Rawgabbit: A Conversation with the Creative Force Behind the Show
- Daria Slikker
- 9 hours ago
- 7 min read
In an era where digital platforms are brimming with content, Rawgabbit stands out as a bold and playful interview series that blends conversation, creativity, and unapologetic fun. We caught up with the mind behind it all–the presenter, producer, and visionary–Lea Ogunlami, to delve into the origins of the show, what makes it unique, and what the future holds. With Lea’s background in fashion, music, and media, Rawgabbit isn’t just another chat show: it’s a space where bold aesthetics meet unfiltered conversation, where the unexpected and the untraditional collide. Whether it’s live poetry, ice skating with music icons, or discussing deep topics with a side of chaotic fun, the show is anything but ordinary.
How did the idea of Rawgabbit come about, and what was the moment you knew you wanted to bring it to life?
I’d been thinking of having my own show for a while. I think that’s a natural evolution for anyone working as a presenter–you spend so much time offering your personality to other peoples’ platforms, and eventually you want something that’s truly your own. I wanted Rawgabbit to be a space for me, where I could create something fun, playful and completely boundless.
The name Rawgabbit is unique–can you share the meaning behind it and why you chose it for your platform?
It’s an Old English word for someone who speaks confidently about things they know very little about–not a liar, just a very assured gossip. I thought that was perfect for a chat show. Originally, it was called Whatever You’d Like, but I was told it was somewhat forgettable and Rawgabbit is infinitely more fun.
What do you think makes a great interview and how do you bring that to your conversation?
My most engaging interviews tend to feel like you’re seeing something you’re not supposed to–casual, unfiltered, and a little unexpected. I love breaking that formal barrier. Long-form allows us to go deep, but I also value those spontaneous, playful ‘that’s funny’ moments. People love seeing their favourite artists out of context–and that’s what Rawgabbit does. I take them out of their world and bring them into mine.
How would you describe the essence of Rawgabbit compared to other interview formats?
It’s not the unpredictability that sets the show apart—it’s the aesthetic. With a background in fashion and music videos, visuals matter deeply to me. I wanted Rawgabbit to feel like a premium, immersive world where the conversation is strong and the look is bold—playful, busy, even bedazzled. Minimalism doesn’t excite me; I prefer campy, witchy, sexy, entertaining chaos. The show reflects the world in my head, and translating that internal vision into something tangible is deeply satisfying. The format is intentionally flexible—my mind doesn’t work in rigid structures. While there’s usually a rhythm—activity, conversation, then performance—we’ve done it all: albino pythons, live poetry, ice skating. Next up? Baby goats, a maypole, and a lake performance. Because… why not?
How do you decide who to feature on Rawgabbit? Is there a particular kind of person you’re drawn to interviewing?
I’m not drawn to overly serious guests–if we’re not laughing, it’s not fun! I’ve mostly chosen people I feel a genuine connection to their art or personality; it keeps things authentic and accessible. I usually build the concept of the episode first, then ask, ‘who fits this world?’. For example, with episode one, I pictured an albino snake in a plush Garden of Eden and immediately thought: Michaela Stark and Shygirl. I wanted a candlelit, blackout space to end it–spoken word poetry made sense. Enter James Massiah. Episode two had a Victorian feel–Somerset House, followed by Sir John Soane’s Museum. It fit perfectly with Abigail Morris from The Last Dinner Party, who pulls from historical silhouettes with her theatrical flair, glam-rock, and Kate Bush energy. We had Warren from Meatraffle teach us to ice skate–he looked gloriously out of place with his gold teeth and pink neon hat. I love when things clash a little.
For episode three, it’s all about spring and rebirth–baby goats, a maypole, the forest, somewhat Pagan. If I can pull it off, the season finale will be an abandoned theatre: dramatic, camp, with face paint and full theatrics. This next episode includes Baby Morocco, a close friend and true performance artist. People see him as a party boy, but he’s been building thoughtful, pop-star-as-performance pieces consistently for the last couple years. We’ve got Mura Masa too–one of the UK’s most influential producers and music makers. I think it’s vital to spotlight producers as the true music-makers. We will also have Crystal Murray from Paris, who’s closing the show with a live performance, she’s electric. When it comes to talent, I choose people I genuinely care about–not just people who I’d interview for the sake of their fame. Shygirl’s a long time favourite, and Michaela is shifting the conversation around what “flattering” clothing means, what it means to define and morph your body by your own standards of beauty. James has the soul of a true artist and you can hear that in every word he utters.
Your most recent guest was Abigail Morris–what drew you to her story, and what did you take away from her story?
Her stage presence is unmatched, and her style is incredible, so I knew I had questions for her. I’d seen her interviews before–she struck me as smart, funny, and just a brilliant artist all around. The theatricality of every one of her performances had me transfixed. That’s what I’m after: artists whose work demands attention.
Rawgabbit is still in its early days, but it already feels distinct. How do you see it evolving?
I’m thinking in seasons–Season 1 has been very UK-focused with a strong aesthetic. I’d love to take Rawgabbit on tour, make it part travel show, part local artist spotlight. We’d find people tied to each place and explore their world. I want the show to stay fluid–able to bend, change, and evolve. I also get that success often comes from a consistent format people can latch onto. That said, I know myself, and my attention span... change is inevitable. Hopefully, people come along for the ride. Right now, we’re focused on building. It’s a long process. Somehow I’ve ended up a YouTuber, and I’m still figuring out how that happened.
What challenges have you faced in launching and growing the platform, and how did you navigate them?
Coming from a music video background, I had connections in production and a sense of what things should cost. I’ve got a great producer, and we just started pulling things together. The first hurdle was funding–I underestimated how much I’d need, but I managed to make it back. Once we had the show ready, it was about working out YouTube and learning how to do the thumbnails, titles. The algorithm doesn't love my aesthetic. I’m not into clickbait like ‘Woman Eaten by Snake’ with zoomed-in still, even though it might’ve gotten more views. Then there’s the slow climb of building on Instagram and TikTok–something I know I need to give more attention to. We’re all doing our own personal PR now, and sometimes I have no clue what I’m doing. It used to be magazines–now it’s Reels. I’m not complaining, but the new gatekeeper isn’t a person–it’s the algorithm. I don’t think algorithmically when I make the show. I’m working on cutdowns, trying to crack the code. My challenge is non-instant virality–but I’m playing the long game.
You chose a visual format rather than an audio podcast–why was that important to you?
I love podcasts and listen to some religiously, but I come from a video background—so for me, visuals matter. Clothes are a huge part of what I do, so actually getting to wear them on camera is a bonus. Plus, let’s be real: video opens up way more doors for viewership. It just makes sense to lean into the look as well as the conversation.
You’ve worked as a music video director’s agent, a radio programmer, a presenter and now a creative commissioner at Sony Music. How have those experiences shaped the way you approach Rawgabbit ?
The radio station was great because I’ve heard so many different podcasts and understand how formats work. Being a creative commissioner has been super useful— it was my entry into the world of visual arts. I know production people and what a good grade should look like. There are parts of Rawgabbit I feel confident handling myself; I already knew the roles everyone should take on. A big chunk of my presenting career was built around quick, under-a-minute content, but for Rawgabbit, I needed more time. That’s why I went with long-form interviews—if the guests would give it to me. We aim for a 25-minute show.
With your background in music and media, do you see Rawgabbit expanding into other creative areas, like live events or collaborations?
We’ll definitely throw a party—mostly because I love them. I’m also thinking of doing a live Rawgabbit episode with an audience. That’s it for now, but let’s see where the winds takes us…
If someone were to watch Rawgabbit for the first time, what’s the one thing you hope they feel or learn?
I’m not sure how much ‘learning’ there will be, but I hope the interviews give a deeper insight into the guests’ characters and that they leave with a smile on their face. Honestly, that’s what matters most—just as long as they don’t turn it off halfway through!
Who do you imagine your core audience to be, and what do you hope they take away from each episode?
Smart, funny people, I hope. I want it to be something anyone, of any age, can enjoy. It’s for those who like humour, playfulness, excitement, don’t mind some live animals, and are ready for a fun ride.
To keep up to date with Rawgabbit, and other aspects of Lea's work, subscribe to her on Youtube channel or follow her on Instagram
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