Joshua Bailey

Joshua Bailey’s musical journey is a rich blend of cultural influences, innate talent, and decisive career choices.

Born to a mixed-heritage mother, Gambian & English, and a Jamaican father, his upbringing in Birmingham exposed him to roots culture reggae from his father, an underground musician in the band “Messiahs,” alongside the modern Christian sounds of Fred Hammond and Kirk Franklin. The 90s R&B and hip hop scene, with artists like Mint Condition and Usher, further fueled his desire to perform and innovate.

His gospel career began early, leading to the formation of the group “Eternity”. Starting as a duo, the group grew to five, with Joshua on keys. They pioneered a fusion of gospel with contemporary R&B and hip hop, notably writing their own original songs, which was unusual in the gospel scene at the time. Their fresh sound resonated with young audiences and even earned them an opportunity to support Fred Hammond in America.

Joshua’s formal music education was heavily influenced by his mentor, Peter Daley, who encouraged him to pursue a music degree at the Conservatoire, challenging a local mindset that often discouraged higher education for musicians. While his father initially wanted him to focus on classical piano, Joshua’s true passion was the sound, emotional impact, and communicative power of music itself.

His career as a live session musician took him “around the world,” touring with major artists like Kano, Chipmunk, Beverley Knight, and French Montana, playing bass, keys, and programming live sets. While he enjoyed session work, he always saw his long-term path in production. His entry into production was serendipitous: an accidental primary school “punishment” confined him and his future production partner, Elliot, to a room with instruments, forcing them to create music for assembly—an unexpected first studio experience that later led them to build their own mini-studio with his father’s support.

The transition from formal classical training to intuitive gospel playing was challenging, but Joshua relied on his gift of “listening” and quickly picking up sounds. He recalls high-pressure gigs, such as playing for Clive Brown and the Shekinah Singers at age 17-18, and an impromptu performance with Beverley Knight, which pushed him to rely on instinct over rehearsal.

Joshua reflects on the contrasting mentalities regarding music careers, finding the UK scene more “cliquey,” while the US environment was more “receptive” and open to collaboration. He addresses the misconception that secular music is inherently evil, asserting that music is a gift from God, and it’s the lyrics that carry the message. His ability to navigate both the secular and gospel realms without compromising his values is a testament to this belief.