On the south side of Chicago, I approached a secret sound system culture gathering at an undisclosed location hosted by Beatdown Sound System. I was with my dear friend and official hype girl, Nikki. Google Maps led us to a cobblestone alley, and I double-checked the address, wondering if we were in the right place. Then, we heard it: the bass, lightly thumping, drawing us toward a door. When I opened it, I stepped into what I believe is heaven on earth—an underground club that felt like a shrine to roots reggae and dub, full of neon lights and vibrant paintings of the masters: Clement Dodd, Lee ‘Scratch’ Perry, King Tubby, and more. The vibe was so righteous that I knew I had made it. I was about to see two of my favorites play together: the innovative, boundary-pushing Mungo’s Hi Fi and the dynamic, soulful Eva Lazarus.
Their album More Fyah is just incredible. If you haven’t listened yet, do yourself a favor and put it on. As a DJ, many of my sets feature these songs—the album is a powerful resource for igniting the dance floor. It truly resonates with me; I’m like an antenna, picking up every signal.
This interview is a gem from my vault. In this exclusive conversation with Tom Tattersall of Mungo’s Hi Fi and Eva Lazarus, you’ll uncover candid insights into their creative process and the magic behind More Fyah. Yes, it’s been over a year since I went to that show, and although I aired this on the radio I haven’t written it up until now—I’ve been busy! Enjoy. 😉
Recorded on 4/28/23. This transcript has been lightly edited for readability.
Kayla Kush: I’m currently sitting at an undisclosed location in Chicago with Eva Lazarus and Tom Tattersall of Mungo’s Hi Fi. Thank you for meeting with me. I’ll start with my first question for you, Tom: How did you first get involved in producing reggae, and what drew you to the genre in particular?
Tom Tattersall: Before producing reggae, I was making house and electro—all the funky stuff I played in the band. Then someone gave me a cassette tape of a Dub mix by Andrew Weatherall featuring Jamaican dub producers from the ’70s and ’80s. I loved the sound and couldn’t help but start trying to do that myself.
KK: I love it. So, Eva, how did you first discover your passion for music? What inspired you to pursue a career in singing?
Eva Lazarus: I come from a really creative family. My mom is an artist—a painter, sculptor, and even a clothing maker. My grandma was a singer, as were my aunties. Creativity was always supported as a viable career option, so I never really had another plan. It was simply what I did.
KK: You’re destined for it. So, Tom, can you walk me through your creative process when producing a new track? How do you decide on the elements and structure of your songs?
TT: It varies. Sometimes I have a concept in my head—maybe I’ve heard a tune I really like—and I want to create something with a similar vibe while adding my own elements. That might mean starting with a basic drum beat and building a bassline. Often, I get musical ideas while walking in the countryside, which is where I open myself up to inspiration. I record ideas on my voice recorder, bring them back to the studio, and fit them into the concept I’m working on. Other times, like with Eva’s “Amsterdam,” she already had an idea. We broke it down, worked on it together, and built it back up.
KK: Yes, yes. That leads me to a question for both of you about the incredible album More Fyah in 2019. When you collaborated on it, how did your creative process come together, and what did each of you bring to it?
TT: When we first started working together, we weren’t thinking about making an album—we were just creating tunes that worked well. As we gathered more ideas, a direction emerged. We wanted the album to be varied because we each bring different musical styles. I do rap, reggae, and dubstep, and we wanted to blend those elements.
Photo: Tom Tattersall, Kayla Kush, and Eva Lazarus.
EL: What Tom said—and I’d like to add—is that it was a pleasure to work in an environment where I wasn’t confined to just one role. I wasn’t limited to being the vocal or the rapper; I could be all facets of myself as a writer. I can write about anything and explore the full range of my voice, which is very liberating. Working with Tom on the album was truly a treasured experience.
KK: Eva, as a woman, I find your songs very empowering. Can you talk about your process for writing songs with a message?
EL: I write those songs because they nourish me. I listen to empowering music, and what you feed your brain, you eventually express. I admire opinionated women and see myself as a mouthpiece to remind women to set boundaries, look after themselves, and protect themselves. It’s both a mantra and a message for me.
KK: And how has your personal identity and experience influenced your music? How do you see your music evolving as you grow and change?
EL: I’m from a Jamaican family, which is part of why I do what I do and create the music I make. But it’s not the only reason. I’m passionate about experimenting, and honestly, where I’m headed is anyone’s guess.
KK: I’m getting back to the creative process. You mentioned being inspired by nature and working together. Last summer, I interviewed Craig Macleod of Mungo’s Hi Fi at the Infrasound Festival, and he said you were the driving force behind Antidote—my favorite Mungo’s Hi Fi album, because I love dub so much. It sounds timeless, like a blend of the past and the future. In your opinion, what makes reggae music unique and timeless?
TT: That’s a great—and challenging—question. I believe it’s not about current technology or trends; there’s something deeper, almost ancient, that you tap into. Reggae simply sounds timeless. During lockdown, I had the opportunity to make an album we wouldn’t have otherwise, because we weren’t able to bring vocalists or musicians to the studio to record. So I mixed some material I already had with some I was playing on instruments, even if not every experiment was perfect. [laughs]
KK: How do you stay motivated and inspired to keep creating music after such a lengthy career? What keeps you going?
TT: I never get tired of the thrill of dropping a tune in a club and seeing people go wild. I’m constantly inspired by young producers who bring fresh ideas and perspectives. After years of making music, it’s easy to fall into a routine, so I deliberately challenge myself—sometimes starting with a string section instead of drums, for example. I’m also loving Hamdi’s work right now; his unique take on 140 BPM dubstep really makes me think differently.
KK: So, how has the experience been so far on the US tour? This question is for both of you.
EL: Every place felt completely different. I found myself constantly saying, “Wow!” at the sights, sounds, tastes, and unexpected moments. I experienced everything from elation to confusion. LA, in particular, was a sensory overload—amazing music, people, and atmosphere—yet also a place where I felt deeply concerned about people’s mental well-being and safety. The unexpected humanity I encountered truly touched my heart.
KK: Where do you live, Eva?
EL: I live in the West Midlands, just north of Birmingham.
KK: You’ve traveled a lot for your music—how have your travels influenced your work?
EL: Travel is incredibly inspiring, but it also fills your mind with so many experiences that you need time to process them. I used to say yes to everything, which negatively affected my studio work. Now, I make sure to take a break between tours and studio sessions so I can rest and channel those experiences into my music.
KK: Yes, especially for creative people—rest is essential to producing great work.
EL: It’s not even a luxury; it’s a necessity.
KK: And setting boundaries is crucial because when people are drawn to work with you, you can easily get pulled in too many directions. So, my last question for each of you: What advice do you have for aspiring producers, singers, and performers?
TT: I was talking to my friend Thomas recently. Back in 2016, he told me he had some equipment and a strong desire to make music but no musical training. I advised him to take piano lessons. Even if you use electronic software, your fingers need to know the keyboard. The goal is to translate the ideas in your head into physical expression. Without that, you might be able to put together beats, but you won’t truly express yourself.
EL: I do a lot of mentoring. I recently wrapped up a week of mentoring in Bristol for a project called Next Level, where we work with six vocalists on everything—from music production to understanding EPs, publishing, and record splits. I always tell vocalists to build a team. You don’t necessarily need a manager right away. If you’re not great at organizing your schedule, ask a friend who is. If you need photos, collaborate with a photographer friend. Always seek help from those around you—people genuinely want to see you succeed and express yourself fully.
Check out More Fyah by Eva Lazarus and Mungo’s Hi Fi on Spotify:
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