in February of Drake, Fivio Foreign, and Sosa Geek vibing to the beat in the studio. A friend sent it to me, asking if it was my track because they heard my tag. Then, by May, the contract came through, and that’s how “Demons” became a reality.
It’s crazy because it showed me that you should never doubt a beat. Even if you think it’s not your best work or it’s just something you made ages ago, you never know what someone else might love. Sometimes, the things you least expect end up making the biggest impact.
What’s your favorite project or production that you’ve worked on?
I don’t have a favorite. For me, it’s more about the vibe and the memories tied to the process than the track itself. Some of my most memorable moments have been with people I’ve known for years, like Skengo & AM—we’ve shared some amazing times in the studio, just vibing. On the other hand, I’ve also had incredible sessions with people I didn’t know well, but the energy on the day was just right.
As a producer, I’m always grateful for the tracks that actually get released—so many never see the light of day. So I don’t pick favorites. Maybe in a few years, I’ll feel differently, but for now, I just appreciate the process and enjoy the music that people get to hear.
What advice would you give to new producers trying to work with big artists, both creatively and from a business standpoint?
The best advice I can give is to focus on building your reputation from the ground up. Big artists and their teams are always looking for what’s hot, so if you’re making waves in the underground scene, you’re more likely to get noticed. Work with smaller artists—you never know who might blow up. One hit can change everything, and your name will be tied to that success.
From a creative standpoint, focus on building your craft and showcasing your style. Self-promotion is key, even if it’s not your favorite thing to do. Think of yourself as a brand—be professional, consistent, and maintain a clean, approachable image, because your reputation matters.
On the business side, networking is absolutely vital. The relationships you build today can open doors years later. Stay connected, even when there’s no immediate benefit. Having a solid network and a supportive team is essential—it’s hard to manage everything as a producer or artist on your own.
Lastly, remember to enjoy the process. Those early days, when you’re making music purely for fun, are some of the best times. Once it becomes a career, there’s more pressure, and it’s easy to lose that sense of authenticity. Remember why you started and be patient. Rome wasn’t built in a day, and neither will your career. Even legends like Quincy Jones didn’t create their best work overnight.
Where do you see yourself in five years' time?
In five years, I definitely see myself with a Grammy. Even just one would be a huge milestone in my career, but I want to push for that. Beyond that, I want to inspire others to take production seriously as a career. I’d love to be known as one of the pillars who helped elevate UK music and made a positive impact on the scene.
I want to be a role model for young people, especially kids from my area in Croydon, South London, showing them that success in music is possible no matter where you come from or your background.
In five years, I also see myself traveling the world, creating music and having fun with it. But above all, I want to leave a cultural legacy—helping to raise the next generation of musicians, artists, producers, and even label executives. I want my company to play a role in that, becoming a staple in nurturing talent and giving back to the industry.
Ultimately, it’s about proving that a career in music isn’t just a dream—it’s something real. You can build a life doing what you love, and I want to make sure people see that as achievable.
Is there anything you'd like to add to that?
Yeah, the last thing I’d like to add is that music is a lifestyle. It’s not just about making tracks all day, every day—you have to love it and let it inspire you. There will be moments when you’re not feeling inspired or motivated, but that’s part of the journey. The key is persistence. The key is to not give up.
It took me 10 or 11 years before I made any real money from music. So my advice to anyone coming up is: don’t give up. Even if things don’t work out as an artist, there are countless roles in the industry—you might become an A&R or discover your own unique path.
Music has this powerful way of connecting people, and often, it leads you to your true purpose. It’s about learning your craft, being patient, and trusting that when the time is right, things will happen. Take inspiration from people like Killer Mike, who won a Grammy when no one even knew who he was before. It’s a reminder that you’re always one step closer to your dreams. Keep pushing, keep learning, and never give up on music.
Follow JB Made It on Instagram: @jbmadeit_
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