interviews
Curren$y has built a nice life for himself.
The New Orleans rapper, credited with popularizing ālifestyle rap,ā is back with Harry Fraud to give fans another glimpse into a day in the life. And while heās often seen as the godfather of that certain style of rap, he sees himself more as someone who helped give it a name.
āIām not the founder of lifestyle rap,ā he tells Billboard over Zoom. āItās a [sub]-genre that I think, through me talking about it, maybe helped name that style ā and maybe helped cultivate a space for people who wanted to make music but didnāt want to make a certain type of music in order to be successful.ā
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Rapping about all the fly sāt you do while smoking the best weed money can buy wasnāt a novel idea when artists like Spitta and his righthand man Wiz Khalifa came along. However, they were able to show a generation of rappers that they can become successful during an era when the rap industry was in a state of flux. Heās been able to build an empire by making the music that he wants to make for the audience he wants to make it for, and his fans have rewarded him by supporting everything he does ā whether itās copping Jet Life merch, buying tickets to his live shows, or interacting with his Starting Line Hobbies page.
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The 12-track tape, Never Catch Us, boasts features from up and comer Premo Rice, an old friend in Wiz, as well as Griseldaās Conway the Machine and Rome Streetz, the unique Bruiser Wolf, Fendi P, Dave East, Jay Worthy and DRAM. He and Harry even somehow managed to get Babyface Ray, Styles P and 03 Greedo on the same track.
We talked with Curren$y about how all those tracks came together, plus his car collection, his favorite strains and a whole lot more. Check out our conversation below.
Where you at? In the crib in New Orleans?
Iām outside in the driveway just tending to vehicles. I got the ā64 running. Iām waiting on my homeboy to come do some sāt to the drive shaft for me, Iām about to charge the batteries on the ā77. Iām washing this [Corvette] C8 then Iāma wash this little Japanese BRABUS Benz. Iām just having a driveway day.
You said that Benz is Japanese?
Yeah, this is a BRABUS B6. This car thru and thru is from Japan. See all the markers and sāt.
Whatās the difference? It has some different features and sāt?
Gonna pop the hood on this joint and let you see whatās going on, then the case can rest. Nothing say Mercedes, everything all BRABUSād out. This the only B6 in the in the country. Itās a 1999.
I got this, maybe, like a month ago they got here a month ago, my homeboy Vico from the Patina Collective. He has the biggest Mercedes Benz collection in the world. He has the Sultan of Bruneiās car. He got Princess Dianaās car.
When he wants to sell that Princess Diana whip, you gotta cop that. Imagine getting that sāt just to be able to rap about having Princess Dianaās limo.
You know what? If I got it, bro, I would gift it to someone who I think will hold it down. If I get it, itās getting smoked in, thereās gonna be french fries in the seats, because of my son Cruz. Imma live with it, so Iāll give it to somebody who going to put it away. Iāll get it for Harry Fraud. Iāll give it to bro.
This is like your eighth, ninth, 10th project with Harry?
I donāt know. I mean it was Cigarette Boats. And thenā¦ Yeah, dude, you right. Eight, nine, 10, 11, itās somewhere around there. You right. Itās probably 10, 11, 12, 13 and then every time we drop one, we do a deluxe. One time we did two. We did The Marina then we did The Directorās Cut, and then we came back with another one within two weeks. And this one here, thereās songs that we didnāt put on this one, so we already set up to drop again immediately. So, if everybody responds how we think they will, weāll just hurry up and just give it to them and strike while the ironās hot.
Although you still drop pretty consistently, is it fair to say ā and maybe itās your chemistry with Harry Fraud ā but that this felt like vintage Spitta?
Thatās exactly what happened, bro. You just go into a different mental space when you deal with certain people ā and anytime I work with Harry Fraud, I remember the first time that we ever worked, and that was in the middle of me getting ready to put out Weekend at Burnieās. And I had just did a little move with with Atlantic and Warner, so my bread was changing a little bit. I was in a different space when we lined up, so I approached those beats with all this new money I had just grabbed. I had a different mindset, and I was attacking sāt.
So, now every time we line up, I feel the same way. I think thatās why I just bought those cars. Thatās the BRABUS Benz out there and that yellow 355 Ferrari. Ferrari mode is always Harry Fraud. Whenever Iām fākinā around like that. Thatās me and bro hanginā.
I peeped that canary yellow Ferrari. What year is that?
Yeah, yeah. 355 F1. Itās a ā99. I wanted that before I got the blue one. That was the one I always wanted, but my manager and sāt ā when I bought my Spider, the first one, they was like, āNah, you canāt get that old ass Ferrari.ā It got the flip up lights and sāt. Thatās my era. I grew up on Miami Vice. Thatās the stuff I want.
I was going to ask about Miami Vice, because of the speed boat on the album artwork.
What I liked most about the show is whenever Crockett would get lost, whenever he would go undercover. Sometimes ā I donāt know if he had a mental problem ā his character would get lost into being a drug dealer too long, like, āSonny, youāre still a cop!ā They have to wake him up. But every time heās lost, that motherfāker lived the life. 3:00 a.m. Ferrari rides. 5:00 a.m. speedboat rides.
Miami Vice never would really show the the bad guys and per se, living large, too much for us to see it and romanticize it ā they would make it more about the police work. But whenever Crockett would get lost on the job, he had access to so much, it was just cool to see.
Yeah, itās funny because my pops used to build model cars, and he used to get mad at me because I always played with the white Testarossa and break it all the time.
You canāt roll them around, man, itās art. [Laughs.]
Talk about your Starting Line Hobbies Instagram page.
I had been building model cars forever, but when we couldnāt go nowhere during the pandemic, I was like, I ought to figure out what else I could do. I started taking pictures of the ones I was building, and people just kept asking me where I got them from. So I was like, I might as well open an account with the people who I buy the models from, and start a business to sell them to people who wanted to build them because people didnāt really know where to get that kind of stuff from.
That like an art that has kind of died out. When I was little, that stuff was in stores. Used to go in the toy section, get models, paint. You can only find all that online now ā or you gotta go to a mom-and-pop hobby shop thatās still holding on.
You also race diecast cars on a track on that page.
Itās a racing league. People who follow it, register and I post all the Hot Wheels you could pick. When I post the season, I do a draft with the cars that are available and I donāt open them beforehand, so nobody knows if theyāre fast or not. So you draft your car, name it, and then I @ you every time we get ready to race. I go on Live or I go on Twitch and race them. Iāve been doing that since the pandemic, and that sāt fun as hell.
You be chillinā, man. You got your formula figured out. You make your music, you do your shows.
Yep, and just use that money to keep me in the house. My whole plan was always to make my surroundings comfortable enough to where I didnāt want to leave, because I live in a dangerous city. People always like, āDān, bro, why you still live here? Why donāt you move? Blah, blah, blah.ā But as long as you all you watch how you move around, youāre not gonna make it easy for nobody.
Would you ever get an electric car?
Oh, hell nah. Itās against everything that I stand for. All the electric cars I have are literally right here on this table. I got lowriders. I got a few on-road sports cars, and I got some dirt-track trucks. I built the dirt track around my house. I got an RC track outside, like blazed right through the middle of my lawn. Donāt tell the HOA.
Letās get back to the tape. You were saying that you were in the zone. So, how did you and Harry work on this? Was it over email? Did you guys link up?
We didnāt link up this time, but we just both knew it was time to do it, and with that urgency, we worked quicker than if we wouldāve, pulled up on each other. If I wouldāve flown out there, it had been two or three days of just bullsāting and eating cheeseburgers and just smoking and possibly not even pulling up to the studio.
It was better this way and faster this way ā because thatās actually my homeboy, so when we link up, I might not want to work. I might just want to download all of the Mortal Kombat fatalities and do each characterās fatality on the first Mortal Kombat together. Like, āCan we do that today instead of going through the beats?ā I feel like itās equally as productive, because it makes us that much closer.
Yeah, I had interviewed him and Boldy James when they dropped their album and he said that he likes to link up with people in person, but that with you it really didnāt matter, because the chemistry was already there.
Itās actuallyā¦ I like to do that because with him, Iāll do all the records and then I wonāt send them. Like, Iāll put a little clip on Instagram, and heāll realize I use this beat or that beat. Iām kind of unprofessional with bro, because Iāll record nine records and send him two, and then a week or later Iāll send him two more. I just have so many records. After this project was turned in, I had forgotten about like seven more records. I was like, āIs it too late? Can we add them?ā We decided to hold them for part two.
How did the the features come together? The one that surprised me the most was the track with Babyface Ray, Styles P and 03 Greedo.
When I heard that beat, I was just gonna make a verse and a hook. Usually, thatās what I do anyway, if I donāt put somebody else on a song. But I heard all of my homeboys on it in my head. I was like, āDamn bro, go off on this bāch, but then down the big homie will go off. but damn then dudeāll go off.ā So, I was like, āFāk it, just send it to everyone.ā And everybody sent their sāt back in a day. Some of them, I sent them done already. Like, āYo, I put bro on here.ā
Iām lucky enough to have friends in the industry. I have people who, if I reach out, they lend a hand instantly. Those are the people that I work with. The first time that me and Rome worked, he flew out here. Thereās no way I woulda came back again without putting bro down.
I feel like to a lot of the younger underground, indie guys, youāre the OG now. You help make the blueprint to being independent in the Internet age streaming age.
Motherfākerās saw me get all of the sāt that the other motherfākers have who kind of take the bait or kind of go through the sāt that we donāt want to go through [donāt get to]. You could still have that sāt and stay yourself. And a lot of people would tip they hat to me for ā not necessarily for showing them it could be done, but adding reassurance to the thought that they already had, because they already had to be thinking that too. They had that mindset already. Hereās another example of somebody who was thinking that way and turned it into what they wanted to.
Would you ever sign to a major again?
I am a major. Iād sign to the Pelicans. I would do that, but thatās it. [Laughs.]
What advice would you give to someone that wants to be a rapper today? What are the pros and cons of being independent?
Youāre gonna have to trust someone in a game where you canāt trust nobody. So, itās damned if you do, damned if you donāt. You can handle it all yourself, but then it can only grow to a certain level. You only got two arms, so youāre going to have to entrust some homies, so you gotta keep your circle tight.
And as much as you can do for free, you do it. You know, as far as the resources and the people you got around you. If you know somebody who knows how to work the camera, he might not shoot at the quality of what you need, but grow with him. One: you put one of your homies in motion with a gig, and two: you got a weapon at your disposal every time you need to film, so you could put out as much content as you want.
Content is king. People want to see you brush your teeth. They donāt necessarily want to hear the music. They want to know how many backflips you could do. I show them my Hot Wheel wall. Iām trying to get the first motherfāker with a million Hot Wheels. Theyāre like, āYo, letās stream it, he needs these dollars.ā
This generation of independent artists figured out how to tap in with the fans. We had to figure out what you could do to impact peopleās lives outside of the music. And you can also provide some dope merch like a jacket to wear. They can go to a game with a jacket and people will know what artists they represent, who they like. Now you know something about them. Like, if a girl shows up with a Jet Life jacket, you can probably assume that she knows her way around the shoe store. She probably doesnāt smoke trash. Donāt try to pass her no bum weed. Now you know what youāre dealing with.
What you got planned for 420?
Iām on the road, man, my tour starts two days before 420. You know who you canāt find for 420? Me, Wiz, Devin the Dude, Cypress Hill, Smoke DZA. Thatās a blessing to know that if we ever fell off and had to survive on only one check, you know one thatās guaranteed to come every year. [Laughs.]
Even if youāre working, do you have a ritual on 420?
Nah, I would have one if I didnāt smoke regularly, if it wasnāt what I did with everything I do. I would have a special 420 blanket with a neck hole cut out of it, so I could just put it on and sit in a Morocco room with pillows all over the floor and watch Cheech and Chong movies. Thatās just the life anyway.
Do you have a favorite stoner movie?
I like Nice Dreams, because the opening sequence has some lowriders coming over the hill, so I dug that. I really like [Cheech & Chong] movies because they had good cars in them.
How did you react when you watched Nice Dreams for the first time and seen Pee-Wee Herman coked up?
Bro, I donāt think people around me understood what we was getting. It was like jumping into a time machine. We not supposed to even get this? Thatās what Iām going to do when I get done washing these cars. I know what Iām doing today. Also, as clichĆ©d as it may be, Half Baked was amazing for a lot of reasons. Half Baked was good to me when I didnāt smoke weed. I had the VHS.
Do you have any favorite strains?
All of my own. Andretti OG, Grape Jelly, Bourbon Street Brunch, Berry Beignet.
I havenāt tried any of those. Are they in dispensaries?
Yeah, in select ones. Weāre kind of a boutique brand because weāre trying to keep it as true to form. What we managed to do was track down some of the genetics and growers from when weed was weed. Youāre from the time, so you was there when Sour Diesel hit. Itās not like it died down, itās just that other people began to grow and cut corners.
Thereās so many different names now, you have to check which strains they were made from.
Absolutely, and thatās what Iām telling you. Itās like the coke or anything else, they stepping on it, they start fāking with the lights to make it look a certain way when it when it reaches a bud and shāt, and itās not real. And in a lot of the motherfākers who do that donāt even smoke. Itās like when Bape got fāked up and nāas became Bape dealers. They didnāt even wear the sāt, but they knew you wanted it. Itās like Pit Bull puppies, bro. The weed got fāked up, just like the dogs got fāked up. They start looking bad, breathing crazy. Thatās what happened with the weed.
So, all we did was go back to those growers and let them do exactly what they were doing with the newest technology. Let us know what you would have in your dream grow, and what you would do, and then we provide it for āem and we get the best sāt.
Thereās an article came out last year about the dude who invented Sour Diesel. He made it legit now. He makes the original New York Sour Diesel, and heās selling it to dispensaries.
And the other dude. You knew about Chemdawg [Greg Krzanowski]? Him too.
Iāve been seeing Chemdawg around too, so that makes sense. Thatās the shāt we used to read about in High Times.
Yeah, and they had to sit in the shadows to do interviews. They couldnāt be Berner (founder of Cookies). They wasnāt out at in Bernerās time. They couldnāt just stand in front of the shāt and say, āI made this,ā but they still have enough youth in their bones to grab some cash and see whatās going on in the industry. Theyāre legends to people like us who keep it 100 and know that these new strains arenāt necessarily new strains, itās just people not keeping it funky with the genetics. We havenāt been alive long enough for a motherfāker to have grew some unheard of sāt like come on, dawg. The Earth been making tomatoes from the beginning.
They inventing strains like they invented broccoli.
Come on, man, you got it, dude. But thatās what theyāll tell you.
I wanted to just get back to the cars a little bit more. How many do you have now? Are you over 40?
Yeah, it got out of hand. Itās not 50, though. I would know for sure if I had 50 cars. Iām around like 46 cars right now.
And you drive all of them? Do you have a rotation? Like you would do with sneakers.
Iāll just change the whole front of the house. I got eight of them at my house, and then my mom lives right across the street, and she got four of them in her driveway. She be driving them too ā or does she have her own rotation? She got a rotation alright. She gets a new Benz every Christmas. Thatās what she gets. She got lowriders in her driveway. She always thinks sheās gonna hit the switches with her leg, so she doesnāt really get in them. But, what Iāll do is, [I] have some of the homies to take cars back and forth to the warehouse.
You switch the rotation up depending on how you feeling.
How many movies did I watch? What era do I think it is? The newer cars are always from my management and my staff. They bought that Corvette C8 for my birthday. I had the first convertible C8 that existed. The one that they used for all the promo when they wasnāt selling it, thatās the car that I have. The Rolls Royce Cullinan is dope because you could just have somebody drive it. I got a Wraith, but I kind of felt like a dāk driving that motherfāker to a fāking Walmart to go Hot Wheel hunting. I put the Wraith at the warehouse, because I look like an aāhole with two cars worth a million dollars.
How does it feel, though? To be able to cop and drive all these cars.
It feels like Grand Theft Auto, bro. I knew my life would be like this, because I felt too connected to that kind of sāt. I donāt know how to say it, but people have visions and ideas of what they life gonna be, and you gotta believe them, because they mean that sāt. The sāt is tangible. The sāt is not from Mars, you donāt have to go to fāking planet Saturn to get a fāking Lamborghini.
You mentioned that being around Cash Money early on helped you.
Hell yeah. Just seeing motherfākers do that. from No Limit to Cash Money. There was game I picked up when I started moving with Dame Dash and them in New York, too. Listening to the stories he would tell me from the golden era. Itās like, āDamn, off rap, off making words rhyme, you were able to do this?ā
You got Wiz on this project, and people always excited when you guys link upā¦
Yeah, man, because thatās my brother. We went from from zero to this. We both had record deals with majors and stepped away. Had people looking at us like we didnāt know what we were doing, telling us what they would have did if they had a record deal, and we still did our thing.
Have you been paying attention to his freestyles these last couple months?
Yeah, itās good stuff. The work that heās doing was actually beneficial to me, because I never changed. I never stopped. I always did this. And my bro had achieved mega stardom; things got to change, you gotta move a certain way, people kind of canāt just have access to your art that much, and things come into play, so I understand. But to then have a resurgence and kind of show that you aināt going nowhere either is good.
And then it benefits me, because by me reaching out to collaborate ā itās nothing to us, because thatās what we do ā but itās everything to the people who grew up and put themselves together based on the music we was putting out. Thatās what makes it count so much.
You guys ever plan on doing another tape together?
Yeah, man, we got enough records already. Between him and Larry [June], I got like 35 records.
People like to compare you to Larry too.
Yeah, thatās my man. We done did a gang of work together. We got an album worth of music too. Iām not the founder of lifestyle rap. Itās a [sub]-genre that I think, through me talking about it, maybe helped name that style, and maybe helped cultivate a space for people who wanted to make music but didnāt want to make a certain type of music in order to be successful. As long as they do it the right way, itās good with me.
Max B is your favorite rapperā¦
Yeah, heās supposed to be touching down in seven months.
Are you hoping to work with him when he comes home?
Yeah, man, no pressure. You know how people try to gatekeep music? What happened with me was, my listeners gatekept my music, because they didnāt want other people to be on it too. I didnāt gatekeep Max Bās music. I knew through promoting and telling people about it ā they would love it ā but what happens with me is, the higher-ups, they borrow from me a lot. I donāt get upset, but people who are further up in the game, they pay attention to what we do, and then they do it. They did that with [Max B] too. Itās like, āYo, you didnāt even know Max B, bro.ā
So, these people are going to be clamoring to collaborate with him ā and you gotta let it happen, because theyāre going to pay so much to do it, because they paying for the love and for that affiliation because they know they slept on Max. So, I want him to make all of that money. Get all that bread and then come fāk with me.
Do you have a favorite song or tape of his?
āCake and Eat It Too.ā Thatās my favorite song. I will listen to that song from here to Houston.

Rome Streetz and Daringer have been Griselda Recordsā secret weapons.
Rome, who reps Brooklyn signed to Westside Gunnās imprint back in July of 2021 and released the impressive album Kiss the Ring. On that project, is a song entitled āTyson Beckfordā where he and the labelās in-house producer Daringer first linked up. They then began working closely together because the Buffalo producerās Queens studio is a hop, skip, and a jump from Romeās Brooklyn apartment.
āWhen I aināt doing sāt, I go to the studio,ā Rome told me in a Billboard conference room. āI was literally there everyday for months just cookinā up, just vibinā, listening to beats.ā Daringer would already be working and he would play Rome beats until one of them caught his attention. āBy the time he pulled up, I would have either something started or I would have part of a beat and then I would just be throwing records on until something something landed,ā the Griselda beatmaker added.
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What resulted from those sessions is their first collab album Hatton Garden Holdup named after Londonās diamond district. Rome spent some of his high school years across the pond and would come back to NYC during school breaks. But it wasnāt until they were out in London doing showās with Griselda mainstay Conway the Machine that they got the idea for the short film which then turned into them naming the album, and interjecting London-based skits and samples into the final product to bring everything full circle. āIt was easy to make that the theme once the movie was part of it,ā Daringer said. āI felt like we had to even down to the name.ā
The duo came by the Billboard office in midtown Manhattan to talk about the making of the album and the film which included some of Romeās childhood London friends that he has continued to keep in touch with.
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Check out our talk below.
We might as well start with the short film you guys recently released. How did that idea come about? Like, what made you guys want to do a movie?Where in the process of the album. Did the in the did the idea come about to do it, to do a movie?
Rome Streetz: We were pretty much around 80 percent done with the album once we shot the movie. And it just hit me, like, āYo, we should do a movie. Because [Coach] always wants the videos to be like little movies. Most of the videos Coach directs have kind of like a movie-esque vibe to them. We did āChrome Magnum,ā we did āShake and Bake.ā So, weāre like, āYou know what? Letās just do it, Iām saying. And because itās not a Griselda album or something Westside Gunn is spearheading, we just wanted to do more than you would get from a Griselda album.
Thatās what it really was: How can we just turn this shāt up another level? How can we do something that most motherfākers in this realm are not doing? Everybody drops the album, one or two music videos, do a couple interviews, drop a tape, CD, vinyl, and then itās on to the next shāt. Whoās actually doing a movie?
Hatton Garden is essentially Londonās diamond district, thereās British samples from movies and interviews. When did the London theme come about?
R.S.: The London theme honestly, came from the movie. You know, Iām saying, like, once we did the movie. Then we started adding the London shāt.Daringer: It was easy to make that the theme once the movie was part of it. I felt like we had to even down to the name.
Were you guys out there to perform or were you there specific all to shoot the movie?
R.S.: Earlier in the year, I was out there performing with Conway, and then it just kind of came about like that. And also because I used to live in London when I was a teenager for a couple years, so that was like a throwback to that time.
You were born in London, right?
R.S.: I was born in London, but I came to New York when I was like one. Then I went back to London from like 14 to like 17. It wasnāt for the whole year, I would go to school out there, and when school was done, Iād come back to New York.
You still have family and friends out there?
R.S.: Yeah, I got family, I got friends out there. A lot of my friends are into the same shāt that we into. I communicate with them all the time: Facebook, Instagram, WhatsApp. So, I was like, how canI incorporate that into what Iām doing? How can we mix this London shāt. A lot of my homeboys were in the movie. The part when we were in the alleyway talking? None of them were actors, they were all my homeboys.
Daringer, your name is synonymous when it comes to Griselda, so it was cool to see you, be more visible now. Is that something that you want to do moving forward?
D.: Absolutely, especially with me, just like, kind of flourishing more as an artist now too. It was always just me producing behind the scenes for all these years. Now is the time where I need to start moving as an artist. I feel like this was the perfect time to really start being outside and actually being seen. I felt like this was a perfect opportunity for that, for sure.
You guys have been working together since Rome has been with Griselda, but what made you want to do a tape together?
R.S.: We did that one song on Kiss the Ring, āTyson Beckford.āD: Then he pulled up to my apartment.R.S.: The first song we did was the joint with Cormega.D: Right.R.S.: But Mega wasnāt on it at first. We did that joint, like, āThis shāt is hard.ā And what we gonna do? We just kept cooking up. His studio is right by my crib. We kept making stuff and was like, āWe got a lot of songs we might is well do an album.ā
And you live in Queens now. I guess it made it easier for you guys to kind of connect for this album. Or did that matter?
R.S.: His studio is on the border of Queens and Brooklyn and I live like 5-10 minutes away. When I aināt doing sāt, I go to the studio, I was literally there everyday for months just cookinā up, just vibinā, listening to beats.
So, you guys worked on most of the album together? Did you already have a pack of beats or were you making them on the spot as you guys were cookinā up?
D: I made the majority of them on the spot. Maybe Iād have some drums started by the time he got there, or a sample idea, and I was kind of just trying to figure it out. By the time he pulled up, I would have either something started or I would have part of a beat, and then I would just be throwing records on until something something landed.
You living in Queens makes sense now because one of your first tapes outside of Griselda was with Meyhem Lauren.
D: Yeah, I traveled with Action when I first moved there, worked with Meyhem, getting tight with them, and being able to actually stay in New York now because Iām doing enough things, and then that was when the Shady deal happened. So, luckily I was able to stay in New York, but itās funny because I didnāt have a studio when we āTyson Beckford,ā I was still just making beats out of my apartment. We made the first song in my apartment, and my goal was to always eventually just get a studio in New York, so it just happened to work out that it was close to where he was living. I feel like that definitely helped out with the whole process, it made things a lot easier.
What I found interesting about this tape was that some of it sounds different from the usual Griselda stuff, especially the track with ScHoolboy Q. I wasnāt expecting that beat to sound like that. Was that on purpose?
R.S.: Honestly, it was just energy. Whatever he was throwing at me. I wasnāt being picky. Daringer is Daringer, so itās all gonna hit. Weāre just gonna make shāt until we feel like we got what we need. You know, we still got a lot more songs left over. And then the ScHoolboy Q record was so different and he wasnāt on it at first. He happened to tap me on Twitter. I was in the studio with Q, and he heard it, and wanted to get on it. The song that Daringer made for Q was the one that Conway was on. He heard that first, like āYo, this is fire.ā
But then he went to the bathroom, and then the engineer was just like, āYo, play me some sāt.ā So, then I just started playing him songs, and when I played him that one, Q just so happened to walk in the room and was like, āWhat the fāk is that? This is it. This is the one I wanna get on.ā I had a second verse on it, so I had to call Daringer, like, āOh sāt, yo, I need you to fāking send me this sāt right now without the verse on it. Luckily, I had to beat in my phone. Thatās what saved it.
So, you and Q just happened to be in the same studio, or you linked up specifically to chill and record?
R.S.: I did an interview in Portugal when I was on tour and the interviewer asked me who is somebody I would like to work with. think I named, like, three other people, but then I named ScHoolboy Q, so then eventually the interview just ended up on Twitter, and then he seen it, and then he quote tweeted it, like, āYo, send it.ā I hit me back and he was like I could either send him the record or just pull up to the lab. So, I pulled up and went to L.A. Thatās how it happened.
Iām always fascinated by this, especially since you guys worked on this together. Today, nobody does that anymore. They send a pack and then you send verses back. Can you tell us the difference between collabing over email versus being in the studio with each other?
R.S.: With me? At one point, I used to feel like I work better on my own time. Sometimes when you in the studio, you get boxed into the time constraints. I used to feel like Iād rather not put my creativity in a time constraint box, like I feel like I work better when I just have my own time. So, a lot of my other sāt was more so just like, you could send me a beat, Iāll cook it up. But this one was more of a challenge. How much can I write on the spot? I hear the beat, Iām going in right there.
I used to think that I write better rhymes outside of the studio, but this pretty much proved to me that it donāt matter, you got the glow. I like this process because itās more of a stream of consciousness. Itās more of just your energy right then and there. When somebody sends you a pack, you probably write half a verse today and then finish it two days later, and you may not have the same energy.
I like working on the spot because it makes me better, itās like a challenge. Youāre capturing the energy right there. Your creativity dies when youāre too comfortable, you start leaning on sāt. I just feel like I need to challenge myself.D: That was the goal of me getting the studio to begin with. I donāt have control over what happens after I send the beat a lot of times. What helped with this album is that we got to revisit and work on the songs more, I guess, post production, or whatever you like to call it. Itās got to spend more time on the songs and structure them and drops, you know, and just the skits and outros, intros. All that extra stuff that maybe a lot of times I donāt add that when Iām just making.
The bells and whistles, just to make it perfect.
D: The email stuff is always like an unfinished idea that ends up becoming a song. That was definitely the goal of me getting the studio and wanting to make a record like that, and being able to spend the extra time for sure. We got to do the sāt the right way. Iām happy with my investment, just because of that.
Yeah, them all habits die hard. Rome, do you punch in?
R.S.: Nope, at least I try not to. Iām not gonna say I donāt, sometimes you have to for continuity. But the reason why I donāt like to punch in is because if I canāt spit the rhyme straight through, I canāt perform it. If Iām punching in every bar, howās that gonna translate on the stage? I gotta be able to say the rhyme straight through. I gotta be able to record it in one whole take, if I can perform it.
Yeah, because thatās like the norm now, especially with the younger rappers.
R.S: When you see them on stage, theyāre not even fāking rapping. They just let the song play, and they just jumping up and down, ad-libing their own vocals, because they canāt even say the shāt in one breath because of the fact that they had to punch it.
Was this the first project that you recorded in full there?
D: Yup, itās personal space. Iām not sharing it with anybody and no one is going in and out besides me. We probably wouldnāt even have that ScHoolboy record had we not been in the studio. Because it was a beat that started with just drums, and me listening to records and not overthinking. It was literally just like the first thing that landed that just sounded good with the drums and then we kind of just built on it. We did a bunch of the records like that.R.S.: Sometimes itād be better that way. If I wasnāt there, thatāll probably be one he made that he didnāt like. But I heard it and was like, āWhoa, whoa, whoa, whoa, what the fāk is that? Sometimes you might just overthink it and be like, āNah, this aināt it.ā The producer might want to do something, but then the rapper might hear something that the producer donāt hear. Itās like, āNah, the rhyme could go crazy, right here. Donāt even add nothing. Keep it just likeā¦ā You know what I mean? That on the spot, energy is good.
Rome Streetz and Daringer
Photo Rob
How much input did you have on the beats?
R.S.: A lot, but I let Daringer do his thing. As far as the samples, it wasnāt like, āPick this,ā because heās got 1000s of records. I donāt know what the sāt sounds like until he puts it together. Like, I donāt imagine you.
You work with The Alchemist closely too. He be digging obscure sāt. Iād imagine you do the same.
D: Iāve been on the same wave too. way. So, of course, when we got together, we could share ideas. I never felt like he thought I was gonna come in and just take his ideas either. So we always, somehow didnāt really run into the lot of the same things. We like a lot of the same music, a lot of the same records. But luckily, we didnāt run into too many instances where it was, like, weāre using the same shāt. Yeah, the approach is a little different.
So, howās that been for you, man? Now that you moved from Buffalo essentially into the industry for lack of a better term.
D: Not too many producers ever came out of Buffalo. I could only think of one off top that really flourished. Emile Haynie. And he took a different approach. He was doing Lana Del Rey and Mark Ronson. Heās worked on pop records, He did stuff with Ghostface and D.I.T.C. early on. He was around, but he definitely chose the pop route. So for me to be able to come up and stick with this style of rap, it feels dope. I always had the vision, but to actually come out of Buffalo and be able to move to New York City and be able to make a living from it? That was a big accomplishment.
How did you get affiliated with Griselda?
D: Itās crazy, we were bringing up Twitter before. Thereās a small underground network that was going on in Buffalo at the time, so if youāre into that scene, weāre all going to run into each other at some point. I was a DJ at the time and I was trying to make beats on the side eventually. I was doing the DJ thing, playing showcases and playing rap records at a spot on Thursdays. I was a little bit younger, so I came in a little late, but I ended up meeting Gunn and Benny, and Gunn ended up just disappearing and then hit me on Twitter years later.
It was pretty much like, āRemember me, Iām about to put out an album. You got any beats?ā And I was like, what Do you remember what year it was? 2014? HWH1. And that was the only original record on that tape.The rest of it was just like beats that he got, that he picked, that were already produced songs. That was the first one that we did, āMess Hall Talk.ā It was a little bit faster than a lot of the stuff that we would do down the line too.
He had the idea to start slowing the sāt down. Naturally, when we start pitching the music down, everything gets slower. I didnāt have Ableton and certain things at the time to maintain the tempo. Thatās kind how the records and beats started getting slower, like 70 bpm, 60 bpm, type stuff. And he was coming from Atlanta at the time too, so you could tell there was some influence there. He kind of wanted to blend in the A with this type of rap, but with these tempos, with the samples pitched down, and it sounds like some chopped and screwed sāt.
Man, that makes sense. I never put those things together.
D: At least, I feel that way. That maybe was part of the reason why we were pitching it down to a certain speed. Also him still living there. Conway spent a bunch of time there. Benny spent a bunch of time there, so really Atlanta had a big influence on the whole sāt, surprisingly. The fact that he would travel all the way from Atlanta to Buffalo, he would drive a lot of times too. Thatās not an easy drive. They would come to my apartment at the time, we recorded everything in my living room. Eventually, Conway stayed with and we started working on Reject 2. We ended up making two full records because he was staying with me the whole time. Looking back, making all that in my living room at the time was crazy, and the fact that Gunn was taking all these trips back and forth from the A to lock in made it even more special.
What else you got going on or planned. Anything you could talk about?
R.S.: I got an album with Conductor ā probably two albums worth of music. I got shāt with V Don. I got sāt with Muggs, Futurewave. I did a mixtape with Real Bad Man. I got a lot of shāt.D: I want to do a compilation featuring a bunch of different artists on it. Thatās always been a thing that I wanted to do. I think Iām going to end up doing a couple of them and make a series out of it. I got music with Meyhem still, so weāre probably gonna do a follow up. Maybe one day me and Bronson will do a full length. I did a handful of the records on that last album. So hopefully one day we could tap in and do a full length. Reject 2 is turning 10, so maybe Reject 3 with Conway in the next year or two. Iām really just focusing on me as an artist.
Iām sure you want to show off your versatility, because I think you kind of did that with this tape.
R.S.: One thing I can say, when it comes to picking the beats, I was purposely steering away from certain type of beats only because fans are used to hearing that. itās like one No, rather than being a whole album, I kind of knew what to expect, but then the project was still about to surprise me.D: We definitely worked on the sequence for a while and put that puzzle together. I feel like, once we got the songs in a specific order, we were able to start adding the skits and gluing it all together.R.S.: Thatās the one benefit of working with one producer. Youāre able to make all the songs flow into each other. Iām not saying you canāt do it with multiple producers, but itās a little bit more difficult. You would literally have to get all of them people in the room at the same time to orchestrate that.
Why do you like working with one producer?
R.S.: I like to do one producer because itās just cohesive. Sometimes when you have a bunch of different producers on one tape, you canāt really get a lot of the post production. Iām a fan of post production. Sometimes when I get beat and rap over it, when I play the song back, it sounds totally different. Itās easier to make intros and outros. If Iām getting packs all day, itās harder to get 10 different producers to agree on the overall sound. One producer might like the mix on it, but then the other three might not like it, so then you gonna have to re-mix that song to go with that song.It could get crazy. I like working with one producer because you can kind of maximize the sound. You can get the most out of it, the producer can sit with it.
You shouldāve did a British accent on one of the songs.
R.S.: [Laughs.] I probably have to go back to London for a couple years to get that shāt down pat.
Were there any British movies or TV shows that inspired the samples and skits? I know the short was inspired by Snatch.
R.S.: Probably that that interview with the road man, that sāt funny as hell.D: I watched things like Layer Cake to get the gist of it which sent me into a rabbit hole. There was a few joints from the ā70s that I was hoping to sample, but basically just ended up watching them to catch a vibe. We used something on āStarbvxkzā that we added at the last minute, pretty much when we were doing the video. Definitely some influence there.
You guys planning on going on tour? London definitely has to be a stop, right?
R.S.: Theyāre not going to let me live if I donāt. Thatās the main place that I have to do a show.

Itās a Tuesday morning in Australia, and Anna Lunoe has a sizable day ahead. Speaking to Billboard over Zoom from her home studio in Sydney, where post-it notes adorn the white walls, Lunoe is prepping for her set tonight at Accor Stadium, where sheās opening for The Weeknd.
Right now sheās going over her setlist ā Ice Spice and Central Ceeās āDid It First,ā Azealia Banksā āNew Bottegaā ā and other tracks that will, as she says, ātell the whole story of the intertwining between hip-hop and dance.ā These opening sets are also a reunion for Lunoe, who first opened for The Weeknd in 2013 on his Kiss Land Tour.
Call it all another entry on a long list of accomplishments. In 2012, Lunoe moved to Los Angeles from Australia to pursue music and, amid the crescendo of the U.S. dance music boom, swiftly carved out a career as an in-demand producer and DJ. Four years later, she became the first woman to play a solo set on the mainstage at Electric Daisy Carnival Las Vegas, and in 2017 she played Coachella while pregnant, a revelation in a time when women, much less mothers, were even more dramatically underrepresented on dance lineups. Sheās played every major global festival, and her list of releases is long, varied and well-listened to.
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But itās only now, four years after moving back to Australia, that Lunoe is releasing her debut album, Pearl. Out Friday (Oct. 25) on NLV Records, the label from Lunoeās longtime friend Nina Las Vegas, the 13 tracks embody the style and verve Lunoe has long been known for, working in big ideas about life and motherhood and work and the meaning of it all over productions both driving and delicate.
āIāve never desired to exist hugely outside of the dance community,ā she says. āI think this is a beautiful place. You see things go off, once they cross over into this bigger space, and you canāt always understand what happens out there. But in here, I love this world weāre in.ā
Here, Lunoe talks about the album, and why sheās releasing it now.
1. Where are you in the world right now, and whatās the setting like?
I am sitting in my home studio in Sydney, in Australia, and itās a beautiful day, and I have a really big day today. Iām playing with The Weeknd tonight, so I have all my gear around me and a big list of what to do, and Iāve got to work out what to wear.
2. Whatās the first album or piece of music you bought for yourself, and what was the medium?
I discovered my local CD shop when I was like, five. I used to beg my parents to go there. My parents would have these long lunches at the local cafes with their friends, and Iād get bored, and the CD shop was just next door, so Iād always go next door and literally pester the lady to listen to all different songs. They used to have these little stations where you could listen to music. I remember buying TLCās āCreepā on CD single, and the way I felt when I first heard, I think itās like a synth or guitar sound, that opens it. It was just like, āOh my god.ā That was mind-blowing.
3. What did your parents do for a living when you were a kid, and what do they think of what you do now?
My parents both created their own worlds, in their own way. My dad was in bands, then he [worked in nightclubs, and then he was in the food innovation industry. Heās a bit of an inventor, a really interesting character. So he fully supports and understands the need to forge your own path in life, which was cool. My mom created a fashion label for pregnant women, which was groundbreaking for her time, because there werenāt maternity clothes back then here in Australia.
Although they understand the kind of build your own life situation, I think my mom was always wanting me to have stability. She was always like, āGet a job at a bank.ā Every time I called her, Iād go, āMom, guess what!ā Sheād go, āYou got a job at a bank!ā Itād be like, āNo mom, not this time.ā
4. Whatās the first non-gear thing you bought for yourself when you started making money as an artist?
Thereās this really cool label called Perks & Mini, which is shortened to P.A.M. I still wear it to this day. Itās the coolest label. Itās out of Melbourne, and I flew to Melbourne for a gig, and I went to the P.A.M. store, and I bought what I thought was a pretty impractical purchase. It was a duffle bag with this awesome alien print. I thought it would fall apart as soon as I started using it, and because it was white I thought it would get dirty. I was like, āThis is a stupid purchase, but I just really want it. Itās so fun.ā I still have it to this day! Itās still an action. It was a good purchase. It was an absolute investment.
5. Ā If you had to recommend one album for someone looking to get intoĀ danceĀ music, what would you give them?Ā
The first thing that popped into my head was Rooty by Basement Jaxx. Itās a good example of a fun record with incredible references and great pop writing that anyone can relate to, and did itās own thing and didnāt feel formulaic at all.
6. Whatās the last song you listened to?
Embarrassingly, my album songs. I was listening through them this morning.
7. Youāve been making music for a long time. Why is now the right time for your first album?
Iām finally getting to the point where I have the skills and understanding of myself as an artist, that I can make sense of my writing impulse as it pertains to the world I exist in as a DJ, a producer and someone who spends their life in clubs. I started writing, and what I wrote were more song based things. They werenāt necessarily built for the sonic world I exist in as a DJ. It took a long time to bridge those.
8. What changed?
Itās felt like dance music has met me in the middle, too. Dance musicās had this incredible arc in the last five years, or the last 15 years for sure. But in the last five years weāve seen a lot more sincerity, a lot more real stories being told in the club space, and it made it easier for me. Suddenly there were songs that I could make sense of that Iād [made 10 years ago], or that Iāve always loved but couldnāt work out how they belonged in this space. Now it feels like they belong.
So I think itās a case of my skill set meeting me here, dance music meeting me here, and honestly, probably the fact that I moved back to Australia and Iām not on tour as much as I used to be. I used to play non-stop. I never stopped touring, ever. Now I get a bit more downtime from being on the road, and thatās given me more space to hone my creativity and my production skills, too.
9. As youāre saying, you moved back to Australia after many years L.A. in 2020. How did that move change your career strategy? Obviously Australia has its own thriving scene, but how do you control your career while being further away from a lot of places, and the U.S. especially?
Itās been really challenging. I made the decision for my kids and my family. It definitely wasnāt a career decision. It was like, āThis is what I need to do for my family, to be closer to my parents as theyāre getting older,ā all that stuff. The career stuff has just beenā¦ I donāt think I had control over it. I speak to that in the album as well. Thereās songs that reference how it feels to be on the other side of that and to think, āWhat did I do? Did I just throw everything away, or a part of myself away?ā
10. That sounds challenging. How have you navigated it?
I struggled with it a lot, because I spent many years building what I built, and I made a decision in a moment of crisis with a newborn, premature baby and a pandemic and my parents. I made that decision because I had to. I wasnāt thinking about my career at that time. At the same time, I believe that thereās more to life than just doing everything for your career, and that you have to do whatās right for everyone else.
So I donāt regret it, but it definitely meant there was a big spanner in the works in how things were laid out, and I had to adapt. But I also think that things donāt happen for nothing, and you have to look for the meaning in things that happen and look for the reason why this might happen to me and why I did this and what I can do now and look for the best possible road forward from where Iām at.
11. From a very outside perspective, what I see is that you being further away gives things that you do a celebratory feel. Like, āSheās back playing Coachella! Sheās back playing in L.A.!ā It seems like every time you come here and do something, itās a moment. Does that feel true to you?
Oh I hope so. I would love that, because itās such a moment for me. Me coming back to California and the States and the reception that I get, nothing will fill that hole like those cities. Those cities built me. I lived there for like, a third of my life. Itās such a big part of me.
Iām in this situation where now my heart is split in two, because I want to be with my family, but I also want to be in a place where I feel like my music resonates. And itās also my friends, my community, all that stuff. It is such a big deal for me, and so I hope it feels like a big deal for everyone else too, because thatās what keeps me coming back, and for as long as people will meet me there, Iāll meet them there.
12. Pearl is out on NLV Records, the label from Nina Las Vegas. You and Nina have been very close friends for a long time. Did it just make sense to put the album out on her label?
Itās hard to to work out what might have happened under different circumstances. Coming back here and starting to release on NLV seemed so natural. It just seemed like I was home. Things were changing so fast in those years; I suddenly would have a song that I wanted to release, and Nina is my best friend, and she has this great label. I talk to her every day about whatās going on in my career. So she was like, āOh, yeah, I can put it out for you.ā
13. I imagine there are a lot of advantages to working with your best friend, yeah?
Now I canāt imagine working in a different way, because I have so much control over what I do. Iām not waiting for anyone to approve or give permission on what I do. Donāt get me wrong, me and Nina sometimes go at it about release dates and what we want to do next, in the best way possible, because thatās how we are. Weāre sisters. But it feels like thereās no gatekeepers in front of me. Not that I ever felt that. Iāve always released with indie dance labels for the most part, in the last 10 years anyway.
But it just feels particularly aligned when the person is kind of part of your brain. I trust her opinion, and I trust where her headās at. If she says, āthis is cool, we should get this out straight away,ā I trust her, because sheās someone who I built this whole thing with. We built it together.
14. What does success for the album look like for you?
I really donāt expect huge amounts to change after the album. Iām proud of of what I created. I think itās a great jump off point for the next chapter, whatever that may be. I guess what success means to me is my community hearing it, and hearing me and meeting me there. Iāve never desired to exist hugely outside of the dance community. I think this is a beautiful place. You see things go off, once they cross over into this bigger space, and you canāt always understand what happens out there. But in here, I love this world weāre in.
15. Speaking of crossover stars, youāre opening for The Weeknd tonight. What kind of prep goes into a show like that?
This Weeknd situation is so unusual, to have been invited into an artistās world all those years ago. We were playing 3,000 to 8,000 capacity rooms back then, and now tonight, 72,000. His arc is phenomenal, and I feel grateful to have been invited back into their sphere.
I feel comfortable, because I feel like I understand enough about myself and about their camp to know what to bring to the table and what I can offer. So Iām just looking to do the best job of that and just set things up for the evening ahead. I prepared thoroughly for this, because it is outside of my usual dance realm. But because Iāve done it in the past, I trust my instinct that if I do the prep and if I look at all the reference points and work out what I think I want to present, I trust that I will make the right decision.
16. Your two kids are sampled on your album track āLetās Go Home.ā To what extent do they understand what you do?
My daughter describes me as a āDJ -er.ā I donāt correct her, because thatās cute. She knows that I have fun clothes. She likes all my different fun clothes that I wear when Iām DJing, and she always asks if she can have them when sheās olderā¦ I donāt post them a lot because I just love keeping them kind of separate and that part of me separate. I donāt put it on them. I just want to focus on them and their experience.
17. What are your proudest moments of your career so far?
Iām proud of myself for moving to America when I did, because I really had no business being that brave. But I think that was brave in hindsight, because I did not know anybody. Obviously thereās the big moments, like the EDC moments and the big pregnancy announcement. Those moments were huge. But there was so many moments that were quiet, when no one was there to cheer me on and I had to keep going, even when things went wrong or things were really hard. Iām proud of all those late night, on my own, being scared and still pushing through moments.
18. What are you proud of now?
Like you said, now itās harder for me to make moments happen being further away and having kids and family, so Iām proud every time I am able to contribute meaningfully to this genre, whether itās being part of a big show, or being a part of a mix, or a song that says and does what I want it to say and do. Theyāre all big achievements for me now. Thatās something Iām proud of ā that Iām continuing to do it and trying to balance it all.
19. Whatās been the best business decision youāve made?
To be as multifaceted as possible. Having a diverse skill set, whether it be radio or being able to play every genre from disco, to downtempo, to more commercial, to house, to techno, to underground and building a skill set where I can meaningfully speak and contribute in all these different genres. Plus doing my own vocals, and interviewing other artists, and my podcast. Being able to provide all these different services to music has been the thing thatās kept me moving forward, when one avenue fades away.
20. Whatās one piece of advice youād give your younger self?
Remember to stay focused on what is going outwards. Itās very easy to get caught up on the behind the scenes things, and the little things. But you should always remember to think about whatās actually going out to people and make sure youāre focusing enough energy on whatās going out to people, not just seeing yourself with whatās happening behind the scenes.
Itās been six days and I canāt stop listening to āGroupies & Goofies.ā
Sometimes Iāll wake up in the middle of the night and play it on my phone a couple times before going back to sleep. Itās one of the best rap album intros of the year, right up there with the opening tracks of Future & Metro Boominās back-to-back collaborative albums. I didnāt know what to expect when Babyface Rayās team sent me his latest album, The Kid That Did, but I was immediately grabbed by the intro.
After diving into the rest of the album, I came away thinking that this is the Detroit rapperās most ambitious project to date. He sounds confident, and with confidence comes big swings. Songs like āI Need Some Motivationā and āDelusionalā showcase his versatility, while others like āWatching My Pageā and āNights Like Thisā āLegacyā show more of his personal side.
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Ray has been prolific over the course of his decade-long career, releasing a slew of mixtapes and EPs as a solo artist and as a member of Team Eastside. The Kid That Did, released on September 13, is his fourth solo album and his first since his Wavy Gang label entered a partnership with Empire earlier this year. With 20 tracks clocking in at under an hour, the albumās already spawned six singles with accompanying videos with more on the way. One notable single is āCount Money,ā with BossMan Dlow, which samples the iconic pause music from N64ās GoldenEye 007. āWe got the original composer from GoldenEye to do the beat over,ā he answers when asked how they managed to get the sample cleared. But thereās much more to the story.
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According to one of his A&Rs, Dre Edwards, Babyface Rayās team had a hard time clearing the beat (made by producer Rich Treeze), so they decided to reach out to Grant Kirkhope, the original composer of the GoldenEye soundtrack, to see if they could get it cleared. Well, it turns out that Kirkhope was already familiar with Rayās music and gladly offered to collaborate with Treeze to make a version of the beat that would work for all parties involved. He even posted the video on his Instagram.
I caught up with Ray at the Billboardās New York office, where we talked about the making of what is probably the most important album of his career, how his rap style is informed by his parents and how he managed to get Rich Paul on the outro. Check out the interview below.
This album feels like your most ambitious. There are some records that feel big on there. Would you agree?Ā
Yeah, big for sure. I know what you mean. I was just trying to show a little more growth this time and make it sound different from the last projects I put out.
When you were making this album, did you go in with the approach that this was going to be an ambitious record?Ā
I think the records I picked were just more along the lines of what youāre saying. I had other records that I wanted to use, but I went more with that type of style.
Yeah, because some of the beats are different from the stuff you usually rap over. Were you aiming for that sound? Or were they beats that you were coming across that happened to grab your attention?Ā
Yeah, what I was coming across and what I felt like wanting to do at that time.
Detroit has had its rap moments with the likes of Eminem, Royce Da 5ā9ā³, D12, and J Dilla, but the last few years have felt different. What is it about this era of Detroit rap that resonates with fans?Ā
Probably the rawness. Probably being able to connect with the music a little bit more.
What are some of your favorite records from this album?Ā
āNights Like This,ā āHigh Off Life,ā the intro. I like āDelusional.ā I like āStuck in My Ways.ā Thereās a few on there.
Thereās a couple of tracks that you get real personal on. You mentioned a couple of them. Can you talk about why you felt the need to go super personal on some of those?Ā
Really, just updating people on whatās going on with me type stuff. And, really on all my projects, itās always gonna be a song on there thatās kind of like super personal and I get deeper on whatās going on for real.
The way you rap, itās like you put people on game. Can you credit your style to your father being a preacher?Ā
Yeah, if you know my dad, it donāt got nothing to do with religion or him being a preacher. Thatās just how he comes off, putting us on game and just schoolinā us and kickinā it with us since we were little. I can definitely credit that to him, for sure.
Did you spend a lot of time in church when you were younger?Ā
Hell yeah. All the way up until eighth grade, I went to church every Sunday. I wasnāt really too much a fan of church, though. Nothing against religion, but the whole going to church thing ā I would just feel burnt out.
Did your parents give you a hard time for wanting to be a rapper at first?Ā
They aināt know. So, it was like ā once I got old enough to get out the house and do my own thing, I was just doinā that on the low. But I wasnāt a bad kid, so they didnāt have to worry about me too much. I was just doing it. They didnāt really find out until I became poppinā. And then people was telling them, and by that time, it was already too late. They couldnāt really have a conversation with me about it.
How do they feel about it now that youāre successful?Ā
I mean, they aināt trippinā, they love it, and even my dad, he be talking about it. You know, back then he really didnāt understand, but now he sees what Iāve grown into as a man. He can understand and enjoy my music. He can see where Iām coming from.
When would you say you felt that you was poppinā as a rapper? When it felt real.Ā
My first feeling was around probably 2011 or 2012. We used to get booked in the city a lot with my group [Team Eastside.]
In earlier interviews you had mentioned that you dropped out of college. Around what year was that?Ā
I graduated [high school] in 2009, so it had to be around 2010.
Thatās around the time you said you started poppinā, so you were already rapping?Ā
I was already rappinā throughout high school and all that stuff. When I got out of school, I was still staying with my parents. My pops was like, āYou either gonna get a job or you gonna go to school.ā So, I ended up choosing college and when that didnāt work out I just left the house completely.
Word, and you had said that they used church money to help send you to college.
Yeah, for sure. No cap. That really happened.
Rich Paul is on the outro. Can you explain that relationship? How did you guys link up? Was he a fan of your music?Ā
He was a fan of my music. I met him through my partner, V, who owns a clothing line called Jack Ripp. He called me and connected me with Rich Paul, and then we hit it off just conversating about music. He really just wanted to talk about music, for real.
Has he given you any business advice?Ā
Not really, head on. I just watch and learn from what heās doing.
How do you feel about this album compared to your other tapes?Ā
I feel good. I feel like I got some good records on there. I think people are gonna enjoy it. Iām geeked for it to get out, so I can see how the feedback is going to be.
Gillie and Wallo had mentioned that they noticed the ladies rock with your music on social media. Explain why you like to make records for them.Ā
Itās always good to have a record or two for the ladies when you put a project out, because theyāre consumers. And, really, I feel like itās the women that get the men hip sometimes. You gotta have something that the ladies enjoy too.
Bossman Dlow seems to have that effect too. The ladies use his stuff on social media all the time. He did a show with Teezo for us recently and when he hit the stage, mad shorties ran to see him perform. Ā
Thatās fire. Dlow got a strong presence on social media with the women. I feel like the women be on it more than the men these days.
And you guys linked up on this project over the GoldenEye beat. How did that come about?Ā
I had never met him. I was on Live one time just poppinā shit and I said something along the lines [of] somebody talking to me in the club while the music was loud, and I was saying, āStop trying to talk to me, Bossman Dlow is playingā blah, blah, blah. And then it reached him and that kind of went crazy and he said something to me, and he came to Detroit, and we met up. We kicked it off like that. I did a song for him first, and then I was sitting on āCount Moneyā and I was like, āI think Dlow would sound good on here.ā I sent it to him and he sent it back.
Youāre a video game head, right? What games do you play?Ā
2K, Madden, NCAA. But I had woke up from my sleep, and seen my kids watching some sāt on YouTube, and I ended up downloading this new game called Little Nightmares. Sāt fire. Itās like some horror-mystery shit.
You donāt play Grand Theft Auto?Ā
I used to play Grand Theft Auto RP on my PC, but I stopped playing it. l was gettinā burnt out on it.
You werenāt in Tee Grizzleyās world?Ā
Yeah, I was in there. I was the only one with the Ferrari truck in there. That sāt turnt, for real, but I was getting burnt out.Ā
What else you got planned for this album? You going on tour?Ā
Yeah, Iām going on tour. Iām announcing the tour on Friday with the album [release]. Thatās pretty much it. Hopefully, I can get a deluxe out because I do got some more records, more features, some more vibes that I wanna add to it.
You gonna put out more videos?Ā
For sure, 100 percent.Ā
Yeah, because you put out mad sāt already for this album.Ā
Sāt, I was just telling them. I got like seven videos already in, but Iām still trying to get at least two or three more.Ā
The Leeds, England-based English Teacher released its debut EP, Polyawkward, in 2022, and its first album, This Could Be Texas, in April. So it surprised even them that they sold out New Yorkās Bowery Ballroom in June ā on a Monday, no less.
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Frontwoman and lyricist Lily Fontaine and lead guitarist and producer Lewis Whiting chalk it up to relentless touring, which has honed the band into a tight unit that melds Radiohead-style guitar and synth sonics with hard funk flourishes and elegant melodies that showcase Fontaineās literary lyrics about place, identity and broken relationships. (The quartet has actually been playing together since 2018 when they were a very different dream pop band called Frank.) At the Bowery Ballroom, Fontaineās electric stage presence also galvanized the crowd, as she paced the stage and alternated between rhythm guitar and synth.
English Teacher āThis Could Be Texasā
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English Teacherās road work and original sound resulted in This Could Be Texas garnering stellar reviews and a Mercury Prize nomination this year. At the end of August, they continued their momentum with a new EP, English Teacher: Live From BBC Maida Vale ā which includes covers of Billie Eilishās āBirds of a Featherā and LCD Soundsystemās āNew York I Love You But Youāre Bringing Me Downā ā and on Sept. 15, they return to the road, playing a slew of dates in North America and Europe.
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Fontaine and Whiting (briefly) Zoomed in from the United Kingdom to talk about the bandās success, the origin of its name, its songwriting process and its plans for the future.
Youāre a very tight band. Is there a lot of practice involved?
Whiting: Less than you think.
Fontaine: Weāve been on tour for at least the past four or five months, and weāre about to start up again. We donāt really have time to practice because weāre playing the set over and over again.
Thatās practice of a sort. I do think that strong live shows are crucial to building a fan base. Lily, youāre riveting onstage. Were you influenced by any other artists in terms of stage presence.
Fontaine: Itās not really a conscious thing to be honest. Iāve been doing it for such a long time ā 10 years ā that I feel quite confident now on stage. I also think that being a music fan, the affectations of people that I have enjoyed slip in with my stage personality.
How did the bandās name come about?
Fontaine: Ugh.
Whiting: It was a name Lily came up with quite a while back. There are different ways of looking at it. Like, a lot of our family members weāre English teachers and itās a bit of a connection.
Fontaine: Now, I like the idea of what an English teacher is. We go to so many different countries, and the English language is so prevalentā people do speak it everywhere now ā that people sometimes resent it. I hate the name, but also I like the idea of an English teacher being perceived negatively or positively depending on which country youāre in.
How did you all get signed to Island UK?
Fontaine: It was baby steps.
Whiting: Yeah. Weād gotten some support slots, Our guys were floating about. Nothing happened for a long, long time after that. They must have been aware of us and then yeah, the EP came out, we started to play more and they started sniffing around a little bit more.
A number of bands are striking deals with labels that enable them to keep their masters. Was that something you did?
No. It was like a split. We have a percentage.
What are the best and worst parts of touring?
Whiting: The best parts are being able to travel to places and play music that weāve written to people who donāt know it as well. Thatās the best bit, and then I suppose all the rest of it is the bad bit. The traveling is taxing for sure.
The price of touring has ratcheted up, which particularly effects indie bands. What has your experience been?
Fontaine: We donāt really make money. We only ever break even or lose money.
Regarding the title of your album, This Could Be Texas, you could have chosen any state or city here. Why Texas?
Whiting: It must have been in our minds subconsciously because it had just come up on the news about [us playing] South by Southwest. I think it was the best descriptor for where we stood. It was a really hot day and we were at a car park. At first it was a bit of a joke phrase, but then it morphed and attached itself to the song, which is about the process of writing the album. Then it became us saying this should be the title for the album. It wasnāt a sorted-out thing from the start. It just kind of presented itself.
Lily, on āThe Worldās Biggest Paving Slab,ā you sing, āIām the worldās biggest paving slab, and the worldās smallest celebrity.ā Can you give me some context behind that?
Fontaine: I grew up in Colne, Lancashire, and outside the town hall thereās a giant paving slab and thatās one of the townās local celebrities if you will. The song is about exploring this great display and not necessarily ever leaving the town. Itās a juxtaposition of exploring feelings of grandeur and feelings of self-deprecation.
There also seems to be a little bit of, āDonāt tread on me.ā
Fontaine: Yeah, definitely. I think thatās the grandeur element.
Do you and the rest of the band write songs collaboratively?
Fontaine: Itās different every time. Sometimes, one of us will come in with a song quite finished and sometimes just a bit of poetry and a riff come together. Sometimes itās separate songs. Sometimes itās all together. Itās different. We like to work like that. So far, itās been all right.
Whiting: Itās a quite chaotic approach. Itās kind of just throw things together.
Another standout song on the album is āR&B.ā On it, you sing, āDespite appearances, I havenāt got the voice for R&B.ā Is that subtext about expectations of you as an artist because of your skin color?
Fontaine: The whole song isnāt about that, but part of it is. At the time, I had writerās block and the only thing I could come up with in my head was a melody for an R&B song. I thought that was so ironic because that is the genre that people always assume that I make when they look at me. Not always, but thereās been times when we meet another musician, and the look on their face is a big shock when I say that I make guitar music.
You come from a mixed-race family?
Fontaine: Yeah, my dadās side of the family are from Dominica in the Caribbean and my mumās just I donāt know, England I guess. Theyāre both British.
Now that Kamala Harris is a presidential candidate, race issues are at the forefront of the campaign. I donāt know if it made news in the U.K., but Donald Trump made headlines here when he said that Harris only recently had decided to identify as Black instead of Indian. Is that kind of racism familiar to you?
Fontaine: Definitely. Itās so funny because it depends on who youāre with. It depends on how Black you are, how white you are. So, if Iām with my white friends, then Iām the Black one, but if Iām with my Black family Iām the whitest person in the room. Race is fluid in a sense ā and what a prick [Trump] is. Sorry.
Are you following the presidential race here?
Whiting: Iām following it closely. Biden dropping out was an extremely good call. I canāt say I knew a crazy amount about Harris before this, but I like following American politics. Iām an avid American politics podcast listener.
Fontaine: I donāt have as much knowledge of [politics] as Lewis because I donāt listen to any podcasts or anything. Iām glad that Biden dropped out. I think that was an obvious decision. Weāre going to be in the U.S. when the election is happening, so it will be an interesting time to be there.
Lily, the lyrics to āBroken Biscuitsā are quite powerful and sound very personal. Is there an autobiographical element to it?
Fontaine: Thatās probably the most personal song on the album actually. Yeah, itās really personal. Thereās this John Cooper Clarke poem, āEvidently Chickentown,ā that has a lot of repetition, and I wanted to see how many different ways I could use the word ābroken.ā Then I was seeing how I could use all those different ways to relate to things in my life that were broken or that have been broken.
There are references to all sorts of things: breaking in shoes and broken homes, but also āSmithereens,ā which is a Black Mirror episode and the showās creators [Charlie Brooker and Annabel Jones] call their company Broke and Bones, which I use in the lyrics. Thereās lighthearted stuff in there as well. Itās not all sad. But a lot of it is quite dark actually.
Do you come from a broken home?
Fontaine: Thatās me. Yeah, my parents split up when, I donāt know ā maybe I was like one. It was when I wasnāt conscious, which is a blessing probably.
I noticed that the band worked in more melodies on This Could Be Texas than you have on prior work. Has that been a natural progression?
Fontaine: Thatās probably because when we were writing the first EP and some of those earlier songs. I was listening to more post-punk. That was the time of the post-Brexit, post-punk resurgence in the U.K., and I was quite influenced by that. That trend wore off, and I was listening to a lot of classic songs ā not classical music.Ā Iām coming to music as a singer, and I felt it was just natural that I would probably go back towards that eventually.
At the end of August, English Teacher put out a live EP that includes covers of Billie Eilishās āBirds of a Featherā and LCD Soundsystemās āNew York I Love You But Youāre Bringing Me Down.ā Why did you choose those?
Fontaine: LCD felt natural, because we all really like them, especially that song. I think it felt like a song that we could tackle given the instruments that we had at our disposal. With āBirds of a Feather,ā we were asked to do a cover for BBC Radio One which is as you probably know is more of the pop end of the spectrum. So, we looked at what had come out recently ā and my boyfriend said, āYou should do this song.ā We listened to it together, and I was just crying. I found it really moving, and I was like, āI want to do this.ā We put it together in a day, and it felt right.
Are you working on the next album?
Fontaine: Yeah, weāve got a few songs written actually. It seems like itās come around so fast. Yeah, Iāve got ideas of the concept for it and everything.
Can you share the concept?
Fontaine: Itās too early to say really, and itās not entirely up to me. But I donāt think I would want to put out a body of work that didnāt have some kind of unifying aspect to it. It happens naturally when you pull everything together that something connects it. Itās not exactly a concept album but always a bit of a through narrative. Thematically, it will probably be a sadder and darker album.
You are clearly into literature, poetry and media. Is there anything that has your attention these days?
Fontaine: Yeah. Iām going through a big phase with Octavia Butler, the science fiction writer. Iām obsessed with her and I just finished the second of two of her books. Iāve immediately ordered the next one because I want to read it whilst Iām still in that world.
Sheās my focus at the moment. Iāve been watching The Bear. I think itās amazing. The writing is brilliant, and the acting is so realistic that itās kind of scary that people can act but also be so human at the same time. I love food as well so itās a good one.
Thereās a moment in Adam Sandlerās new comedy special,Ā Love You, when the comedian picks up an acoustic guitar and very intently and fluentlyĀ plays āMalagueƱa,ā the classical guitar instrumental by Cuban composer Ernesto Lecuona, before he launches into āMutterinā,ā a comedic song about murmuring negative asides under his breath.Ā Ā
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In Sandlerās first Netflix special in six years, he finds humor in most things ā whether it be a low-brow, scatological sketch about a wish-granting genie, or a clever riff on non-sensical word pronunciations as he toggles between spoken bits and songs. But one thing Sandler takes very seriously is his musicianship.Ā
āWhen I was a kid, my dad had an acoustic guitar, and he would play āMalagueƱa.ā That song means a lot to me,ā Sandler tells Billboard.Ā Ā One day, Sandler ā who was already taking guitar lessons while growing up in Manchester, New Hampshire ā came upon a Stratocaster in a store window. āI was in bands all through junior high and high school and I said, āOh my God, I would do anything for that guitar.ā My dad said, āIām not just going to get it for you, but if you learn āMalagueƱaā note for note, Iāll get that guitar for you.ā I practiced it for a year until my father was impressed enough he got it for me when I was 12. I think of that every time I pick up a guitar.ā
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And he picks up the guitar a lot inĀ Love You, which was directed by Josh Safdie, whom Sandler worked with to great acclaim on the 2019 dramaĀ Uncut Gems. Instead of the usual comedy special where the comedian walks out onto a brightly lit stage to applause,Ā Love YouĀ opens with a decidedly more frantic, in-your-face tone.Ā Ā Sandler pulls up to the venue dealing with a shattered windshield, heās then barraged by autograph seekers, he canāt find a clean hoodie to wear, his coffee order is wrong, and heās runningĀ late. Once he gets on stage in the darkly lit small club ā a deliberately disheveledĀ Nocturne Theater in Glendale, California ā things arenāt much better: there are technical glitches with the screens, and a stray dog even wanders onto the stage.Ā Ā
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When Safdie came to him with his slightly skewed vision for the special, Sandler says, āIt definitely took me a little while to go āyes.ā I just thought we were going to shoot the show because I had been doing the show for a while and I had that down, so I was excited to do that, but Josh kept saying, āLetās try to do something different.āā The special is a scaled-down version of the arena show Sandler took on the road last fall, which grossed $28.5 million in 27 shows, according to Billboard Boxscore.
Though Sandler knew some of the curveballs that were going to come his way at the Nocturne, SafdieāsĀ plan kept Sandler on his toes, and gives the special a jagged edge. āThat made it more exciting the days we were shooting,ā Sandler says. āI definitely never knew when something was going to come at me and throw the rhythm off, and I had to try to react and keep the show going as smoothly as we could. It made it more of an electric vibe.āĀ
As if there wasnāt enough disruption, an unplanned kerfuffle breaks out between some audience members. āIt was kind of early on in the show, and then all of a sudden you felt some hostility in the crowd,ā says Sandler, who quickly diffused the situation. āWhen youāre on the road, itās going to happen. Things get out of control in the audience and you got to react to it and try to calm things down.ā
Just as his 2018 special,Ā 100% Fresh,Ā ended with a sentimental, sweet musical tribute to the late Chris Farley, his friend and formerĀ Saturday Night LiveĀ castmate,Ā Love YouĀ similarly concludes with āHere Comes the Comedy,ā a warm salute to the healing power of comedy, as footage of the dozens of comedians who have influenced and delighted Sandler since his youth appear on the finally operational monitors. In the six-minute number, written by Sandler and his longtime musical partner Dan Bulla, Sandler plays the Stratocaster his father gave him when he was 12.Ā Ā
Sandler apologizes that heĀ has to cut the interview short because heās in the middle of pre-production onĀ Happy Gilmore 2, his sequel to his 1996 comedy classic. The movie will start shooting in New Jersey next year and Sandlerās already teased that the new version will include a number of cameos, just as the original did, including Kansas City Chiefs tight end Travis Kelce, who sported a Happy Gilmore cap at this Aprilās Coachella.Ā āHeās gonna come by. Heās a very nice guy,ā Sandler said onĀ The Tonight ShowĀ on Aug. 20.Ā Ā āYou guys would love him in real life. What a big, handsome guy. Funny and cool as hell. Heās a stud and heās so funny.ā
Thereās no word on whether Kelceās girlfriend, superstar Taylor Swift, will also make a cameo, but Sandler is an unabashed Swiftie.Ā He and his family attended a Los Angeles show on the Eras tour in August 2023, as well as the Los Angeles premiere ofĀ Taylor Swift: The Eras TourĀ concert film. When asked his favorite Swift song, Sandler struggles to pick just one, but itās clear he has plenty riffling through his head from years of being the ultimate girl dad.
āEverything [my two daughters] throw on I love, but one of the first ones they threw on when they were young was āThe Best Day,āā he says of Swiftās sentimental track about her mom from 2008āsĀ Fearless. āWe connected with that when the kids were young. Every album, we listen the first day it comes out. Thereās not a song they donāt know every word to.ā
Like Swift, Sandler is no stranger to the Billboard charts. Between tunes like āThe Chanukah Song,ā The Wedding Singerās āGrow Old with Youā and āThe Thanksgiving Song,ā as well as his Grammy-nominated comedy albums, Sandlerās landed on 10 different charts, including topping the Comedy Albums chart in 2019 with hisĀ 100% FreshĀ album. Itās something heās kept an eye on since his early days.Ā
āWhen I was young and my albums came out, I worked with Brooks Arthur,ā he says, referencing the renowned late music producer whom he collaborated with for nearly 30 years.Ā āHeĀ Ā used to talk to me about his charts and Iād ask him, āHow are we doing on Billboard?ā I always wanted to know.āĀ Ā
In a year brimming with highly acclaimed releases from women in Nigerian music, Qing Madiās voice is hard to ignore, set apart by its youthful resonance.Ā
Before her emergence on the Afrobeats scene, Qing Madi (real name Chimamanda Pearl Chukwuma) had regular life plans like most young people: get a degree, then get a job. She had just moved from her birthplace of Benin City to Lagos with her family. This move brought on more opportunities in the form of songwriting gigs for artists such as Skales, Iyanya and Larry Gaaga.Ā
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āOne day, I was asked to do backup for Blaqbonez and showed up for the vocals. I met his producer Ramoni, and he played me this beat that I thought was so beautiful,ā she tells Billboard via Zoom. āI asked to do a freestyle to the beat and titled it āSee Finish.āā
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She uploaded it onto TikTok in 2022. āI used to post cover videos on TikTok and some of them would blow up,ā Madi says, citing her renditions of āOverloading (OVERDOSE)ā by Crayon, Ayra Starr, LADIPOE, Magixx and Boy Spyce and Burna Boy and Ed Sheeranās āFor My Handā as examples. āI never put out anything original because I wasnāt bold enough and didnāt think people would like it.āĀ
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But as āSee Finishā went viral, Madi says she was swarmed by DMs from different local and international record labels. āMy mom was so overwhelmed by what was happening from just this one freestyle, but we eventually decided that I would get signed to Jton Music and Columbia/Bu Vision,ā she says. āThe next step was to release an EP with songs Iād worked on.ā
Released last November, her seven-track self-titled EP carries relatable reflections on great first loves, independence and a wide range of emotions one experiences on the journey to a fully-formed identity. On āMadiās Medley,ā she asserts strength in difficult situations. āWhyā explores what itās like to be your own person amid pressure to conform. Eight months later, Madi released its deluxe version featuring three new songs: the āVisionā remix with Chloe Bailey, the Kizz Daniel-assisted āYBIL (You Believe in Love)ā and āSins For Uā.Ā
Since then, Madi has performed in the U.S. for the first time as part of BNXNās tour, gained co-signs from Afrobeats superstars Wizkid and Ayra Starr (with the former tapping her for background vocals on his āDiamondsā track last year) and earned a spot on Billboardās 2024 21 Under 21 List. Still, the 18-year-old singer-songwriter admits she has moments where she canāt believe itās all real. āSeeing the crowd screaming my songs back to me affects me in a big way,ā she says. āIām really writing songs for the whole world to listen to.ā
Qing Madi spoke with Billboard about her mainstream success, the upsides of delusion and why she never feels the pressure to fit in.
In some interviews you refer to your music as āAfro-delulu.ā How does this describe your sound?
Most of the stuff that I sang about on the EP was not part of my reality at the time. In āAmerican Love,ā I sang about traveling around the world, when Iād never even crossed the border. I was looking to the future and then it just started manifesting with all my current travels. I can be delusional, but I like to talk a lot about the things that I want, and somehow they always come to be. And āAfro-deluluā wasnāt even a term I came up with, my fans created that for me and I liked it and went with it.
Your music touches on themes like love and heartbreak in a relatable way. How do you bring these ideas to life?
Besides being delusional, I also write about things that happen to me or my friends. āSee Finishā came from a friendship breakup that hurt me, and no one really talks about those, because theyāre not supposed to hurt as much as heartbreak from romantic relationships. Iām not a confrontational person ā so if I have an issue with someone, Iāll probably make a song about it, because itās the easiest mode of expression for me.
This year, Afrobeats has been largely defined by women, each with their own distinct sound. Whatās it like to be part of a rising crop of artists who decide to prioritize their own vision and go outside of the norm?
Itās beautiful. Iām more proud of the audience than I am of the industry because the crowd is opening their ears to us. There have always been women with different sounds, but some never got the opportunity to be heard because the audience would be like, āThis music is too slow, this isnāt what we want.ā Weāre all growing to the point where everyone has a genre that they truly enjoy, and since theyāre more accepting of other kinds of music, we donāt have to subject ourselves to a particular pattern. It also helps that Nigerian music is more global than ever before, so Iām proud to be part of it, being on the inside and getting to watch the growth up close.
Thereās some pressure on artists to have the perfect brand or to present themselves in the most appealing way to the public. How do you put your own perspective first?
When people think of a female artist, they usually picture someone whose style and appearance is very āfeminine.ā Iām not really trying to fit into that ideology, because thatās not who I am. Sometimes people say things like, āYouāre a pretty girl! Why not dress more like this?ā Or āIf you change your style, youāre going to get a lot more [public approval].ā But I try to stay true to myself and not become somebody else. There are people who are more accepting of a different kind of look and girls who just want to be comfortable. Iām trying to use my image to speak for them.
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Young artists today are also burdened with the focus on numbers, branding and engagement around their music. How do you handle these expectations?
I donāt focus on what people expect of me, because thereās always going to be criticism. MyĀ music is always from my heart, so if it doesnāt feel genuine to me, it wonāt be released. When I put out āSee Finish,ā people were like, āSheās a one-hit wonder, sheās not going to do it again.ā And when āOleā [featuring BNXN] came out, they said, āYou just got lucky with a major feature.āĀ
If I listen to the negatives, it would mess with my mind, and if I rely on the positives, it would make me too comfortable and I would only stick to a particular sound and style. So I block everything out and I never read comments on anything. My focus remains only on creating.
As your music continues to attract audiences worldwide, what is your outlook for the future?
There has been a lot of growth, and I donāt think about limitations because of the fast pace at which weāre growing. Everything is falling in place and Iām just really hopeful. I only care about how my music is being received, how it resonates among the audience and how it contributes to the growth of Nigerian music and women in general. I feel like my album will be in the works soon, and itāll represent how I feel and what I speak for.
On a 95-degree day in late July, Channel Tres shows up on Zoom from his place is Los Angelesā Silver Lake neighborhood wearing a tank top and intermittently drinking from a large water bottle.
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Itās been a few weeks since the artist released his debut album, Head Rush, 17 tracks that package myriad elements of Tresā psyche ā āmy love life, dealing with loss, dealing with the transition when my dreams become realityā ā into a sophisticated, swaggy amalgamation of hip-hop, R&B and electronic music that tracks his rise from his native Compton to big tours and big festival stages.
āNow Iām somebody people will recognize sometimes,ā he says. āIām not just a bedroom musician anymore. Iām doing things. It was like, āI have all these things going on, and I only have this one brain to process it. That was the meaning of the title, Head Rush. It was something that could be euphoric, but itās also something that can be a headache.ā
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This characteristic depth is balanced by a lot of output thatās just purely danceable. This fall, Tres will go on a 15-date tour with Kaytanada for shows he predicts will be āthe biggest dance parties of the year.ā Heās also currently working on dance music that heās testing out at DJ sets and afterhours. And the reach is real: When he recently went back to Compton to hang out on the set of Kenrick Lamarās āNot LIke Usā video, he says āa lot of people came up to me like, āYo man, we love what youāre doing. Weāve gotten into house music.ā I would never think going back home that Iād hear this from people. Stuff like that inspires me.ā
Ahead of his performance at HARD Summer in Los Angeles this weekend, Tres talks about what heās done, what he still wants to achieve and the times heās just been able to enjoy the moment.
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Itās been a month since your album came out. What has this time been like for you?
The first two weeks were like hell, because I was reading everything. I would search my name on Twitter and read everything; I was reading Reddit, just engulfing myself in the positive and negative feedback. It was a lot for me, but I felt like it was important to get both sides of criticism, just because I want to teach myself how to take whatever it is and be okay with it.
That sounds intense.
I didnāt want to feed into all the positive feedback and fill my head up with all positive things, thinking Iām the shit when I still have things to work on. Then I wanted to also look at the negatives so I could build strength to have thicker skin so it wonāt affect me as much. Because the more you get into this, you realize itās just going to be all types of comments coming at you. I always safeguarded myself from that, but this time, I was like, āNo, Iām going to engage.ā
Then after that two weeks, I stopped. I was like, āOkay, cool. Iām going to go back to therapy, and instead of bi-weekly make it once a week.ā [Laughs.] Then I just got really excited about the future. I was like, āWow, I really put a chapter of my life into 17 songs and released it, and it feels so good.ā Iām excited to take what I learned from this process to inform the next body of work.
Were able to shake off the best and worst things you read about yourself?
Yeah. I learned how to be like, āThis is how I feel. I know what I was saying right here. I know how I freaked the production right here and what that means to me as a producer.ā After it was all said and done, I was like, āOh, Iām only in competition with me.ā I get to do something Iām passionate about, and it serves me, and it serves my creative juices and the the child in me, but it also pays the bills. So wow, look at the life that I get to live.
You mentioned being recognized and having your profile rise. The last time you spoke with Billboard, in 2023, you said were āready for big sātā¦ ready for the big stage type of energy.ā Do you feel like youāve achieved that with this album?
No, I donāt feel like Iāve achieved that. But I feel like I achieved what this album was supposed to achieve for me. I didnāt get to where I want to go with this album, but Iām thankful I did it, because thereās more stories to be told, and I want to leave a trail of [output.] Whenever that moment comes, cool. I feel successful already, but I know thereās places I want to go.
What places are those?
I still want to play Glastonbury. I still want to headline Coachella. There are certain things that I want automatic, like I want to get Tonight Show automatically. I want more excitement behind things Iām doing, but Iām not in a rush for that. I know those things come with the more work I put in.
Have there been moments when youāve felt like you were getting exactly what you wanted or dreamed of?
I had an album release party for my project and Thundercat showed up, Ty Dolla $ign showed up, Kaytranada showed up, Estelle, Ravyn Lenae. I was wondering if theyāre all going to show up. I was like, āLet me just go for the fans and give this body of work the appreciation it needs.ā Then everybody showed up. We all listened to the album, then afterwards, everybody I mentioned came on stage, and I was able to play my favorite songs with them and vibe with the crowd. I was so full of love. I was like, āThis is what it is. Itās about community.ā
These are people Iāve looked up to since like, 2010, and now some of them I can call friends and collaborators. And my mom was there, my aunt, my grandma came. Everything clicked. At that point, nothing mattered ā like the successes I want, or my personal ambitions. For my cousins or other people from L.A. that knew me before to see where Iāve gotten to now, that brought a lot of gratitude.
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Maybe this is an unfair question since you just released your album, but are you working on music right now?
Iāve already been working on new music. Iāve been finding new sounds. With Head Rush, I needed to rap more and incorporate some of my hip-hop roots and R&B roots. Itās an electronic album, but itās not the dance album I wanted to make. Itās more of a album of self -expression, but I put some dance songs in there that are going to be good to perform. But I still have a really crazy electronic dance project I want to make.
Ooh. Tell me more.
Iāve been making dance music again. I mean, I never stopped, but I have a re-love for it again. Iāve been practicing DJing again, and Iāve been finding sounds and new BPMs. Iāve been doing more after parties and underground club parties and testing out records in my DJ sets. Iām getting hungry again about how I relate to dance music. I feel like how I felt when I first fell in love with it again, but in a new way, because I have more skills.
What are the best business decisions that youāve made so far in your career?
I would say firing the team I started off with. I was very loyal in that situation, and I wasnāt necessarily getting the best work. When I came into the music, Iām thinking Iām working for my team, when in reality, Iām Channel Tres. I created Channel Tres. Iām in the studio creating the songs; Iām putting my life on the line going on these tours. So the people around me need to be held to a standard, and we need to be working together. Nobodyās working for anybody. Being able to let a situation go based on business and not being so loyal because you have emotional connections has been a really great thing for me. Because, yes, Iām very loyal. But sometimes that doesnāt mean that that person is doing the best work for you.
How have things shifted for you since you made that decision?
I feel like I have business partners now. We can look at Channel Tres objectively and make the best decisions for what weāre trying to get to. Because I am a musician and a creative, but Iām also well invested into the business of Channel and how we can further that. I know that Iām gonna show up, and Iām going to put the work in, and when I have somebody thatās working with me, and they have the same energy, I can sleep at night with that.
Youāre going on tour with Kaytranada this summer. Whatās that show going to look like?
When the Kaytranada tour offer came it was just like, āWow, this is exactly what I need right now.ā I was excited to go on tour by myself, but then I was like, āNah, Kaytranada and I together on a tour is just going to be the biggest dance party of the year.ā
[My team and I] are so locked in to capitalize on the things Iāve already done. My routine is better. Me and creative partner, weāve gotten better. Iām open to learning, but Iām also coming with fire. Iāve been rehearsing, and Iām honing in on things I havenāt before. Even if itās just a dance move I want to add to my repertoire. Iāve been watching a lot of Broadway shows like The Wiz. Now Iām walking around in the house, but Iām doing it in a Broadway fashion.
There arenāt that many dance artists that incorporate actual dancing into their live show. Why is that a compelling thing for you to do?
Iāve been dancing since I was a kid. In high school I was in ballet. Iām just an art kid. If I wasnāt doing music, Iād probably be doing a play. I have to make things interesting for myself. Also my first tour I ever went on was with Robyn. I got to watch her every night. The way she worked the crowd, you could feel the love and energy. Thereās no mistake that the universe put me on that tour. I want to bring people that type of energy.
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Have you always been so able to freely express yourself, or has it taken a long time to get to this place of just following the impulses?
Naturally as a kid I was like that. But then I did a talent show in seventh grade, and I got booed and made fun of for the rest of the year. It shut me down for a while and I was reserved, and like āIām just gonna be a producer and be in the background.ā
What changed?
Something happened when I was in college. I was a drama minor. I started learning how to act and then kind of felt the energy again. I donāt live where I grew up anymore. Iām not the person that all those people knew anymore.
I experienced house music and dance music and was like, āThereās no time to be precious about this. Iām going get a choreographer. Iām going start taking classes. Iām going to practice and start being the person I want to be. Fuck it. Thereās just no time to be cool. If it falls through the floor, it falls through the floor, but Iām just going to put myself out there, because you only get one life.ā And it worked.
What was the seventh grade talent show performance?
I grew up in church, thatās how I got good at instruments. I grew up with my great grandparents, so I was wearing loafers and slacks. So I just was like, āIām gonna bring this energy to school, and itās gonna be good.ā Me and my friend wrote a gospel song. I sang it. I was dancing, and it was just a sea of laughter.
Thatās tough.
Because it wasnāt cool to be like that. Iām going to school in Compton. Either you play sports, or youāre a gangbanger. That shit wasnāt cool.
Well, if they could see you now.
They do.
Over three years into his solo career, Aaron Frazer is about to embark on his first headlining tour. Frazer ā the drummer and vocalist for soul outfit Durand Jones & The Indications ā released his first solo album Introducingā¦ in January of 2021 when touring options were limited due to COVID-19 restrictions and only managed to fit in a few opening gigs with fellow retro-enthusiasts Black Pumas.Ā
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For his sophomore set Into the Blue (out today via Dead Oceans), Frazer will support the new record across nearly 30 dates and multiple countries ā a challenge heās nervous, but ready to accept. Ā
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āAt this point in peopleās careers, if theyāre the front person up there without an instrument in their hands they have probably been doing it since they were a kid,ā Frazer tells Billboard. āAnd Iāve spent a lot of time on my butt ā¦ behind a drum kit.āĀ
But Frazer isnāt entirely untested as a headliner. His booking team floated the idea of a one-off show at the iconic Troubadour in Los Angeles (the city he now calls home) for February and, within minutes of onsale, it was sold out. The team added two more nights around the city including The Lodge Room and The Paramount in the Boyle Heights neighborhood, both of which also sold out. Ā
āIt moved really quick, which was cool, man,ā says Frazer. āI donāt think anywhere in the world has my back the way L.A. has my back.āĀ
Tonight, heāll celebrate the release of Into the Blue at The Wiltern, which has a larger capacity than his Threepeat run combined, and will formally introduce his loyal audience to the 10-track collection that showcases an even wider range of Frazerās talents. Following his heavily soul-focused debut, Into the Blue takes the listener from 1950s pop of āPerfect StrangersāĀ to the ā90s R&B-styled āFly Away,ā along with boleros-inspired Spanish-language track āDime.ā While the genres sound disparate, Frazer and co-producer Alex Goose manage to ground the albumĀ inĀ Frazerās slick drumming and signature falsetto. Ā
Billboard caught up with Frazer prior to his album release gig to discuss growing into a frontman, his love for hip-hop and how he manages to create cohesion as a āgenre-agnosticā artist.Ā
Into the Blue takes you into even more genres than before with ā90s R&B, 1950s/1960s rockānāroll and, of course, soul. How do you make all these genres sound cohesive on one album?Ā
I am extremely eclectic in my listening, but for some people I did want to avoid the feeling of whiplash. Finding these through-lines that you can weave together to make it a more cohesive listening experience. So, like, Italian film score, some of the spaghetti western stuff. Ennio Morricone was a big influence on this record, and David Axelrod. Both Morricone and Axelrod, you have these big operatic background vocals, but then you also have very tough drums ā very breakbeat-oriented drums. For me, it is keeping the drums tough throughout. Ā
For example, the opening track āThinking of Youā ā I was listening to a lot of Black Ivory from Harlem when I was writing that. The trueĀ period take would be to actually dial back the drums a little bit, but I wanted to push the drums a little bit more forward so that it can also blend with a song like āDimeā which is part Little Beaver and part Kali Uchis. So, yeah, tough drums, the background vocals and I am still me in every context. That is also the tie that binds.Ā
Speaking of āDimeā featuring Cancamusa, what made you want to add Spanish-language vocals to this track?Ā
I was working with a Spanish co-writer. I had this beat that I had made in collaboration with Alex Goose, my co-producer, as well as Robin Hannibal from Rhye. We put this track together and it had this smooth, intimate romance to it and Spanish is such a romantic language ā it literally is a romance language. It felt like the right context for a Spanish-speaking artist. I wrote the lyrics with a writer named Sofia Lafluente, and she brought the Spanish perspective to that. I love being able to shine a spotlight on other artists, whether it is with my production or if itās on my own social media. So much of the soul audience that I have is Spanish-speaking, and I wanted to show respect to the culture and bring a Spanish-speaking artist onto the track.Ā
Your career has been heavily influenced by older soul music. What drew you to that music?Ā
Iāve always felt genre agnostic. Hip-hop for me has always been at the core of my musical DNA. Thatās how I learned soul music in the first place. The first CD I ever owned was Big Willie Style by Will Smith. I wish it was a cooler album. [Laughs] You get what you get when youāre a kid. But on that record there is āJust the Two of Usā which is aĀ Bill Withers interpolation and the āMen in Blackā rap which is Patrice Rushenās āForget Me Nots.ā Ā
From the jump, my introduction to soul music was filtered through hip-hop. Itās always been part of how Iāve understood music. Every hip-hop record draws multiple lines outward to other records across generations. So, hereās a drum break from the ā60s. Hereās a soul sample from the ā70s. Thereās a jazz piano snippet. Thatās the core of my musical philosophy. All these genres and different decades, itās all just one thing.Ā
Despite the depth of genres and instruments you introduce on the album, the tracks never sound cluttered. How do accomplish that?Ā
It definitely takes a lot of work the more elements you put in. A lot of my musical heroes are good at exactly that. Curtis Mayfield builds these huge arrangements but theyāre never like, āWhoa! Okay, I get it.ā Itās never overbearing. Lee Hazlewood is another one that I come back to a lot. Heās making country music but thereās a toughness to it and his arrangements are just cavernous. A lot of it comes down to the part arranging and being able to see when everything fits. Thereās a call and response to create a conversation between the elements. Thatās what it is a lot of the times.Ā
You had a very successful Threepeat run of shows in Los Angeles earlier this year, but now youāre going on a full headlining tour. What can fans expect?Ā
I have a drummer who signed on for this tour who also sings background and plays percussion. So, when Iām on the kit, heāll be on percussion and background vocals and then when I go up front, heāll be on the drums.Ā
So, unlike previous gigs, youāre going to be even more of a frontman. How does that feel?Ā
It feels naked. It feels like a fever dream where you walk on stage without your pants on. It is fun, but it is a challenge. It requires a certain amount of bravery. Iām learning as I go, but Iām looking forward to this opportunity to experiment with abandon. Thatās something I admire so much about Durand as a front person ā his sense of abandon, his freedom on stage.
I also need to figure out who I am as a front person. I donāt come out of the James Brown school of frontmanship. It would be weird if I did. Smokey Robinson had his own kind of stage presence that is more demure. Or Curtis Mayfield, his stage presence was interesting because he held a guitar for a lot of it, which is nice. When I have a guitar in my hand, Iām like, āOkay, Iām safe. Iām good. I have something to do with my limbs.āĀ
OnĀ No One Gets Out Alive, singer-songwriter Maggie Rose is sending a message.
āThe theme of this record is using this finite amount of time well while we have it,ā she says of the recently released project. She was in a reflective mood as she wrote and recorded the dynamic work, having gone through the pandemic, seen some friendships come to their natural conclusion and lost her best friendās dad to cancer. āAll these things that made me feel connected to my community were gone,ā she says.Ā
With its folk-pop-soul, acoustic production and Roseās expressive, smoky vocals, the album recalls works from Bonnie Raitt, Yola and Dusty Springfield.Ā
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Rose says she doesnāt necessarily think about what listeners will learn about her from hearing to the album, but instead what they will learn about themselves: āI think I have a really strong belief in myself and what Iām doing,ā she says. ā[Itās] not as much as I want them to learn about me, but hopefully that they will draw from this.ā
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Produced by Ben Tanner, the album guitaristĀ Sadler Vaden and drummerĀ Chad GambleĀ from Jason Isbellās 400 Unit, keyboardistĀ Peter LevinĀ (Amanda Shires, Gregg Allman), bassistĀ Zac CockrellĀ (Alabama Shakes)Ā and keyboardistĀ Kaitlyn ConnorĀ and guitaristĀ Kyle LewisĀ from Roseās own band. āI believed in thisĀ Field of DreamsĀ idea of build it and they will come,ā she says, of assembling the players.
Rose, who released her first album in 2009, delivered the completed project to Big Loud Records, which didnāt change a thing, including the sequencing.Ā āI am not by any means jaded, but it wasnāt what I was expecting a label on Music Row to deliver for me and fully embrace what I was doing,ā she says. āI think that just is a testament to Big Loud and how progressive and artist forward they are. But all the tentativeness that I had just from having operated around Music Row for so long, that all went away just because I felt like I was really understood. This is the partnership Iāve been waiting for.ā
Rose has played the Grand Ole Opry 106 times, and if mainstream country music gatekeepers have yet to embrace her, she feels totally accepted on that vaunted stage. āI think it speaks to all the different iterations of what the Nashville music scene is,ā she says. āThe fact that the Grand Ole Opry has been around for almost 100 years is probably due to the fact that they are malleable and theyāre trying to adapt, and also be progressive and cast a little bit of a wider net than maybe our friends at country radio are doing. I donāt know that my music is like a bullseye for what you would typically expect to hear at the Grand Ole Opry, but I feel very much part of a community that I want to see go on for another 100 years.ā
Below, Rose picks her five favorite tracks from the new album ā though she admits her top selections can change on any given day ā with explanations in her own words for each pick.
āNo One Gets Out Aliveā
The title by itself: If you just hear āNo one gets out alive,ā it sounds really ominous and dark. When you hear the song in its entirety, itās anything but. Itās really hopeful. Iād had this title just kind of rolling around in my head. I knew the day that I wrote this song with Sunny Sweeney and Natalie Hemby, that most likely I would end up naming the album that ā just because Iād already written some other songs that were about moving on with only what you need and taking advantage of the time that you have. It was me letting go of some emotions that were holding me back creatively and keeping me from living to my full potential and extracting all the joy I can from what weāre doing.
I wanted this really dramatic ending, and I even got kind of scared of it. I said to Ben Tanner, āPeople are going to think Iām being too dramatic or over the top with this.ā And heās like, āYou deserve to step into that theater and drama. Thatās what the song is about.ā Thereās urgency. Itās demanding people live in the present right now.Ā
āMad Loveā (feat. John Paul White)
āMad Loveā and āNo One Gets Out Aliveā are a little like twin songs. Every song has its little counterpart that it belongs with. āMad Loveā has that same kind of cinematic, Tarantino soundtrack feel as āAlive.āĀ It was almost like I was trying to manifest this character that was a little braver than I was at the time. Iām like, this is Beatrix Kiddo inĀ Kill BillĀ and pretending to step into this role. And maybe if I write this story and create this person in this persona, Iāll able to fulfill it and live up to it. I love performing that song. It just gives me like [Lee] Hazelwood/Nancy Sinatra, spaghetti western vibes. And itās also goes with the theme of relationships running their course, and of owning a little bit of that anger and moving on from it.
I love John Paul White. Heās got the haunting melody/ harmony thing down. I was like, āWhat better voice than John Paulās to have on a song like āMad Loveā?ā And I didnāt even tell him what parts to sing. Heās just doing his own thing. It truly just adds this ghostly beauty to the song that I love.Ā
āFake Flowersā
I wrote it with Chuck Harmony and Claude Kelly, who have become really good friends of mine. It was maybe one of the first songs that I had written when I started to realize thereās an album thatās starting to galvanize here. Chuck and Claude areĀ Ā known for writing these huge, diva pop melodies, and have written for Christina Aguilera, Miley Cyrus, Whitney Houston and Britney Spears. We probably made nine efforts,Ā just the three of us, for songs to be contenders for this record and āFake Flowersā was one of them.
I felt like I owned my anger, which is not necessarily something women are always encouraged to do. Itās one that I really look forward to during the live show, because itās so dynamic and it has [these] kind of spooky, intimate verses and then this explosive Motown chorus, where it kind of mimics raging out. I love when music and the sentiment of a song can really marry together so well like that. I have a fondness in thinking about writing that with them and knowing that the three of us really had something special.
āToo Youngā
The song I wrote with Natalie Hemby is about ageism. Natalie and I both were drawing from our similar experiences of moving to Nashville when we were teenagers. Knowing that we were talented, knowing that we have good people or established people around us and things going for us, but we were kind of undermined in thinking that we didnāt know what was best for ourselves and our careers. We wrote the song based on that. Knowing that Iāve been in Nashville for 16 years and was feeling like, āOK, Iām 35 and making another record.āĀ Ā
I wanted to include at the end that youāre never too old to chase your dreams. No one is. I think ageism is a really tough subject to write about, but I feel like Natalie and I did a good job. And it was such an intimate day of us laughing and crying and going down memory lane of different things that we had experienced throughout our careers. There was a lot of beauty to it, too, and anticipation for whatās to come.
We have to push against that stigma within our industry. Itās ridiculous. I love hearing from artists who have lived experiences and who can draw from wisdom. I feel more rooted in what I have to say now than I ever have.
āUnder the Sunā
I love the groove of it. It has this fun Fleetwood Mac feel, but the lyrics are this really strong juxtaposition of sadness and the idea that weāve exhausted every effort to reconcile and itās not going to happen. Thereās a little sarcasm to it as well:Ā I guess thereās nothing out there for us that will bring us back together. I just like when you are grooving along to a song and you think itās like this happy bop and it reveals itself to you as āOh, this is actually pretty introspective and kind of sad.ā Itās one that I really look forward to playing live. The productionās kind of fun and it adds a cool element to collection of songs that makes it really well rounded.