Dirty Hit; An indie haven, an aesthetic heaven. Rory Wiltshire gives us the inside scoop on how the independent record label of Jamie Oborne making exceptional strides within the industry in more ways than one.
Beabadoobee, No Rome and Oscar Lang. The fresh-faced trio of the recently announced Dirty Hit Tour who will be hitting the UK in December of this year. A twenty-date excursion bursting with youthfulness, bedroom pop and a drop of grunge, headed by Bea Kristi or ‘Beabadoobee’, lays example to Dirty Hit’s ability to ignite the imagination of Britain’s youth. Such a tour encapsulates the sounds of a leading wave of new artists stretching from the Philippines to London, delving into lyrical themes of friendship, escapism and the occasional ode to Pavement’s Stephen Malkmus.
The overwhelming success of the original Dirty Hit Tour of 2017 perhaps offers an insight into the importance of such an opportunity for up and coming artists. Featuring the likes of Pale Waves and King Nun, who now both rest on well received, debut records, the tour exemplified the importance of reaching new audiences as a collective. The concept of a label-orientated tour in itself promotes a sense of unity amongst its artists, boosting moral in an industry in which there often seems to be a distinct disparity between a support act and the main event.
From new beginnings to a wealth of experience, an article magnifying the movements of Dirty Hit that fails to acknowledge the triumphs of The 1975 and Wolf Alice is likely to be lacking. Mercury Prize victors, arena heroes, there is a certain difficulty in devising a list of what the Dirty Hit family haven’t accomplished. And there lays the key to such success; family. The record label allows for the growth of artists, boundaries are broken, and time constraints defeated. The label provides space for their creators to flourish, rather than offer them a set of guidelines to which they must abide to.
As noted by newcomer Beabadoobee, Dirty Hit helps to form an atmosphere in which she feels ‘comfortable with who I am’, a crucial ingredient in the creative expression of many. The wide catalogue of successful artists under the labels name act as ideal role models for the next body of stars that are sure to be challenging their predecessors for the heady heights of festival stages.
Whilst the nurturing of exciting, raw talent sits at the core of Dirty Hit, the ecological expectations installed within the company also retain importance. The concern of climate change is very much prominent within the four walls of the office of Jamie Oborne, already offering a commitment to become a plastic-free company.
Yet the presence of Greta Thunberg within the eponymous, lead track of The 1975’s Notes on a Conditional Form, perhaps demonstrates Dirty Hit’s willingness to prioritise environmentalism at its maximum. Easy to describe as a publicity stunt, such an inclusion illustrates the awareness of The 1975 and Dirty Hit in magnifying issues of political importance, whilst enhancing accessibility to environmental activism on various streaming platforms.
Likewise, the sustainable merchandise of The 1975 offers a prime example of the increased environmental efforts of the band and label. Through the printing of new designs on any piece of clothing one wished at Reading and Leeds Festival, The 1975 are protecting the planet, whilst similarly preserving the pockets of a multinational fan base.
The emphasis placed upon fan interaction by Dirty Hit sees it further distance itself from industry rivals. Through social media particularly, the label has developed an aesthetic appeal that encourages notions of inclusivity and acceptance. Fans worldwide experience a genuine connection with artists that on alternative labels are likely to appear merely as a figure on a screen. Oborne even involves himself heavily on Twitter and alike, denting ideas of a hierarchical tension between fans and artists. Similarly, a recent clip of Beabadoobee, perched on the steps to her tour bus with guitar in hand, following a show, emphasises the interpersonal nature of the Dirty Hit community and the ethos of giving back amongst the labels musicians.
It would appear that Dirty Hit struggle to exert any obvious flaws. Oborne has generated a formula encompassing the perfect balance of politicisation, engaged musicians and no-nonsense hits that is likely to dominate for years to come.
Rory Wilstshire