I sit down with Vincent Fenton, better known as FKJ, on a Tuesday evening at Soho House, a day before his first big headline show in Hong Kong. No stranger to our city or to the stage, FKJ admits he feels a mix of emotions and shares, “I haven’t played for six months, so I feel a little bit of tension, but I’m excited”

Vincent’s stage name FKJ, which stands for “French Kiwi Juice”, is a nod to his multicultural roots and an homage to both his French and New Zealand heritage. Known for his versatility as a multi-instrumentalist artist, FKJ’s live looping performances showcase his adventurous and experimental nature, treating fans to an immersive sensory feast as they watch him build complex and layered compositions in real time.

Given FKJ’s background in previously training as a sound engineer for cinema, I ask him for a few movie recommendations. Without hesitation, he suggests Sidney Lumet’s “12 Angry Men” and Mathieu Kassovitz’s “La Haine.” Unsurprisingly, his cinematic taste proves to be just as impeccable as his musical talent. Curious about who he’s listening to these days, I wonder who’s on his Spotify playlist. Leaning back in his Adidas tracksuit, he scrolls through his personally curated playlists and reveals an eclectic mix that includes Mndsgn, Mk. Gee, SAULT,  John Glacier, Jamaican DJ and singer Sister Nancy, and Doja Cat, among many others. His diverse music taste truly mirrors his approach to creating it– broad, dynamic, and constantly evolving. 

Throughout our conversation, one thing is evident: FKJ fearlessly explores the full range of his creativity and identity. He draws inspiration from his surroundings and personal challenges and allows them to become part of his musical journey. FKJ’s endless creativity also stems from his playful, childlike approach to music. He refers to instruments as “toys to play with,” and emphasises the importance of protecting that sense of innocent wonder. “I like to play like a kid. And I like to make something that I would enjoy,” he explains.

As the night drew on, he opened up about his evolving relationship with music and how it has transformed with each stage of life. Hinting at the release of a few upcoming projects, he shares details about his next studio album (release date TBD), and says, “Unlike “V I N C E N T”, it’s less about a story and more about the feelings of optimism, positivity, tenderness, and sweetness. I’m really enjoying making it because I know when a song belongs to it, and I know when it doesn’t. I’m very excited about this album because it’s going to be a crazy mood.”

How does it feel being in Hong Kong and what kind of energy do you feel from the city?

I came here (Sheung Wan), walked around the neighbourhood and made my way here (to Soho House). It feels really nice. I was here almost 8 years ago, not including my 2023 Clockenflap show. There is a feeling of nostalgia coming back to Hong Kong. And this city is really trippy. It’s like an open jungle! There is a lot of nature and a lot of people at the same time. And it’s such a photogenic and visual city. There are so many scenes, so many little paths and little frames. I love filming and photography and I couldn’t stop taking pictures when I was walking around.

Many people describe you as a multi-instrumentalist artist. How would you describe your music and yourself as an artist?

My music is positive. I’m a positive person. I always look on the bright side of things, even when something really bad happens. If I’m facing a big struggle in my life, I always think it’s going to be a great lesson and that I’m going to grow so much from it. I will be inspired by it. I think that’s why my music is positive and optimistic, as well as sweet and tender. I never realised I’m these things but I am these things. This is why I’m a musician (laughs). 

How has living in France, the Philippines and New Zealand influenced your relationship and approach to music? 

My first project as FKJ started in Paris and it started in the club scenes of Paris. The French nightlife and the French electronic music kind of kickstarted everything for me. Beyond what French culture has brought into my life in terms of music, France is where I grew up. It’s where I had my first band. So [the French influence] is not only cultural, it’s also my history. I dropped my home in Paris when the pandemic started, but actually the Philippines became home a year before in 2019. I ended up there thanks to ((( O ))). Then, the music changed and it really evolved. I see myself like a sponge and I absorb everything around me. So if the environment changes, the music is going to change too. The new environment (in the Philippines), was so magical, and spiritual, and I was surrounded by lush nature. It changed the speed of the music and it changed the reason why I was doing it.

In France, the environment was more about the social scene, the nightlife, and the energy of seeing people dance to it (the music). Whereas in the Philippines, the process became less about making people dance and the process became more like a journal. For New Zealand, I’ve never really lived there, I only visited my family every three years or so but I’ve never settled there. I’m thinking about it though, so there might be something in the future.

 

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How do you feel the way you’ve expressed yourself has changed over the years? 

It’s always changing. I’m always looking for why I’m here and the purpose of this. When I started making music, I was in the club scene and it was more of a social thing; making music together with others and making people dance. Then, it became more about telling a particular story. When I moved to the Philippines during the pandemic and worked on “V I N C E N T”, it was more like a self-reflection about my childhood. It was an album that was precise and there was a story to it. But for the next record, I’m not doing that anymore. Instead, it’s going to be more about a feeling. So I’m always changing with each record and the reason why I make music also changes.

You have also collaborated with many artists including Masego, Bas, ((( O ))), Tom Misch and many others. What do you like the most about the collaboration process?

I like that you get to tap into different artists’ worlds. Everyone is super unique and it’s an interesting way to meet someone. I like tapping into other artists’ secret skills and the things that only they can do. I like that we also surprise each other.  

Your collaboration with Masego was so special. Can you tell us more about the process? 

With Masego, we both surprised each other. At first, we started the day and did a normal session. We planned to write a song, talked about what to put over here and there, and created some structure to the process. After about an hour of doing that, we realised that this was not the way we were going to work together. We stopped and started to improvise. We improvised 10 songs and “Tadow” was the one we released together. Some collaborations were magical and this was one of them.