A Vibe Called B is a London-based DJ and producer known for bold transitions, unpredictable blends and genre-fluid sets that move through Future Beats, Alt R&B, Global Club, Soulful Edits and percussive sounds.
Born in Birmingham and proudly Jamaican, B’s sound carries roots, rhythm and weight. Classically trained on flute and raised playing keys by ear in church, she hears harmony instinctively. That foundation shapes her approach to mixing, where precision meets raw feeling.
A Vibe Called B has played for brands such as Spotify, Red Bull, Les Amis, New Balance, Offspring and Jordans, and performed at Cross The Tracks and Boomtown Festival. She is also a resident for Soho House, G-SHOCK Radio and Pirate Studios.
Outside of music, she works as a Senior Director in global advertising, balancing two fast-paced creative worlds.
How did you get your start in music?
Music has always been at the centre of my life. Growing up, my mum, dad, and granny were massive music heads, so the house was constantly alive with sound. I was the kid who made all the playlists for family parties, always thinking about how songs flowed and set the mood.
At 11 years old, I even pretended I had my own radio station called Vibe FM, recording myself on a cassette tape. Funny enough, I completely forgot about that until years later when I created A Vibe Called B and Enter the Vibe Radio - it felt like a full-circle moment I didn’t even see coming.
From there, I threw myself deeper into music - I became classically trained on the flute and played in the Symphony Orchestra, while also playing piano by ear in church. I later studied Music Technology at college, which gave me another layer of understanding around production and sound.
DJing came into my life about four years ago, and I’ve been taking it seriously over the past two years. In many ways, it feels like the natural progression of everything that came before: from the family playlists and imaginary radio shows, to orchestras, church music, and music tech. Now, DJing is how I channel all of that - telling stories through sound, creating journeys that are always unexpected but always connect.
You work as a Senior Director in a global advertising company while also pursuing your DJ career. How do you balance these two demanding worlds?
It’s definitely a balancing act, but I see both sides as feeding into each other. My role as a Senior Director in global advertising is fast-paced, strategic, and constantly evolving - I’m always thinking about innovation, storytelling, and how to connect with people at scale. DJing, for me, is the most immediate and raw version of that: connecting with people in real time through music.
The way I manage it comes down to systems and rituals. I’ve built the right systems into my life - whether it’s task management tools, planning workflows, or content pipelines - that keep me organised and consistent. Alongside that, I lean on what I call “regulation, reset, and rituals” - gym sessions to keep my energy up, journaling to reset, or carving out strict time blocks to separate work and creative focus.
I’ve learned it’s less about chasing a perfect balance and more about flow: some weeks, work takes the lead; other weeks, music does. The systems keep me on track, and the rituals keep me grounded. At the core, both careers share the same DNA - creativity, energy, and the drive to leave people feeling something real.
Do you find that your experience in advertising influences the way you approach music and your brand as an artist and vice versa?
Absolutely - the link between the two is wild. In advertising, I’ve learned the importance of reading the room, telling stories that resonate, and being authentic. DJing is no different - it’s just that the “room” is a dancefloor instead of a boardroom, and the story is told through sound instead of slides.
My advertising side makes me think intentionally about how I present myself and my brand - the visuals, the positioning, the details behind the scenes. But music keeps me grounded in feeling. When I’m DJing, there’s no hiding behind strategy. It’s about instinct, honesty, and being present in the moment.
So the two balance each other out: one sharpens my vision, the other keeps me real. At the end of the day, whether I’m in a meeting or behind the decks, it always comes down to the same thing - knowing your audience, staying authentic, and leaving people with something they’ll remember.
Networking can feel daunting for some people. What’s worked best for you when it comes to building genuine relationships?
I’m not a fan of the word “networking” - it feels too rigged, forced, and strategic. For me, it’s always just been about building relationships in the most natural way possible: by showing up as myself.
I don’t go into conversations thinking about what I can get - I just have a chat. I bring my full self, I listen to really understand rather than just waiting for my turn to respond, and I let the energy flow from there. That’s where genuine connections are made.
When you strip away the pressure of “networking” and just focus on being human, it stops feeling like work and starts feeling like what it really is - people getting to know each other.
What habits or practices keep you grounded on a challenging day?
The gym is a big one for me - strength training or cardio instantly shifts my energy. Journaling helps me process what’s in my head, and I’ll often light candles, put my phone on flight mode, and take it back to basics with breathwork. Paying attention to my breath helps calm my nervous system and bring down those cortisol spikes.
I also lean on my faith. There’s a scripture I always return to: that God will never put more on me than I can bear. Remembering that means, in a way, I’ve already overcome whatever challenge I’m facing - it just hasn’t fully revealed itself yet. That perspective helps me push through, knowing I’m equipped to handle it.
The music industry can be unpredictable. How do you keep momentum when opportunities are inconsistent?
For me, momentum isn’t just about shows - it’s about consistency and growth. I keep a backlog of content and use a content calendar so I can stay visible with a steady posting rhythm. Not too much, but enough to stay top of mind and remind people of what I’m building.
But honestly, I love the quiet periods. That’s when I go into the lab - practicing, making edits, coming up with new ideas, filming content, or catching inspiration at other DJs’ sets. It’s also when I make space for the things that keep me whole: connecting with family and friends, spa days, massages, and self-care.
I expend so much energy in both advertising and music that the quiet is a blessing. We all need to embrace it instead of beating ourselves up with negative self-talk or falling into comparison. We need to get more comfortable with stillness. Being “booked and busy” 24/7 isn’t the only definition of momentum. Sometimes the most powerful progress - creative, personal, and spiritual - happens in the quiet.
You balance high-pressure creative work with professional leadership. What’s your advice for avoiding burnout while building a career in music?
For me it comes down to one word: balance. Burnout is real - I’ve felt it in both advertising and music, and neither side is fun. You can’t show up as your best self if you’re drained, distracted, or just going through the motions.
My biggest advice is to learn the power of “no.” Every gig that comes your way isn’t meant for you. Ask yourself: is this going to be a game-changer for my career, or just a nice-to-have? Does it truly serve me and my brand right now, or am I just saying yes because I don’t want to look “unbooked” or like I’m missing out?
It’s not easy, but sometimes the best career move is protecting your energy. Saying no creates space to say yes to the things that really matter. To avoid burnout, you have to stay present, intentional, and honest about what’s actually worth your time.
You’ve played for brands like Spotify, Red Bull, and at major festivals like Boomtown and Cross The Tracks. What advice would you give to DJs who want to move from grassroots gigs to those kinds of stages?
The first thing I’d say is focus on your craft and your identity. Before the big stages, I spent countless hours practicing (and still do!), refining my sound, and making sure I knew exactly what I bring to the table. You can’t skip that part. When the opportunities come, you need to be ready.
The second thing is the technical side, which often gets overlooked. Smaller gigs are where you really learn - because things will go wrong. Decks might not work properly, the sound might cut out, or the setup might throw you off. Playing those grassroots shows teaches you how to adapt, think on your feet, and keep the crowd with you no matter what. That resilience is what prepares you for the bigger stages.
And then, don’t underestimate the small parties. That’s where you build your audience, your name, and the word-of-mouth buzz that follows you into bigger rooms. I always play smaller stages like they’re my biggest stage ever, because at the end of the day a stage is a stage. That same talent booker who’s at a festival might also be in that tiny basement crowd - you never know who’s watching. Don’t be so quick to chase the branded global stages - they will come, believe me.
And finally, patience and perspective. Don’t compare your timeline to anyone else’s. Those bigger stages will arrive when they’re supposed to, and when they do, it’s about showing up authentically. My mantra is simple: stay ready, so you don’t have to get ready. The same energy you’d bring to a festival set is the same energy you should bring to a small party.
Because the size of the stage doesn’t define you - the impact you leave on the people in front of you does.
If you could give one piece of advice to your younger self about entering the music industry, what would it be?
Remember that little girl recording Vibe FM on cassette? She had it right. Hold onto that joy and playfulness - because that’s the energy that will keep you going when the industry feels heavy.
The music industry is a business, yes - and you need your strategy, your systems, and your business hat on. But at its core, music is about expression, love, energy, and emotion. It’s fun. It’s freedom. It’s connection. That excitement you felt pretending to run a radio station? That’s the same spark you need to protect and carry with you as you move forward in this industry.
When it feels overwhelming, go back to that feeling. Protect it, nurture it, and let it guide you.