The above image is Hud Mo's bedroom at his mum's house in a basement in Glasgow's West End - circa 2006 around the same time that "Hudson's Heeters" was released. We used to go round here to steal his decks before playing parties when we were at the art school. We were all friends making music and playing small shows together. The Blessings (Dominic Flannigan & Martyn Flyn) continue to run the label. Martyn came up with the name "LuckyMe". It was his idea to release the new hybrid music that we’d started to make on cracked software, throwing it up on Myspace. Around that time Hud Mo had partnered with Mike Slott under the name Heralds Of Change to put out a couple records. And the scene in Glasgow was starting to come together. We were playing parties alongside Rustie and all the guys who went on to become Numbers. We started the label to put out the first Hudson record with the help of Rub A Dub Distribution. Called "Hud Mo Says Ooops!", it sold out every time we repressed it. Enough to keep us doing it.
We started to tour, becoming friends with like-minded promoters, artists and scenes across the world. In Amsterdam there was Rush Hour, Patta, Cinnaman & Tom Trago. In Los Angeles there was Fly Lo, Brainfeeder & Dublab. In Vienna there was Dorian Concept, CID RIM & Affine Records. In New York we got to know Kingdom, Machinedrum and the artists hanging around the Dante’s Fried Chicken parties. In London there was Deviation, Benji B, & Patchwork Pirates. And most significantly for us in Montreal, where the promoter of our first show was an 18 year old called Philippe Aubin-Dionne, now known by Jacques Greene. The support act that night was Lunice.
Dominic and Martyn both moved back to Scotland, dedicated to turning this label into a business while holding down day jobs in clothing stores. We’d started to get press and were being written about as a hot new sound but we never felt comfortable with all the made up genre names thrown at us. We diversified the sound associated to LuckyMe by signing a rock band called Americanmen. Members of the band still record for us as Sevendeaths and Claude Speeed. We were introduced to Eclair Fifi around this time through Konx Om Pax and friends in Glasgow. She was one of the few DJs playing brand new music across genre, blended into great techno and electro. Our favourite DJ, we started working together.
Calum (Spencer) at Numbers was head of digital at Warp at the time and was instrumental in bringing Hud Mo and Rustie to the label. They both put out their debut albums. We reached out to Travis Stewart aka Machinedrum and signed him just before we played a takeover at Sonar Festival. S-Type had already been producing rap records and was known on the scene of the Louis Den Beat Battles. It took him a while to start working with us but we kept hounding him. He was always the best doing it.
We followed a whole genre of young labels who hosted shows on Rinse FM, travelling down to record shows in London beside Hessle Audio, Night Slugs & Hyperdub. Joe Coghill’s club in Glasgow Baller’s Social Club had placed LuckyMe acts alongside a lot of the best talent in the world coming through the city, connecting us to so many artists and DJs. In 2012 Dominic moved down to London to live with Hud Mo. It meant when our friends were touring they had somewhere cheap to crash and not long after moving down, Lunice came over for a week of shows. At the time Hud Mo was renting a tiny studio from MJ Cole and in just two days Lunice and Mo had made the TNGHT record. We approached Warp to ask permission to release Hud Mo’s music outside of their contract, and we made a hand shake agreement to put out the TNGHT ep together. A 50/50 release. That record blew up. Enough to keep us doing it.
We were sat in the hotel room before TNGHT's first ever show at SXSW, and I was sent a demo which I played out on my laptop. Mo shouted through from the other room "gimme that I'll play it tonight?". It was from a kid called Baauer. I'm standing side of stage at the gig while TNGHT play the song in their set and a young music manager ran over to me like "this is my artist's song how do you have this?". We signed Baauer. That started a run of releases which saw us open up the label in the US: from Baauer's debut ep, S-Type's smash "Billboard", and the debut CID RIM release. Rustie played a BBC Essential Mix which won lots of awards and became a sort of fabled mix of exclusives. He first played many of our acts releases including Baauer's 'Harlem Shake' alongside Sam O.B. aka Obey City and Cashmere Cat. Not long after that mix, Harlem Shake went viral on YouTube. The song aligned with a change in chart rules that qualified streaming, and Baauer went number one and double platinum. He graced the cover of Billboard Magazine, ushering in the era of streaming. We helped the team answer emails and synch requests. Wild stuff like requests from The Simpsons and Good Morning America. Baauer toured and travelled the world in the year that followed. Meanwhile we worked with Mass Appeal to put out an official remix project for Pusha-T, featuring Tyler, The Creator. As the label grew, we started to work with more major hip hop artists and Hud Mo penned a production deal with Def Jam / G.O.O.D Music, working as a principle producer and engineer. That same year he worked on Drake's album, earning platinum plaques for 'Yeezus' and 'Nothing Was The Same'. He worked in a few days for Frank Ocean. And started to send demos back and forth with Anohni fka Antony & The Jonsons. Mo has since gathered a number of Grammy nods, namely for his work on 'The Life Of Pablo' and 'Anohni'. Despite staying completely independent we’ve been able to bring some amazing talent to our own artist’s releases. To date we've featured Future, Rae Sremmurd, Travis Scott, G Dragon, Yung Lean, Denzel Curry, Roc Marciano, Lil Wayne, Fetty Wap, Skepta, Miguel, Young Thug & many more...