The vibrant, graffiti-washed streets of Shoreditch form the nexus of Nia Archives’ world. Teeming with a mix of giddy twentysomethings and bankers looking to dance and release pressure at kitschy nightclubs, the east London neighborhood has been pivotal to the 25-year-old’s rise since she first moved from Manchester to the capital three years ago.
Between hosting raves at pubs, rooftop dance parties and a local multi-arts space, Archives has immersed herself in every community hub or wild Shoreditch has offered her. Last year, her close affinity with the area was immortalised in mural, when an 80-square-meter image of Archives was created to celebrate the release of her third EP, Sunrise Bang Ur Head Against Tha Wall.
Eighteen months on, when the Bradford-born artist dials in for her Billboard UK interview, her apartment stretches out behind her on our Zoom call. Every inch of visible wall space has art on it, from a framed cover of Aphex Twin’s Windowlicker LP to a ‘Pour Yourself a Junglist’ print, in homage to the iconic Guinness Toucan advertising campaign.
Like her winsome take on jungle, it is decorated with curiosities across varying aesthetics, but the space looks invitingly lived-in. Archives, born Dehaney Nia Lishahn Hunt, released her debut album, Silence Is Loud, via Island Records in April, which peaked at No. 16 on the Official U.K. Albums Chart before earning a nomination for the prestigious Mercury Prize. The 13-track collection documents her in a state of messy uncertainty. Themes including complex familial bonds and self-esteem are layered over elements of pop, indie and drum ‘n’ bass, broadening her sound without sacrificing brevity.
Archives debuted as a soft-spoken but animated producer with her first single “Sober Feels” in 2020. She has since gone on to have a tectonic impact on U.K. jungle, introducing a new generation of music fans to the genre while also being commissioned for remixes by stars including Fred again.., Jamie xx and Jorja Smith. On Nov. 8, she played a rapturous set at London’s O2 Academy Brixton, which saw her taking on more vocal duties than ever before, skipping around the stage with excitement as she rocked the mic.
Her ascent is built on deep foundations – leaving home at 16, parental estrangement, finding her voice as a songwriter. But by taking a zealously hands-on approach to everything she does, Archives’ followers have continued to turn to her emphatic, euphoric music in troubling times. Back in east London, Archives beams as she tells Billboard UK how she is “surrounded by love”; her closest friends live on the same street, and she is enjoying some downtime after recent tours across the U.K. and Europe.
Fittingly, Silence Is Loud trades in the dizziness and angst of Archives’ earlier music for soaring serenity. Though she still sings about forgiveness and her own resilience, it’s now with the remove of a successful musician that’s conquered an uphill climb to get to where they are today.
Having toured relentlessly in the past few months, how does it feel to finally adjust back to reality?
I do love being on the road, but when I’m away, I really miss my house and my friends. I’m really happy to be back to seeing people, going out and doing things – I’ve got to live life so that I have something to talk about. I’m very happy to be in that mode at the moment. In the past year, I’ve also tried to work out what I want my personal space to look like as being on tour all the time is so disruptive. When I come home, I want to feel calm.
I’m really enjoying life at the moment. I’ve been boozing and reconnecting with friends that I may have lost contact with. When you’re busy playing shows, you don’t always get to speak to everyone all the time so I’ve been trying to be more present in my loved ones’ lives.
What is the emotional exchange between you and the audience like now that you’re not chained to the decks so much in your live shows?
Because I have played so many festivals this year, during these headline shows, it’s been nice to play to rooms of people who really know my music. I do enjoy a festival crowd because I see it as a challenge to win over new listeners but I love seeing people really vibe with the tunes. The audience reactions have been quite mad; I’ll be DJing, then I’ll move away to start singing and feel really connected to people.
We have elevated the set visually too, and I’m really happy with how it has all turned out. I have spotted a lot of moshpits during my shows, which I never expected – it’s quite overstimulating doing what I do! Also, I’ve got really bad eyesight which means I can’t see that far into the crowd but I know that all the vibe controllers are down the front anyway. I love it.
Silence Is Loud introduced your music to more people than ever before. Do you feel like you’ve crossed a threshold, in that regard?
I don’t know. I really love my album, but I will say making an album in 2024 is so anti-climatic. You know, I’m proud of what I’ve done, but I recently saw Goldie say that when he made [1994’s] Inner City Life, people didn’t get it at the time and it only became what it was years later. I feel like that might ring true with my album as well, to be honest.
How do you think the reaction to the album differed to what you had anticipated?
I’m already doing quite a niche thing, which is jungle music. And then I have my own specific take on it, which is bringing in all these different sounds to the genre while I’m singing about my life as well. It’s quite fresh. I think people don’t always understand something new straight away, so I think it’s a bit of a grower. That happens quite a lot with dance music, where songs often become hits years after they are released.
Why do you feel so attracted to telling the story of your life in your music?
I had never really spoken about my life before, and I thought my debut album would be a good way to have a “planting my flag in the sand” moment. Like, my name is Nia Archives and I am making an archive of my life stories. If I have done anything in my life, I have made this album and it’s told the world about who I am, what my story is, and what I am interested in. Album one had to be really real to me: it had to represent who I am and where I come from, and I felt like I only had one chance to do that.
Honestly, I just wrote a lot of songs and tried to sing them as best I could. I don’t think I’m like the best vocalist in the world, but I don’t think I’m the worst. I’m not a f–king powerhouse, Adele-style singer, but I’ve got a lot of charm in what I do.
Did being so vulnerable in your songwriting present any new challenges during the album creation process?
There’s one song [“F.A.M.I.L.Y”] that I didn’t want to put on my album, but my label and manager really wanted that to be the lead single. And I was like, “I don’t want to do that, because that’s such an embarrassing song.” But I’m glad to put it on there because you know what, people that come up to me at shows and tell me they really relate to the song.
Your album has been attributed with bringing jungle sounds and aesthetics to a new audience, serving as a gateway for a lot of people. In what ways has your own relationship with the genre evolved?
My relationship with jungle has honestly grown so much. Hanging out with Goldie has been amazing, he’s become a proper presence in my life. I’ve needed it. He understands what I’m going through and what I’m doing with my music. Also, it has been nice just reconnecting with loads of people from the jungle scene. I’ve got really good relationships with everybody.
In the background, for 2025, I’m looking to put on and work with some new-gen junglists, people that are younger than me. I’m going to Bristol, I’m hanging out with people in Manchester – I want to help new artists coming through. I’m just quite excited, really, and I’m definitely feeling stronger in my love for jungle once again.
What do you see as the big changes in dance music as of late?
Dance music is definitely one of the biggest genres in the world right now. I’ve traveled all over the world and seen people of all ages and from all walks of life enjoying themselves to different DJs’ sets. That post-COVID party boom continues, I think: Charli XCX is huge and rave sounds are everywhere. I’m super happy to be part of it and to also see my friends doing so well.
On the flipside, you can tell who went out [clubbing] before the pandemic and who only started after, right? That’s not being disrespectful, but for the younger ones, the core years of their lives were taken away and they’re still figuring out how to experience live music. I’m not really into berating them or making them feel bad – I just want to encourage them to dance and to not worry about their phones.
How have you dealt with the way your life has changed this past year?
So much has happened these past few months that it still feels like a blur! Like, I still can’t believe that I was able to take my album to Japan and play it out there. It was so cool to see such an enthusiastic reaction to jungle music on the other side of the world – it makes me so excited to see the genre go global. There’s so much left on the bucket list, too. I feel like I’ve only just started and I have so many dreams that I hope to achieve with my second album.
