THE BRITISH MUSIC PRODUCER ON HIS NEW LIFE IN CANADA, RADIO SHOW AND UPCOMING TRACKS
by ASJAD NAZIR
BRITISH music producer D Boy made a name for himself in the UK and then moved to Canada, where he lives today with his wife and child.
He hasn’t disconnected himself from music and today balances creating music with hosting a popular radio show, which is available globally. He has interesting music on the way, including with artists, for films and a Netflix series.
The talented beat maker now also has an in depth knowledge of Canada and was happy to speak with Eastern Eye about moving there, what he loves about the country, music and his radio show.
How do you look back on your journey in the music industry?
I look back with positivity. Music is forever changing, and I have grown with the music. My journey has been fun and still continues. I always say, ‘don’t be afraid to try new things’. I must be honest, I did fall out of love with music, but it was needed. The space was needed. I needed to remind myself why I love music.
What has the experience of moving to Canada been like?
Toronto, aka Tdot aka TheSix is a dynamic city, similar to London. Apart from the cold winters, Canada is one of the best countries in the world. Happy to be here! It has been a seamless journey and my wife and child have been the biggest reason behind my happiness. Thankfully, we have UK friends here too, some who moved when I did; they are also my brothers/family out here.
What do you miss about the UK?
I miss my friends and family. We have had I think about four generations of South Asians in the UK. We went through a lot, from poverty to extreme racism, which reflected on how we bonded as close friends and family. I don’t think or feel that type of struggle or connection exists here in Canada.
Have you adopted any of the Canadian qualities?
Saying the word ‘Ey’ and eating a lot of poutine (like chips with gravy)! I also shovel the front yard when it snows. I think these are dope qualities.
What should we do if we ever visit Canada?
Visit the amazing downtown districts, check out the music scene, see the CN Tower, and definitely visit Niagara Falls. It amazes me each time, even though I’ve seen it 50 times. The national parks are mind blowing.
Tell us about your radio show?
The Beatcircle Show, Certified Fresh, is not only a radio show playing the best in r’n’b, hip hop and urban desi, but also a platform for new artists to showcase their talent. I play a lot of new music, as well as some exclusive Bollywood releases.
What has been the experience of hosting your own radio show been like?
It has felt very rewarding, interviewing talent like Jaz Dhami, Badshah and Jonita Gandhi. It’s like you’re in control of your own show, but it evolves and flows so naturally. I let the music do the talking.
What is happening on the musical front?
I am working on new music for a Netflix series. I have also been asked to do the title track of a new Bollywood film. All will be revealed very soon.
Today, where do you draw your creative inspirations from?
From artists and producers. I am working closely with Vaz, Swaati, Yusfier and Milli Soch – very creative records on the way.
Has the way in which you create songs changed?
It hasn’t changed. I still create without any rules or structure. Every song has a different story.
Which of your unreleased songs are you most excited about?
He Said She Said by Vaz. A straight r’n’b ballad.
What music is dominating your own playlist right now?
Snoh Allegra, Pink Sweats, a lot of new r’n’b and some Bollywood, reggeaton and Afrobeat.
If you could learn something new in music what would it be?
Maybe some new plugins. I am just so pressed for time I don’t get a chance to try the latest tech, so it would probably be new plugins for Logic X.
Why do you love music?
The earth revolves around the science of rhythm. So do we! Without music, we crumble. Music is a sign of our existence; it’s an art form but also part of our therapy.
Forum brings UK and Chinese film professionals together to explore collaborations.
Emerging British-Asian talent gain mentorship and international exposure.
Small-scale dramas, kids’ shows, and adapting popular formats were the projects everyone was talking about.
Telling stories that feel real to their culture, yet can connect with anyone, is what makes them work worldwide.
Meeting three times a year keeps the UK and China talking, creating opportunities that last beyond one event.
The theatre was packed for the Third Shanghai–London Screen Industry Forum. Between panels and workshops, filmmakers, producers and executives discussed ideas and business cards and it felt more than just a summit. British-Asian filmmakers were meeting and greeting the Chinese industry in an attempt to explore genuine possibilities of working in China’s film market.
UK China film collaborations take off as Third Shanghai London Forum connects British Asian filmmakers with Chinese studios Instagram/ukchinafilm
What makes the forum important for British-Asian filmmakers?
For filmmakers whose films explore identity and belonging, this is a chance to show their work on an international stage, meet Chinese directors, talk co-productions and break cultural walls that normally feel unscalable. “It’s invaluable,” Abid Khan said after a panel, “because you can’t create globally if you don’t talk globally.”
And it’s not just established names. Young filmmakers were all around, pitching ideas and learning on the go. The forum gave them a chance to get noticed with mentoring, workshops, and live pitch sessions.
Which projects are catching international attention?
Micro-dramas are trending. Roy Lu of Linmon International says vertical content for apps is “where it’s at.” They’ve done US, Canada, Australia and next stop, Europe. YouTube is back in focus too, thanks to Rosemary Reed of POW TV Studios. Short attention spans and three-minute hits, she’s ready.
Children’s and sports shows are another hotspot. Jiella Esmat of 8Lions is developing Touch Grass, a football-themed children’s show. The logic is simple: sports and kids content unite families, like global glue.
Then there’s format adaptation. Lu also talked about Nothing But 30, a Chinese series with 7 billion streams. The plan is for an english version in London. Not a straight translation, but a cultural transformation. “‘30’ in London isn’t just words,” Lu says. “It’s a new story.”
Jason Zhang of Stellar Pictures says international audiences respond when culture isn’t just a background prop. Lanterns, flowers, rituals, they’re part of the plot. Cedric Behrel from Trinity CineAsia adds: you need context. Western audiences don’t know Journey to the West, so co-production helps them understand without diluting the story.
Economic sense matters too. Roy Lu stresses: pick your market, make it financially viable. Esmat likens ideal co-productions to a marriage: “Multicultural teams naturally think about what works globally and what doesn’t.”
The UK-China Film Collab’s Future Talent Programme is taking on eight students or recent grads this year. They’re getting the backstage access to international filmmaking that few ever see, including mentorship, festival organising and hands-on experience. Alumni are landing real jobs: accredited festival journalists, Beijing producers, curators at The National Gallery.
Adrian Wootton OBE reminded everyone: “We exist through partnerships, networks, and collaboration.” Yin Xin from Shanghai Media Group noted that tri-annual gathering: London, Shanghai, Hong Kong create an “intensive concentration” of ideas.
Actor-director Zhang Luyi said it best: cultural exchange isn’t telling your story to someone, it’s creating stories together.
The Shanghai-London Screen Industry Forum is no longer just a talking shop. It’s a launchpad, a bridge. And for British-Asian filmmakers and emerging talent, it’s a chance to turn ideas into reality.
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