Mickey P is a multi-genre artist from Custom House, East London, who’s stayed rooted in that part of the city even as his sound has wandered all over the map. Ask him about influences and the list runs long and a little unpredictable, the Rolling Stones, James Brown, and Prince sitting comfortably next to UK garage, Kano, Primal Scream, and Prodigy, with a heavy dose of 60s and 70s soul and Motown running underneath all of it. He’s talked about music less as a career choice than as something that simply never left him alone, a constant since he was a kid rather than a decision he made at some specific point.
The Sound
That range shows up clearly on Good Love, a five-track EP running about 16 minutes that leans fully into house and dance territory, built for movement rather than quiet listening. The cover art borrows its look from a specific, slightly unexpected place, Mickey P has pointed to the film Road House and Patrick Swayze as the reference point, which fits the EP’s easy, confident swagger better than you’d expect from an odd pairing on paper.
A few of these songs had been kicking around for a while before Mickey P decided they belonged together. Once he ran them through a UK garage lens and settled on pulling five of them into one release, the whole thing came together fast, helped along by playing early versions for a small circle of people whose opinions he actually trusts. That ease translates well to the finished product. Good Love never feels labored over; it moves with a light, sun-soaked energy that suits its dancefloor-first approach.
Across its runtime, the EP leans on catchy hooks and steady, engaging grooves rather than dense production or genre experimentation. The tracklist itself traces that arc well: the title track and “Sunshine” lean into the lighter, feel-good end of the EP, “Girl” and the more explicit “Beautiful” push into rawer, more direct territory, and closer “Why Can’t We Start Over?” pulls the mood toward something more searching, a fitting way to wind things down after four tracks built for movement. Lyrically, it’s a relationship record start to finish, but it doesn’t stick to one stage of that experience. It’s a project meant to work as a full listen rather than a collection of standalone hits; Mickey P has said he doesn’t really single one out, he’d rather talk about the set as a whole than rank his own songs against each other, and that mindset comes through in how consistently the tracks flow into each other.
Mickey P isn’t precious about what people take from the record either. He’s said more than once that once a song is out in the world, it belongs to whoever’s listening, and they’re free to read it however it lands for them. That hands-off attitude extends to how he talks about his own career too. He doesn’t reach for streaming numbers or chart positions when asked what he’s proud of, it’s smaller than that, watching someone catch a genuine, unplanned reaction to something he made, the kind of thing you can’t fake or manufacture, means considerably more to him than any metric would.
Final Thoughts
Good Love doesn’t try to reinvent house or dance music, and it doesn’t need to. It’s a confident, unfussy project built on hooks that stick and a mood that stays consistent from start to finish. He’s already got his next move lined up too, a more guitar-driven project reportedly titled Heavy Weighs The Crown, which suggests a real change of pace from the dancefloor focus here. For now, Good Love works well as a clear, confident snapshot of where his sound sits.
For more indie music coverage, visit MusicOnTheRox.com.
