Sir Spyro has been a key figure in grime for years, but his story goes right back to the pirate radio days that helped shape the sound of the scene. Growing up on jungle he started mixing in his early teenage years and was already making regular appearances on East London pirate stations. By 19, he’d landed on Rinse FM, building his name through radio, production and a genuine love for the culture.
Tracks like ‘Side by Side’, ‘You Dun Kno Already’ and ‘Topper Top’ helped take things to another level, with Spyro bringing together some of grime’s most distinctive voices over his own unmistakable production. His influence has stretched beyond the studio, too, from his years on Rinse to hosting BBC Radio 1Xtra’s Grime Show, where he’s continued to champion the genre and give artists a platform. He’s also seen grime travel far beyond the UK, taking his sound to audiences across the world, from India and Australia to the US.
This year marks ten years of ‘Topper Top’, a track that remains a standout in his catalogue. To celebrate, Spyro has brought together a mix of established names and newer talent to put their own spin on the original, with Conducta, Distinct Motive, Footsie and Jaz Imsky among those involved. It’s a chance to revisit a tune that’s stood the test of time while hearing how different producers approach it a decade on. A real testament to the merging of grime and electronic music. Having played on some of the biggest parties in the world at Fabric, Boomtown and Glastonbury – the proof is there for all to see.
We caught up with the ‘sound of the sir’ himself to talk about growing up on pirate radio, the stories behind some of his biggest tracks, his journey from bedroom productions to international shows, and where he sees grime heading next. With ten years of ‘Topper Top’ to look back on, there was plenty to get into.
Tell me about your early memories regarding music.
I grew up listening to jungle music. That’s the genre I started learning to mix with. Also, in my household my dad was a singer. He sang lovers rock. There were always different types of music playing in my house. I picked up Fruity Loops back then. I’d get some good ideas and try it out on that. I also went on radio quite young. From the age of 14 I was doing radio regularly. I was mixing early grime and garage together. I went on a lot of different east London pirate stations throughout my teenage years. By the time I was 19 I got a break on Rinse.
In terms of grime, who were you listening to back when you were starting out?
My early grime influences were from the likes of Wiley, Dizzee Rascal and Nasty Crew on Deja and Rinse. At the age of 19 I was still using Fruity Loops making rough tunes for nights like the legendary FWD. As time went on, I was still on Rinse and practising grime the way I would usually – representing it on radio. In 2012, I remember jumping on Logic – it was a new beginning for me whilst trying to keep doing what I do.
Would you say starting your learning process through jungle music helped you as a DJ move forward?
Yes, definitely. Jungle to me was the birth of Spyro. Especially on the Technics. The fundamentals of DJing were a bit different back then. I started at a time where it wasn’t thriving like it is now.
Back then were there guys you were bouncing ideas and learning off of?
When I first started going radio I used to go with a guy called Marky B. We were both learning the ropes together. We eventually got our own shows. There were quite a few people I know from back in the day that are still going now. The likes of Silencer, Mak10 and D.O.K. I used to compare notes with Terror Danjah who’s unfortunately passed away now. He’s a grime legend. He showed me the ropes. When he had his radio shows on 1xtra he would include me and really help me out.
Do you remember the period where you were making more of a name for yourself as a grime DJ and who were you listening to within the scene?
I was listening to a lot of collective grime groups like Nasty Crew, Roll Deep and Ruff Sqwad. The likes of Wookie, Macabre Unit, Slimzee and Mak10 stood out to me in terms of producers and DJs. I started working with people who were close to my area. By 2013 I would’ve moved into my first flat. It’s significant because my studio was in my bedroom and I made a lot of tunes that people know me for in that room. Stuff like ‘Side by Side’, ‘Topper Top’ and ‘You Dun Kno Already’. I also used a studio in Kings Cross that Tinchy was using, I made a few bits in there that people might know like ‘Mud’.
You must look back fondly at your days with Rinse FM.
Yes, definitely. As an artist and a DJ, Rinse did so much for me. At the end of the day it’s a community. You had people like Maximum, Newham Generals, Lioness, Plastician, Ruff Sqwad, Skream and Benga all on at different times. There were regular meetings, this made everyone feel like they were part of something. Everyone being there was so cool. All the different artists on the station with their different sounds definitely influenced me as an artist.
The transition Rinse made from pirate radio into a licensed station must’ve been nice to witness.
Things started changing at Rinse for sure. I do remember when Rinse converted to an actual station, it was hard to get used to the new nice studio space at first. Back when I used to go radio, I’d be going into someone’s flat DJing in their living room whilst they were cooking in the kitchen. Or just carrying my records to DJ in a container at a car wash. I had a weekly Sunday show on Rinse so I used to focus on making tracks during the week in time for the show. Then I hosted the grime show where it became more about me actually presenting rather than just spinning tunes for 2 hours straight. I wasn’t properly shy, but it took a bit of getting used to at first as it was more stuff to think about.
What was life outside of music looking like on your come up to 2015?
I was working on the side throughout. I was juggling a few things trying to get by. When I found out I was going to be a dad in 2015 it gave me a reality check. Everything from that point I knew I had to take seriously. If I wanted to pursue the music thing I had to go all in. I started to really put the effort in with finishing tunes and sending it out to people. From that point things thankfully started to pick up. To be honest, I genuinely don’t think I’ve had a break since joining radio all those years ago. I’ve just focused on keeping the ball rolling, in whatever shape or form I can.
I’d love to know the importance of the two releases in 2015 and 2016 that really made you stand out. I think we both know which ones I’m talking about.
Yes, definitely. The significance of ‘Side by Side’ was big. So I met a guy called Henry Schofield. He did the video for it. From the moment I saw the reaction, I just took it to the next level and didn’t stop making music. The tunes that followed were the likes of ‘You Dun Kno Already’ and, of course, ‘Topper Top’. At this point I was getting out there a bit more as a DJ. I was getting a lot more responses with artists and labels wanting to collaborate on instrumentals I was making.
What was the process behind making those two tracks?
Like I said before, both were made in my flat at the time. I was literally messaging people directly. When it came to ‘Side by Side’ I messaged Big H and he sent me back everything I needed on the same day. President T and Bossman Birdie got involved too. They must’ve all jumped in the studio and vibed to it. I’m really grateful for that. With ‘Topper Top’ I was trying to figure out how the tune was going to go. I wanted to work with artists from where I’m from in Jamaica and St. Lucia. I started getting my thinking cap on and the first person I hit up was Stormin. I knew he had an alias called Teddy Brukshot. In 2005 I’d been playing tunes from his alias on Rinse. He came to my place and we messed around on the track. We’d be laughing the whole time whilst making this tune. My studio in my room was small so I had to get each artist round one by one. Once I got all the vocals done from Lady Chann and Killa P that’s when I went in on the tune and made it how everyone knows it today. I do prefer being in the studio with the artist. I make tracks from scratch so it’s nice to show them the vibe of some of the stuff I’ve been making recently and taking it from there. One thing I will say, people may think that the guitar at the beginning of the track is a sample, it’s not. It was just me editing in between the strings and the person moving their hands. It took a bit of time to get everything right, but we got there.
The impact it had on your career was telling.
100 per cent. Those two earlier releases from me on top of ones like ‘Mud’ made my career pick up so much. I probably didn’t realise it at the time because I was living in it. I saw a big difference, from the people that were shouting at me for tracks to the bookings I was getting. It was all pretty new to me. I got hit up by some big names to do remixes of certain tracks. A notable one was the London Grammar remix I did. It was crazy to me, I was taking the iconic voice of London Grammar and putting Ghetts and Jaykae on top of it. Having the freedom to do what I want at a higher level felt great. I’ve just kept going all this time and that’s all I can put it down to really.
What’s your opinion on the grime scene today?
It’s great to see the grime scene pushing boundaries and reaching new areas. The fact it’s still a thing today is already a mad thing. I even see places like Brazil and Belgium representing it, it goes to show you the scale of it today. When I’ve gone to do international shows and seen it for myself, that’s when it really hits you. It’s taking me across the world, to places like Australia, India and, more recently, the U.S. I remember the first time I played ‘Start & Stop’ was in India. It was a rough version. But it went down so well. I knew I had to finish it up when I got back. I sent the stems to Joker and got down to it. Seeing the grime stuff I do with radio helping people on their journey is a win in itself. It’s what keeps me going.
I’d love to know about ‘Start & Stop’. An unreal track that got a lot of traction. How was working on that?
It was great. We turned that track around very quickly. Killa P doesn’t stop, he’s so hardworking. When he comes up with something, he just knows what works. Linking up with someone like him, he’s always going to bring the magic to the studio and the dancefloor
In more recent times, you’re known for your legendary shows on BBC Radio 1xtra. What’s it like being involved on such a great platform?
Being on a platform like Radio 1xtra is a blessing. Even as a guest, before I was a host. Giving the grime input that I can, as well as giving a load of artists the opportunity to do their thing, means a lot. What makes it even easier is that the staff there are A1.
Let’s talk about the 10 years of Topper Top remixes release.
10 years of ‘Topper Top’ is special. It’s probably a bigger track than I even realise. I wanted to get some remixes in to mark the anniversary. Getting some exciting artists to compliment the project. I was really impressed with what I was hearing. I’ve got a nice blend of newer producers with some veteran legendary producers in there. You’ve got Conducta, Distinct Motive, Footsie and Jaz Imsky all on the remixes.
I’d love to know about 3 artists we should be watching out for.
There’s a guy from Manchester called Suggz, he’s young and a very talented MC. He’s really good at putting tracks together. ArzUpNorth from Sheffield. Another young MC, lyrically he’s already got it. I’m going to say Jolie P as my final one, she’s really talented and putting in the work.
You must have some favourite places you’ve played at over the years.
There’s so many. KOKO in Camden for D Double E’s headline show was great. Fabric is always a memorable one too. Dekmantel festival was an unreal experience. When I played in India on tour there was a huge vibe. I have to say, Shambala Festival as well. Other ones that stuck out from this year were Boomtown on the Hidden Woods stage with Lady Chann and Killa P and the Gemfest set on the Buntai stage with Joker and Killa P, even P Money made a cheeky appearance on that one too.
Finally, if you were curating a night, who would you call up?
That’s a really hard question. I’d 100 per cent get Neffa-T down. Shadev who’s from Manchester as well. Capo Lee on mic and DJ set. I’d have someone like Nadia Jae who does the breakfast show on 1xtra to play a genre that has nothing to do with the night but is a feel good set as a great little interlude. I think it’s important to break up the night a bit. Then to wrap up Killa P, Flowdan, Jolie P and Manga Saint Hilare on mic for sure.
