Life and Love Through Lyrical Brilliance: Kojey Radical Tells the Story of His Life So Far in Don’t Look Down

By Kanika Phillip

Don’t Look Down is a powerful album exploring fatherhood, imposter syndrome, success, and an underlying theme of love that runs throughout the album. Each song from start to finish tells their own mini story through Kojey Radical’s lens, with tracks played out like late-night conversations between friends. Personally, it’s one of my favourite musical project of this year. Kojey’s words are so honest, raw, reflective, and moving, merging beautifully 90’s American Hip-Hop with modern day UK Hip-Hop.

Don’t Look Down opens with Knock Knock, a powerful prelude to the album of Kojey talking to himself, reflecting on where he currently is in his career and life. Kojey told Apple Music that life was starting to feel like this party had been thrown for him and he didn’t know.

“Why is everyone trying to celebrate with me? Why do I deserve this?”

Kojey Radical is battling with imposter syndrome. He tries to encourage himself by saying: “don’t look down if you’ve got the world at your feet, just breathe.”

He reflects on the many times he counted the empty seats over the people who showed their faces, remembering his peers who never made it.

“Flashing lights reveal the poorest traits, the ones I won’t remember after I play buddy buddy with the bartender… you got it G, it’s on you, it’s always on you.”

The flashing lights expose him, putting him in the role of the entertainer — the life of the party who has to keep the energy alive, even if it means covering up his flaws. That is the artist version of him, the host. But alongside this is the quieter pull of home: he listens back to the voice notes on his phone, reminders of another identity — father, partner, family man, someone who exists outside of the stage lights.

“Home comes after the party, do something, have a shot… fall in love.”

This voice feels like another layer of pressure. On the surface, it is the language of the party, urging him to drink, loosen up, and chase fleeting connections. But at the same time, it sounds like an expectation hanging over him: by now, he should be in love, he should be settled, he should have that part of life figured out. It is less about his own desires and more about the demands of others, what people think he should be doing.

So he is caught between competing voices, the performer, the family man, and the expectations of society. The track asks: how do you carry all these identities at once? How can you be the fun artist everyone wants, while also being the responsible dad? And which voice do you actually listen to?

Rotation

“Balling on a budget like I just got paid.”

This song is about Kojey stepping out into the party, but he is using it as a way to narrate the times that we are in now. Pull up with the smoke, put it in rotation.

“Crazy little things that we do for love… but tonight we fall in love.” This last line is echoed beautifully through a talk box, which really puts emphasis on Kojey’s words. He’s toasting to his come up, trying to celebrate life. 

Kojey says he likes to juxtapose moments of confusion and angst with music that we can dance to and celebrate. The message is hidden in the funk drums, and he does exactly this in such a great way. He talks about how we can avoid financial issues, do crazy things for love, and then break down as we cry tears. Working so hard but still not getting money, the struggle is still there, but he is making it look easy whilst still toasting to the come up. 

“Fake it till you make it.”

Rule One is one of four tracks produced by British producer Owen Cutts (one of my favourite producers).

Kojey cites the concept for the song coming from an Afro-Punk show he did many moons ago, where the rules for the party were “no homophobia, no racism, no this, no that.”

Kojey’s play on words is very clever and, to me resembles the legendary Biggie Smalls’ style, through elements of Gimme the Loot and 10 Crack Commandments, seen through the words:

“Never let a broke boy know you gettin’ paid, never let a quick lay lay up where you stay, never let them step up on the carpet that you pray.”

And the repetition of “Gimmie the loot, gimmie the loot.”

He’s setting the precedent for the do’s and don’ts in music with this track.

Drinking My Water ft. MNEK is an introvert’s anthem (the words of Kojey himself). As an introvert myself, it’s personally one of my favourite songs on the album. I can relate to being at a function in general and wanting to keep to yourself and not interact. In this instance, Kojey is talking about being at a function where he doesn’t know anyone and can’t bring his bredrins. He knows that at some point he’ll have to make acquaintances with people and eventually ride out those few hours with them.

Kojey likes to be the one in the corner observing others if he is not dancing. As MNEK beautifully sings, Kojey is just drinking his water and minding his business.

What’s beautiful about this song is Kojey is in a place in his life that is quite the opposite to his friends. He feels out of place telling them about the amazing things he is working on when they are living a normal life in comparison. Kojey says it’s a reminder that he’s quiet, but not sad — and I love that.

“I don’t need a witness, I’ll be the same… even if it rains on me, it’s cool, I’m fine.”

On Call ft. James Vickery is the second track produced by Owen Cutts. What I love most about this song is the Mos Def Ms. Fat Booty references through Kojey’s conversation with a woman he has just met.

It’s a storyteller type of song, and these kinds of Hip-Hop songs are some of my favourites. It’s a clever, light-hearted way to talk about love.

“I’ve been deepening love.”

Something I also love is the Latin elements that can be heard through the trumpet at 1:27 in the track. This style of trumpet playing always reminds me of love — it almost feels magical, like you’re in a fairy tale listening to a love story unfold. But what is most beautiful about this song is the fact that Kojey is yearning for love, and he’s not embarrassed to say it’s no secret that he’s been deepening and needing love.

Problems ft. Cristale is such a simple but moving song. It gives me real 90’s Hip-Hop vibes and is probably my second favourite song on the album after Drinking My Water. It kind of reminds me of Q-Tip’s legendary track Breathe and Stop. The beat is powerful, the message is clear, and the delivery is on point.

Kojey talks about how his problems keep coming — he has hundreds of them — but then he hears the money calling, so he goes running. He wants “more money, less stress, good sex.” He wants the soft life, not every day finesse.

Baby Boy ft. Ghetts and Chrissi is the closing song on Don’t Look Down and the last track produced by Owen Cutts.

Kojey’s vulnerability and honesty on this track is what makes it powerful. He wants to be everything to his son that his dad never was. He gets nervous around dads when they talk about sleepless nights because he cannot relate, yet he still banters to be polite.

He feels guilt and is scared of a broken promise. He misses his son and wants him to know that.

“Baby boy, I’ll always adore you… You’re my prettiest joy.”

Ghetts talks about breaking generational curses so that his son doesn’t have to deal with them. He thinks he’s found happiness regardless of money. He says that one day him and his son will have a grown-up talk, he’s already paved the way for him and God has already ordained his path. Ghetts reminds his son that he doesn’t need to be a follower when he can orchestrate the march.

To me, ‘Don’t Look Down’ is a striking reminder to embrace love and not be embarrassed about wanting it or seeking it out. It’s a reminder to push imposter syndrome to the side, you are allowed to take up space in the areas you deserve. It’s a reminder to celebrate each win and be proud of your journey. It’s also okay to wear many hats: to be the father, the son, the partner, while also taking up space in the creative world. 

So instead of looking down, keep looking up.