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Dreamville Festival concluded its fifth and final outing over the weekend, and Hip-Hop Wired was there to take in all the festivities. As it happens with music festivals of this magnitude, we managed to get a few quick interviews and comments from celebrities while checking out sets in between.Dreamville Festival 2025 was another sold-out event and brought thousands to the city of Raleigh, N.C. Everyone who touched the stage gave it their all, and the fans showed love to all the acts, whether familiar or not. The outpouring of love was bittersweet to witness, and it was beyond clear that this year’s Dreamville Festival meant the world to J. Cole, the Dreamville artists, and all who performed.While backstage, we spoke with several media figures, such as DC Young Fly, who was there representing for his 85 South podcast crew along with the Pour Minds crew, Drea Nicole and Lex P, hosting a joint live broadcast powered by Backwoods. Several Dreamville Festival performers sat down on the couch and gave their perspectives and insights, with DC Young Fly, hilarious as ever, chatting with us briefly as they wrapped.“I really do appreciate Dreamville for having us along with the Pour Minds crew down here and letting us do our thing in their backyard,” DC told us. We then asked DC how seamless the transition from comedy to podcasting was for him.“I give all credit to that man Karlous Miller for seeing something in me and knowing I could carry the weight. It was pretty smooth because I’m used to talking for a living and trying to be funny, so it just came naturally for me,” DC Young Fly shared.We spent significant time in the artist lounge area, coming across the likes of the charming Jordan Howlett, better known as Jordan The Stallion, Dee-1, and Julian Delgado of Something Wrong With The Podcast. Everyone we greeted was charming, affable, and humbled to be recognized by their fans and supporters.In the gallery below, we’ll share a blitz of quick-hit interviews we did with Akia, Kai Ca$h, Niko Brim, Turk of the Hot Boys, and more. We want to thank everyone for being so gracious to us, and best of luck to all in your musical journeys.

1. AKIA

At just 22 years of age, AKIA is currently pushing her latest EP, DUMB, and her dynamic vocal stylings were on full display at Dreamville. In our all-too-brief chat, the charming artist let it be known that she was destined for her current moment.
“The stage and studio, both are where I feel most at home,” AKIA began. “So, no matter how long my set is when I perform, that’s my sh*t.  I just get on that stage or in that booth, and it goes from there.”
The Arkansas native credits her mother for pushing what she referred to as her “God-given gift” of singing. Every Sunday, a young AKIA was asked to sing at her church services, honing her powerful and soulful vocals. 
“There would be times where I didn’t want to sing because my head was hurting but my mom would be like ‘God is gonna fix it but you gonna have to sing’ and I thank her for believing in me,” AKIA explained.
Next up for AKIA as she continues to promote DUMB is another pair of EPs, CRAZY and STUPID, which will complete a trilogy depicting a romantic relationship’s ups and downs. Considering how her single “DND” resonates with her fans, AKIA’s trajectory appears sky-high.
Learn more about AKIA here.

2. Cozz

Cozz, a longtime artist on the Dreamville roster, commanded the stage on Day 2 of the festival with the poise of a 20-year veteran. We caught up with Cody Macc after his crowd-pleasing set and got into his story a bit.
“This being the last Dreamville is kind of a bittersweet thing, but this is our home as artists on the label, and you can tell the fans who come out are supporters of our dreams,” Cozz said.  “But what made this special is that this is the first time I’ve done this festival sober. This is the best version of me, and that’s why the crowd responded the way they did, because they could tell.”
Cozz added that he’s been sober for 11 months and, for what it’s worth, he appeared to be at peace. There was an aura around the Los Angeles rapper that translated well, and whatever troubles he faced before were on the way behind him.
“I haven’t been able to release music much legally since 2021 because I was on the chain with the label, but I’m still Dreamville all day. I have at least three projects in the stash now,” Cozz said. “I’m just trying to determine what to release and when, and I’m in the studio every week, tweaking and recording new music all the time.”
Cozz is currently promoting his new singles “50 Percent” and “God’s Design,” and on the former track, he hints at his sobriety journey and tells listeners that everything from the time before he stopped drinking was just him at half of his power. Cozz shared what the song meant to him with us.
“The track [50 Percent] is really a testament to the growth and the first freestyle I recorded since being sober,” Cozz explained. “I wanted my listeners to know that they were only getting half of me, so imagine how I’m gonna sound with a clear mind.”
In closing, Cozz left a message to anyone who is struggling on their path and what he hopes his fans get from his music. 
“It’s never too late, it ain’t never too late to improve your life but you have to want it,” Cozz said. “It took me a long time to get to this place, but now I’m here and my life feels beautiful.”
Learn more about Cozz here. 

3. Kai Ca$h & Niko Brim

Native New Yorkers Kai Ca$h and Niko Brim kicked off the Dreamville Festival with their high-energy set, and it truly felt like we were witnessing Hip-Hop’s latest young superstars in the making. Backstage, the energetic duo shared the trials of their time as artists and where they intend to go from there.
“I used to take this ability I have lightly, and I kid you not,  I didn’t take it seriously until my teen years,” Kai began. “Truthfully, you do get discouraged because the music business is not easy. Especially when you don’t see things working expeditiously, but I just kept the focus on what’s next.”
Niko Brim, who has been around the music industry all his life via his parents Misa Hylton and Jojo Brim, added, “I’ve seen a lot because of my parents and their belief in my gifts, but having a brother from another like Kai really makes this journey easier than it looks.”
Niko shared that his first track was with Kai, and they recorded the “Stop Being Greedy” freestyle at his home studio. With Kai leading the way as an artist, Niko said that his brother inspired him to keep going.
“When Kai started making moves and considering all I’ve seen in my upbringing, it made sense for me to fall in line and get serious about it too and I thank him for giving me a lane and making this easy for me,” Niko said. 
Kai Ca$h is currently preparing to drop his new album Ca$h Rules, later this month. Niko Brim says he has plenty of music he’s working on and wants everyone to stay tuned.
Learn more about Kai Ca$h here. 
Learn more about Niko Brim here.

4. Lute

Lute is a mainstay of the Dreamville roster and the Charlotte rapper has kept active on the scene despite having last dropped a full-length project, the excellent Gold Mouf, in 2021. We just had a few minutes with Lute yet in that time, we got to learn more about the artist.
“It’s always love to come to Raleigh, and even though I’m a Charlotte boy living two hours west, this is home for me,” Lute said. “I appreciate the Dreamville fans because without them, I wouldn’t be doing any of this right now.”
Despite just being two hours apart, Lute explained the difference between the North Carolina cities to our outsider’s ears.
“In Charlotte, it was tough making it because we didn’t have much of a Hip-Hop scene when I first started, but now it’s starting to change,” Lute shared. “I come from the Blog Era and that’s how I got my first project West1996 pt. 2 out via the blog site,s and it just makes me appreciate how far I came in this game.”
In a reflective moment, Lute shared that his personal journey right now is bigger than music, although he’s clear that putting something out this year is a goal. 
“I’ve been focusing on my mental health journey crazy and I’ve been through a lot. I can be honest and say that things are looking up for me and I won’t keep the fans waiting for too much longer,” Lute said.
Learn more about Lute here. 

5. Omen

Omen is one of the senior members of the Dreamville roster, and the Chicago native’s reserved nature is a total 180 from his passionate presence onstage. We caught up with Omen as he made his way to his trailer to learn what’s next for the rapper and producer.
“It’s always amazing to get in front of all these people who know your music and support the Dreamville movement the way they do. It’s humbling, actually,” Omen began. “This journey might not always go the way you envision, but the chance to express that, it feels special.”
Omen’s lone studio album, Elephant Eyes, isn’t available on DSPs at the moment. However, Omen has kept active over the years, appearing on several Dreamville projects and producing for J. Cole among others. As he prepares his upcoming album, Granny’s House Again, Omen is taking it back to his earlier days in Chicago. 
“I want this album to bring folks into my world, coming up in Chicago and how I used to be at my grandmother’s house just dreaming about what I’m doing currently,” Omen shared. “I put a lot of work into this project, and I think people who liked Elephant Eyes and anything I did over the years will hear something they never heard before from me.”
In closing, we asked Omen how he keeps himself grounded as a public figure who, by all appearances, would rather just play the background. 
“Like you said to me before we spoke, I tend to be introverted and keep to myself and allow my music to do most of my talking,” Omen said. “However, I want my new album and performances to show that I have layers, and maybe I’ll inspire someone along the way because music definitely got me through a lot.”
Learn more about Omen here.

6. TRAP DICKEY

TRAP DICKEY might have been one of our quickest interviews, but also one of our favorites. The South Carolina native’s personality is bigger than life, but what was surprising is how much of a student of Hip-Hop he is.
“People hear my music and the accent and probably think it’s just one thing but I came up freestyling and listening to the greats like Nas, Busta Rhymes, Jay-Z, DMX, you name them, I was on it,” TRAP began. “You gotta go back to the old ways of rapping and tap into that country soul. That comes from being around grandma; it all comes out in the music.”
TRAP DICKEY says that his upcoming album, The Preacher’s Grandson, will showcase him in a light few have heard thus far.
“I been grinding a long time and things are paying off, but I think this album gonna show the fans about how I came up, how I grew in this game, and where I’m going next, ” TRAP said. 
Learn more about TRAP DICKEY here.

7. Turk

Last but not least, Turk, one of the original Hot Boyz members, gave us a few moments of his time and some gems along the way. Turk’s growth as an artist, husband, and solid human being came across in our chat with the New Orleans native.
“I feel so blessed and honored to be on that Dreamville stage with my original family,” Turk began. “People know the story, they know the history and the controversies and what I done been through, but we’re still here and it feels good to be together again.”
He continued, “We had to let that pride and ego stuff go. Brothers fall apart all the time but since we patched it up in November, we out here selling out arenas and shows all over the world, and that feels right.”
Turk said that now, as a married man who has reformed his life, his upcoming musical journey will reflect that growth.
“Seeing as I’ve got my wife in my corner, my new musical outlook is all about growth, development, being a family man, being a leader in my community,” Turk shared. “I want people to know through my story that you can go through some things that’s hard but you ain’t gotta stay there. Look at me, and of course, you keep God in the front, it’s all possible.”
Learn more about Turk here. 

Curren$y has built a nice life for himself.
The New Orleans rapper, credited with popularizing “lifestyle rap,” is back with Harry Fraud to give fans another glimpse into a day in the life. And while he’s often seen as the godfather of that certain style of rap, he sees himself more as someone who helped give it a name.

“I’m not the founder of lifestyle rap,” he tells Billboard over Zoom. “It’s 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 didn’t want to make a certain type of music in order to be successful.”

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Rapping about all the fly s–t you do while smoking the best weed money can buy wasn’t 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. He’s 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 — whether it’s copping Jet Life merch, buying tickets to his live shows, or interacting with his Starting Line Hobbies page.

Trending on Billboard

The 12-track tape, Never Catch Us, boasts features from up and comer Premo Rice, an old friend in Wiz, as well as Griselda’s 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?

I’m outside in the driveway just tending to vehicles. I got the ’64 running. I’m waiting on my homeboy to come do some s—t to the drive shaft for me, I’m about to charge the batteries on the ’77. I’m washing this [Corvette] C8 then I’ma wash this little Japanese BRABUS Benz. I’m 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 s—t.

What’s the difference? It has some different features and s—t?

Gonna pop the hood on this joint and let you see what’s going on, then the case can rest. Nothing say Mercedes, everything all BRABUS’d out. This the only B6 in the in the country. It’s 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 Brunei’s car. He got Princess Diana’s car.

When he wants to sell that Princess Diana whip, you gotta cop that. Imagine getting that s—t just to be able to rap about having Princess Diana’s 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, it’s getting smoked in, there’s gonna be french fries in the seats, because of my son Cruz. Imma live with it, so I’ll give it to somebody who going to put it away. I’ll get it for Harry Fraud. I’ll give it to bro.

This is like your eighth, ninth, 10th project with Harry?

I don’t know. I mean it was Cigarette Boats. And then… Yeah, dude, you right. Eight, nine, 10, 11, it’s somewhere around there. You right. It’s 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 Director’s Cut, and then we came back with another one within two weeks. And this one here, there’s songs that we didn’t put on this one, so we already set up to drop again immediately. So, if everybody responds how we think they will, we’ll just hurry up and just give it to them and strike while the iron’s hot.

Although you still drop pretty consistently, is it fair to say — and maybe it’s your chemistry with Harry Fraud — but that this felt like vintage Spitta?

That’s exactly what happened, bro. You just go into a different mental space when you deal with certain people — 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 Burnie’s. 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 s—t.

So, now every time we line up, I feel the same way. I think that’s why I just bought those cars. That’s the BRABUS Benz out there and that yellow 355 Ferrari. Ferrari mode is always Harry Fraud. Whenever I’m f—kin’ around like that. That’s me and bro hangin’.

I peeped that canary yellow Ferrari. What year is that?

Yeah, yeah. 355 F1. It’s a ’99. I wanted that before I got the blue one. That was the one I always wanted, but my manager and s—t — when I bought my Spider, the first one, they was like, “Nah, you can’t get that old ass Ferrari.” It got the flip up lights and s—t. That’s my era. I grew up on Miami Vice. That’s 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 — I don’t know if he had a mental problem — his character would get lost into being a drug dealer too long, like, “Sonny, you’re still a cop!” They have to wake him up. But every time he’s lost, that motherf—ker 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 — 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, it’s 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 can’t roll them around, man, it’s art. [Laughs.]

Talk about your Starting Line Hobbies Instagram page.

I had been building model cars forever, but when we couldn’t 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 didn’t 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 — or you gotta go to a mom-and-pop hobby shop that’s still holding on.

You also race diecast cars on a track on that page.

It’s 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 don’t open them beforehand, so nobody knows if they’re 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. I’ve been doing that since the pandemic, and that s—t fun as hell.

You be chillin’, 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 didn’t want to leave, because I live in a dangerous city. People always like, “D–n, bro, why you still live here? Why don’t you move? Blah, blah, blah.” But as long as you all you watch how you move around, you’re not gonna make it easy for nobody.

Would you ever get an electric car?

Oh, hell nah. It’s 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. Don’t tell the HOA.

Let’s 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 didn’t 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 would’ve, pulled up on each other. If I would’ve flown out there, it had been two or three days of just bulls—ting and eating cheeseburgers and just smoking and possibly not even pulling up to the studio.

It was better this way and faster this way — because that’s 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 character’s fatality on the first Mortal Kombat together. Like, “Can we do that today instead of going through the beats?” I feel like it’s 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 didn’t matter, because the chemistry was already there.

It’s actually… I like to do that because with him, I’ll do all the records and then I won’t send them. Like, I’ll put a little clip on Instagram, and he’ll realize I use this beat or that beat. I’m kind of unprofessional with bro, because I’ll record nine records and send him two, and then a week or later I’ll 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, “Is it too late? Can we add them?” 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, that’s what I do anyway, if I don’t put somebody else on a song. But I heard all of my homeboys on it in my head. I was like, “Damn bro, go off on this b—ch, but then down the big homie will go off. but damn then dude’ll go off.” So, I was like, “F—k it, just send it to everyone.” And everybody sent their s—t back in a day. Some of them, I sent them done already. Like, “Yo, I put bro on here.”

I’m 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. There’s no way I woulda came back again without putting bro down.

I feel like to a lot of the younger underground, indie guys, you’re the OG now. You help make the blueprint to being independent in the Internet age streaming age.

Motherf—ker’s saw me get all of the s—t that the other motherf—kers have who kind of take the bait or kind of go through the s—t that we don’t want to go through [don’t get to]. You could still have that s—t and stay yourself. And a lot of people would tip they hat to me for — 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. Here’s 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. I’d sign to the Pelicans. I would do that, but that’s 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?

You’re gonna have to trust someone in a game where you can’t trust nobody. So, it’s damned if you do, damned if you don’t. You can handle it all yourself, but then it can only grow to a certain level. You only got two arms, so you’re 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 don’t necessarily want to hear the music. They want to know how many backflips you could do. I show them my Hot Wheel wall. I’m trying to get the first motherf—ker with a million Hot Wheels. They’re like, “Yo, let’s stream it, he needs these dollars.”

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 people’s 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 doesn’t smoke trash. Don’t try to pass her no bum weed. Now you know what you’re dealing with.

What you got planned for 420?

I’m on the road, man, my tour starts two days before 420. You know who you can’t find for 420? Me, Wiz, Devin the Dude, Cypress Hill, Smoke DZA. That’s a blessing to know that if we ever fell off and had to survive on only one check, you know one that’s guaranteed to come every year. [Laughs.]

Even if you’re working, do you have a ritual on 420?

Nah, I would have one if I didn’t smoke regularly, if it wasn’t 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. That’s 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 don’t think people around me understood what we was getting. It was like jumping into a time machine. We not supposed to even get this? That’s what I’m going to do when I get done washing these cars. I know what I’m doing today. Also, as clichéd as it may be, Half Baked was amazing for a lot of reasons. Half Baked was good to me when I didn’t 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 haven’t tried any of those. Are they in dispensaries?

Yeah, in select ones. We’re kind of a boutique brand because we’re 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. You’re from the time, so you was there when Sour Diesel hit. It’s not like it died down, it’s just that other people began to grow and cut corners.

There’s so many different names now, you have to check which strains they were made from.

Absolutely, and that’s what I’m telling you. It’s like the coke or anything else, they stepping on it, they start f—king with the lights to make it look a certain way when it when it reaches a bud and sh—t, and it’s not real. And in a lot of the motherf—kers who do that don’t even smoke. It’s like when Bape got f—ked up and n—as became Bape dealers. They didn’t even wear the s—t, but they knew you wanted it. It’s like Pit Bull puppies, bro. The weed got f—ked up, just like the dogs got f—ked up. They start looking bad, breathing crazy. That’s 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 ’em and we get the best s—t.

There’s 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 he’s selling it to dispensaries.

And the other dude. You knew about Chemdawg [Greg Krzanowski]? Him too.

I’ve been seeing Chemdawg around too, so that makes sense. That’s the sh—t we used to read about in High Times.

Yeah, and they had to sit in the shadows to do interviews. They couldn’t be Berner (founder of Cookies). They wasn’t out at in Berner’s time. They couldn’t just stand in front of the sh—t and say, “I made this,” but they still have enough youth in their bones to grab some cash and see what’s going on in the industry. They’re legends to people like us who keep it 100 and know that these new strains aren’t necessarily new strains, it’s just people not keeping it funky with the genetics. We haven’t been alive long enough for a motherf—ker to have grew some unheard of s—t 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 that’s what they’ll 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. It’s not 50, though. I would know for sure if I had 50 cars. I’m around like 46 cars right now.

And you drive all of them? Do you have a rotation? Like you would do with sneakers.

I’ll 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 — or does she have her own rotation? She got a rotation alright. She gets a new Benz every Christmas. That’s what she gets. She got lowriders in her driveway. She always thinks she’s gonna hit the switches with her leg, so she doesn’t really get in them. But, what I’ll 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 wasn’t selling it, that’s 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 d—k driving that motherf—ker to a f—king Walmart to go Hot Wheel hunting. I put the Wraith at the warehouse, because I look like an a—hole 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 s—t. I don’t 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 s—t. The s—t is tangible. The s—t is not from Mars, you don’t have to go to f—king planet Saturn to get a f—king Lamborghini.

You mentioned that being around Cash Money early on helped you.

Hell yeah. Just seeing motherf—kers 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. It’s like, “Damn, off rap, off making words rhyme, you were able to do this?”

You got Wiz on this project, and people always excited when you guys link up…

Yeah, man, because that’s 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 didn’t 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, it’s good stuff. The work that he’s 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 can’t 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 ain’t going nowhere either is good.

And then it benefits me, because by me reaching out to collaborate — it’s nothing to us, because that’s what we do — but it’s everything to the people who grew up and put themselves together based on the music we was putting out. That’s 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, that’s my man. We done did a gang of work together. We got an album worth of music too. I’m not the founder of lifestyle rap. It’s 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 didn’t want to make a certain type of music in order to be successful. As long as they do it the right way, it’s good with me.

Max B is your favorite rapper…

Yeah, he’s 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 didn’t want other people to be on it too. I didn’t gatekeep Max B’s music. I knew through promoting and telling people about it — they would love it — but what happens with me is, the higher-ups, they borrow from me a lot. I don’t 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. It’s like, “Yo, you didn’t even know Max B, bro.”

So, these people are going to be clamoring to collaborate with him — and you gotta let it happen, because they’re 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 f—k with me.

Do you have a favorite song or tape of his?

“Cake and Eat It Too.” That’s my favorite song. I will listen to that song from here to Houston.

Rome Streetz and Daringer have been Griselda Records’ secret weapons.
Rome, who reps Brooklyn signed to Westside Gunn’s imprint back in July of 2021 and released the impressive album Kiss the Ring. On that project, is a song entitled “Tyson Beckford” where he and the label’s in-house producer Daringer first linked up. They then began working closely together because the Buffalo producer’s Queens studio is a hop, skip, and a jump from Rome’s Brooklyn apartment.

“When I ain’t doing s–t, I go to the studio,” Rome told me in a Billboard conference room. “I was literally there everyday for months just cookin’ up, just vibin’, listening to beats.” Daringer would already be working and he would play Rome beats until one of them caught his attention. “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,” the Griselda beatmaker added.

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What resulted from those sessions is their first collab album Hatton Garden Holdup named after London’s diamond district. Rome spent some of his high school years across the pond and would come back to NYC during school breaks. But it wasn’t until they were out in London doing show’s 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. “It was easy to make that the theme once the movie was part of it,” Daringer said. “I felt like we had to even down to the name.”

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 Rome’s 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, ‘Yo, 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 “Chrome Magnum,” we did “Shake and Bake.” So, we’re like, ‘You know what? Let’s just do it, I’m saying. And because it’s not a Griselda album or something Westside Gunn is spearheading, we just wanted to do more than you would get from a Griselda album.

That’s what it really was: How can we just turn this sh—t up another level? How can we do something that most motherf—kers 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 it’s on to the next sh—t. Who’s actually doing a movie?

Hatton Garden is essentially London’s diamond district, there’s 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, I’m saying, like, once we did the movie. Then we started adding the London sh—t.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 wasn’t for the whole year, I would go to school out there, and when school was done, I’d 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 sh—t that we into. I communicate with them all the time: Facebook, Instagram, WhatsApp. So, I was like, how canI incorporate that into what I’m doing? How can we mix this London sh—t. 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, “Tyson Beckford.”D: 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 wasn’t on it at first. We did that joint, like, ‘This sh—t is hard.’ And what we gonna do? We just kept cooking up. His studio is right by my crib. We kept making stuff and was like, “We got a lot of songs we might is well do an album.”

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 ain’t doing s—t, I go to the studio, I was literally there everyday for months just cookin’ up, just vibin’, 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 cookin’ up?

D: I made the majority of them on the spot. Maybe I’d 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 I’m doing enough things, and then that was when the Shady deal happened. So, luckily I was able to stay in New York, but it’s funny because I didn’t have a studio when we “Tyson Beckford,” 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 wasn’t 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 wasn’t being picky. Daringer is Daringer, so it’s all gonna hit. We’re just gonna make sh—t 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 wasn’t 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 “Yo, this is fire.”

But then he went to the bathroom, and then the engineer was just like, “Yo, play me some s—t.” 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, “What the f—k is that? This is it. This is the one I wanna get on.” I had a second verse on it, so I had to call Daringer, like, “Oh s—t, yo, I need you to f—king send me this s—t right now without the verse on it. Luckily, I had to beat in my phone. That’s 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, “Yo, send it.” 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. That’s how it happened.

I’m 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 I’d 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 s—t was more so just like, you could send me a beat, I’ll cook it up. But this one was more of a challenge. How much can I write on the spot? I hear the beat, I’m 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 don’t matter, you got the glow. I like this process because it’s more of a stream of consciousness. It’s 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, it’s like a challenge. You’re capturing the energy right there. Your creativity dies when you’re too comfortable, you start leaning on s—t. I just feel like I need to challenge myself.D: That was the goal of me getting the studio to begin with. I don’t 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. It’s 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 don’t add that when I’m 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 s—t the right way. I’m 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. I’m not gonna say I don’t, sometimes you have to for continuity. But the reason why I don’t like to punch in is because if I can’t spit the rhyme straight through, I can’t perform it. If I’m punching in every bar, how’s 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 that’s like the norm now, especially with the younger rappers.

R.S: When you see them on stage, they’re not even f—king rapping. They just let the song play, and they just jumping up and down, ad-libing their own vocals, because they can’t even say the sh—t 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, it’s personal space. I’m not sharing it with anybody and no one is going in and out besides me. We probably wouldn’t 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 it’d be better that way. If I wasn’t there, that’ll probably be one he made that he didn’t like. But I heard it and was like, “Whoa, whoa, whoa, whoa, what the f—k is that? Sometimes you might just overthink it and be like, “Nah, this ain’t it.” The producer might want to do something, but then the rapper might hear something that the producer don’t hear. It’s like, “Nah, the rhyme could go crazy, right here. Don’t even add nothing. Keep it just like…” 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 wasn’t like, “Pick this,” because he’s got 1000s of records. I don’t know what the s—t sounds like until he puts it together. Like, I don’t imagine you.

You work with The Alchemist closely too. He be digging obscure s—t. I’d imagine you do the same.

D: I’ve 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 didn’t 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 didn’t run into too many instances where it was, like, we’re using the same sh—t. Yeah, the approach is a little different.

So, how’s 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. He’s 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: It’s crazy, we were bringing up Twitter before. There’s a small underground network that was going on in Buffalo at the time, so if you’re into that scene, we’re 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, “Remember me, I’m about to put out an album. You got any beats?” 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, “Mess Hall Talk.” 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 s—t down. Naturally, when we start pitching the music down, everything gets slower. I didn’t have Ableton and certain things at the time to maintain the tempo. That’s 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 s—t.

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 s—t, surprisingly. The fact that he would travel all the way from Atlanta to Buffalo, he would drive a lot of times too. That’s 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 — probably two albums worth of music. I got sh—t with V Don. I got s—t with Muggs, Futurewave. I did a mixtape with Real Bad Man. I got a lot of sh—t.D: I want to do a compilation featuring a bunch of different artists on it. That’s always been a thing that I wanted to do. I think I’m going to end up doing a couple of them and make a series out of it. I got music with Meyhem still, so we’re 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. I’m really just focusing on me as an artist.

I’m 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. it’s 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.: That’s the one benefit of working with one producer. You’re able to make all the songs flow into each other. I’m not saying you can’t do it with multiple producers, but it’s 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 it’s just cohesive. Sometimes when you have a bunch of different producers on one tape, you can’t really get a lot of the post production. I’m a fan of post production. Sometimes when I get beat and rap over it, when I play the song back, it sounds totally different. It’s easier to make intros and outros. If I’m getting packs all day, it’s 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 should’ve 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 sh—t 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 s—t 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 ’70s that I was hoping to sample, but basically just ended up watching them to catch a vibe. We used something on “Starbvxkz” 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.: They’re not going to let me live if I don’t. That’s the main place that I have to do a show.

It’s 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 she’s opening for The Weeknd.
Right now she’s going over her setlist — Ice Spice and Central Cee’s “Did It First,” Azealia Banks’ “New Bottega” — and other tracks that will, as she says, “tell the whole story of the intertwining between hip-hop and dance.” 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. She’s played every major global festival, and her list of releases is long, varied and well-listened to.

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But it’s 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 Lunoe’s 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.

“I’ve never desired to exist hugely outside of the dance community,” she says. “I think this is a beautiful place. You see things go off, once they cross over into this bigger space, and you can’t always understand what happens out there. But in here, I love this world we’re in.”

Here, Lunoe talks about the album, and why she’s releasing it now.

1. Where are you in the world right now, and what’s the setting like?

I am sitting in my home studio in Sydney, in Australia, and it’s a beautiful day, and I have a really big day today. I’m playing with The Weeknd tonight, so I have all my gear around me and a big list of what to do, and I’ve got to work out what to wear.

2. What’s 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 I’d get bored, and the CD shop was just next door, so I’d 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 TLC‘s “Creep” on CD single, and the way I felt when I first heard, I think it’s like a synth or guitar sound, that opens it. It was just like, “Oh my god.” 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. He’s 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 weren’t 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, “Get a job at a bank.” Every time I called her, I’d go, “Mom, guess what!” She’d go, “You got a job at a bank!” It’d be like, “No mom, not this time.”

4. What’s the first non-gear thing you bought for yourself when you started making money as an artist?

There’s this really cool label called Perks & Mini, which is shortened to P.A.M. I still wear it to this day. It’s the coolest label. It’s 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, “This is a stupid purchase, but I just really want it. It’s so fun.” I still have it to this day! It’s still an action. It was a good purchase. It was an absolute investment.

5.  If you had to recommend one album for someone looking to get into dance music, what would you give them? 

The first thing that popped into my head was Rooty by Basement Jaxx. It’s a good example of a fun record with incredible references and great pop writing that anyone can relate to, and did it’s own thing and didn’t feel formulaic at all.

6. What’s the last song you listened to?

Embarrassingly, my album songs. I was listening through them this morning.

7. You’ve been making music for a long time. Why is now the right time for your first album?

I’m 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 weren’t necessarily built for the sonic world I exist in as a DJ. It took a long time to bridge those.

8. What changed?

It’s felt like dance music has met me in the middle, too. Dance music’s had this incredible arc in the last five years, or the last 15 years for sure. But in the last five years we’ve 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 I’d [made 10 years ago], or that I’ve always loved but couldn’t work out how they belonged in this space. Now it feels like they belong.

So I think it’s 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 I’m 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 that’s given me more space to hone my creativity and my production skills, too.

9. As you’re 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?

It’s been really challenging. I made the decision for my kids and my family. It definitely wasn’t a career decision. It was like, “This is what I need to do for my family, to be closer to my parents as they’re getting older,” all that stuff. The career stuff has just been… I don’t think I had control over it. I speak to that in the album as well. There’s songs that reference how it feels to be on the other side of that and to think, “What did I do? Did I just throw everything away, or a part of myself away?”

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 wasn’t thinking about my career at that time. At the same time, I believe that there’s more to life than just doing everything for your career, and that you have to do what’s right for everyone else.

So I don’t 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 don’t 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 I’m 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, “She’s back playing Coachella! She’s back playing in L.A.!” It seems like every time you come here and do something, it’s a moment. Does that feel true to you?

Oh I hope so. I would love that, because it’s 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. It’s such a big part of me.

I’m 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 it’s 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 that’s what keeps me coming back, and for as long as people will meet me there, I’ll 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?

It’s 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 what’s going on in my career. So she was like, “Oh, yeah, I can put it out for you.”

13. I imagine there are a lot of advantages to working with your best friend, yeah?

Now I can’t imagine working in a different way, because I have so much control over what I do. I’m not waiting for anyone to approve or give permission on what I do. Don’t 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 that’s how we are. We’re sisters. But it feels like there’s no gatekeepers in front of me. Not that I ever felt that. I’ve 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 head’s at. If she says, “this is cool, we should get this out straight away,” I trust her, because she’s 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 don’t expect huge amounts to change after the album. I’m proud of of what I created. I think it’s 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. I’ve 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 can’t always understand what happens out there. But in here, I love this world we’re in.

15. Speaking of crossover stars, you’re 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 artist’s 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 I’m 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 I’ve 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 “Let’s Go Home.” To what extent do they understand what you do?

My daughter describes me as a “DJ -er.” I don’t correct her, because that’s cute. She knows that I have fun clothes. She likes all my different fun clothes that I wear when I’m DJing, and she always asks if she can have them when she’s older… I don’t post them a lot because I just love keeping them kind of separate and that part of me separate. I don’t 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?

I’m 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 there’s 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. I’m 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 it’s harder for me to make moments happen being further away and having kids and family, so I’m proud every time I am able to contribute meaningfully to this genre, whether it’s 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. They’re all big achievements for me now. That’s something I’m proud of — that I’m continuing to do it and trying to balance it all.

19. What’s been the best business decision you’ve 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 that’s kept me moving forward, when one avenue fades away.

20. What’s one piece of advice you’d give your younger self?

Remember to stay focused on what is going outwards. It’s very easy to get caught up on the behind the scenes things, and the little things. But you should always remember to think about what’s actually going out to people and make sure you’re focusing enough energy on what’s going out to people, not just seeing yourself with what’s happening behind the scenes.

It’s been six days and I can’t stop listening to “Groupies & Goofies.”
Sometimes I’ll wake up in the middle of the night and play it on my phone a couple times before going back to sleep. It’s one of the best rap album intros of the year, right up there with the opening tracks of Future & Metro Boomin’s back-to-back collaborative albums. I didn’t know what to expect when Babyface Ray‘s 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 rapper’s most ambitious project to date. He sounds confident, and with confidence comes big swings. Songs like “I Need Some Motivation” and “Delusional” showcase his versatility, while others like “Watching My Page” and “Nights Like This” “Legacy” 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 album’s already spawned six singles with accompanying videos with more on the way. One notable single is “Count Money,” with BossMan Dlow, which samples the iconic pause music from N64’s GoldenEye 007. “We got the original composer from GoldenEye to do the beat over,” he answers when asked how they managed to get the sample cleared. But there’s much more to the story.

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According to one of his A&Rs, Dre Edwards, Babyface Ray’s 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 Ray’s 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 Billboard‘s 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? 

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? 

I think the records I picked were just more along the lines of what you’re 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? 

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 5’9″, 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? 

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? 

“Nights Like This,” “High Off Life,” the intro. I like “Delusional.” I like “Stuck in My Ways.” There’s a few on there.

There’s 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? 

Really, just updating people on what’s going on with me type stuff. And, really on all my projects, it’s always gonna be a song on there that’s kind of like super personal and I get deeper on what’s going on for real.

The way you rap, it’s like you put people on game. Can you credit your style to your father being a preacher? 

Yeah, if you know my dad, it don’t got nothing to do with religion or him being a preacher. That’s just how he comes off, putting us on game and just schoolin’ us and kickin’ 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? 

Hell yeah. All the way up until eighth grade, I went to church every Sunday. I wasn’t really too much a fan of church, though. Nothing against religion, but the whole going to church thing — I would just feel burnt out.

Did your parents give you a hard time for wanting to be a rapper at first? 

They ain’t know. So, it was like — once I got old enough to get out the house and do my own thing, I was just doin’ that on the low. But I wasn’t a bad kid, so they didn’t have to worry about me too much. I was just doing it. They didn’t really find out until I became poppin’. And then people was telling them, and by that time, it was already too late. They couldn’t really have a conversation with me about it.

How do they feel about it now that you’re successful? 

I mean, they ain’t trippin’, they love it, and even my dad, he be talking about it. You know, back then he really didn’t understand, but now he sees what I’ve grown into as a man. He can understand and enjoy my music. He can see where I’m coming from.

When would you say you felt that you was poppin’ as a rapper? When it felt real. 

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? 

I graduated [high school] in 2009, so it had to be around 2010.

That’s around the time you said you started poppin’, so you were already rapping? 

I was already rappin’ throughout high school and all that stuff. When I got out of school, I was still staying with my parents. My pops was like, “You either gonna get a job or you gonna go to school.” So, I ended up choosing college and when that didn’t 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? 

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? 

Not really, head on. I just watch and learn from what he’s doing.

How do you feel about this album compared to your other tapes? 

I feel good. I feel like I got some good records on there. I think people are gonna enjoy it. I’m 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. 

It’s always good to have a record or two for the ladies when you put a project out, because they’re consumers. And, really, I feel like it’s 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.  

That’s 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? 

I had never met him. I was on Live one time just poppin’ 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, ‘Stop trying to talk to me, Bossman Dlow is playing’ 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 “Count Money” and I was like, ‘I think Dlow would sound good on here.’ I sent it to him and he sent it back.

You’re a video game head, right? What games do you play? 

2K, Madden, NCAA. But I had woke up from my sleep, and seen my kids watching some s–t on YouTube, and I ended up downloading this new game called Little Nightmares. S–t fire. It’s like some horror-mystery shit.

You don’t play Grand Theft Auto? 

I used to play Grand Theft Auto RP on my PC, but I stopped playing it. l was gettin’ burnt out on it.

You weren’t in Tee Grizzley’s world? 

Yeah, I was in there. I was the only one with the Ferrari truck in there. That s–t turnt, for real, but I was getting burnt out. 

What else you got planned for this album? You going on tour? 

Yeah, I’m going on tour. I’m announcing the tour on Friday with the album [release]. That’s 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? 

For sure, 100 percent. 

Yeah, because you put out mad s–t already for this album. 

S–t, I was just telling them. I got like seven videos already in, but I’m still trying to get at least two or three more. 

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 York’s Bowery Ballroom in June — 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 Fontaine’s 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, Fontaine’s electric stage presence also galvanized the crowd, as she paced the stage and alternated between rhythm guitar and synth.

English Teacher ‘This Could Be Texas’

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English Teacher’s 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 — which includes covers of Billie Eilish‘s “Birds of a Feather” and LCD Soundsystem‘s “New York I Love You But You’re Bringing Me Down” — 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 band’s success, the origin of its name, its songwriting process and its plans for the future.

You’re a very tight band. Is there a lot of practice involved?

Whiting: Less than you think.

Fontaine: We’ve been on tour for at least the past four or five months, and we’re about to start up again. We don’t really have time to practice because we’re playing the set over and over again.

That’s practice of a sort. I do think that strong live shows are crucial to building a fan base. Lily, you’re riveting onstage. Were you influenced by any other artists in terms of stage presence.

Fontaine: It’s not really a conscious thing to be honest. I’ve been doing it for such a long time — 10 years — 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 band’s 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 we’re English teachers and it’s 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 prevalent— people do speak it everywhere now — 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 you’re in.

How did you all get signed to Island UK?

Fontaine: It was baby steps.

Whiting: Yeah. We’d 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 we’ve written to people who don’t know it as well. That’s 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 don’t 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 wasn’t a sorted-out thing from the start. It just kind of presented itself.

Lily, on “The World’s Biggest Paving Slab,” you sing, “I’m the world’s biggest paving slab, and the world’s smallest celebrity.” Can you give me some context behind that?

Fontaine: I grew up in Colne, Lancashire, and outside the town hall there’s a giant paving slab and that’s one of the town’s local celebrities if you will. The song is about exploring this great display and not necessarily ever leaving the town. It’s a juxtaposition of exploring feelings of grandeur and feelings of self-deprecation.

There also seems to be a little bit of, “Don’t tread on me.”

Fontaine: Yeah, definitely. I think that’s the grandeur element.

Do you and the rest of the band write songs collaboratively?

Fontaine: It’s 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 it’s separate songs. Sometimes it’s all together. It’s different. We like to work like that. So far, it’s been all right.

Whiting: It’s a quite chaotic approach. It’s kind of just throw things together.

Another standout song on the album is “R&B.” On it, you sing, “Despite appearances, I haven’t got the voice for R&B.” Is that subtext about expectations of you as an artist because of your skin color?

Fontaine: The whole song isn’t about that, but part of it is. At the time, I had writer’s 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 there’s 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 dad’s side of the family are from Dominica in the Caribbean and my mum’s just I don’t know, England I guess. They’re both British.

Now that Kamala Harris is a presidential candidate, race issues are at the forefront of the campaign. I don’t 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. It’s so funny because it depends on who you’re with. It depends on how Black you are, how white you are. So, if I’m with my white friends, then I’m the Black one, but if I’m with my Black family I’m the whitest person in the room. Race is fluid in a sense — and what a prick [Trump] is. Sorry.

Are you following the presidential race here?

Whiting: I’m following it closely. Biden dropping out was an extremely good call. I can’t say I knew a crazy amount about Harris before this, but I like following American politics. I’m an avid American politics podcast listener.

Fontaine: I don’t have as much knowledge of [politics] as Lewis because I don’t listen to any podcasts or anything. I’m glad that Biden dropped out. I think that was an obvious decision. We’re 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 “Broken Biscuits” are quite powerful and sound very personal. Is there an autobiographical element to it?

Fontaine: That’s probably the most personal song on the album actually. Yeah, it’s really personal. There’s this John Cooper Clarke poem, “Evidently Chickentown,” that has a lot of repetition, and I wanted to see how many different ways I could use the word “broken.” 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 “Smithereens,” which is a Black Mirror episode and the show’s creators [Charlie Brooker and Annabel Jones] call their company Broke and Bones, which I use in the lyrics. There’s lighthearted stuff in there as well. It’s not all sad. But a lot of it is quite dark actually.

Do you come from a broken home?

Fontaine: That’s me. Yeah, my parents split up when, I don’t know — maybe I was like one. It was when I wasn’t 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: That’s 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 — not classical music. I’m 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 Eilish’s “Birds of a Feather” and LCD Soundsystem’s “New York I Love You But You’re Bringing Me Down.” 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 “Birds of a Feather,” 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 — and my boyfriend said, “You should do this song.” We listened to it together, and I was just crying. I found it really moving, and I was like, “I want to do this.” We put it together in a day, and it felt right.

Are you working on the next album?

Fontaine: Yeah, we’ve got a few songs written actually. It seems like it’s come around so fast. Yeah, I’ve got ideas of the concept for it and everything.

Can you share the concept?

Fontaine: It’s too early to say really, and it’s not entirely up to me. But I don’t think I would want to put out a body of work that didn’t have some kind of unifying aspect to it. It happens naturally when you pull everything together that something connects it. It’s 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. I’m going through a big phase with Octavia Butler, the science fiction writer. I’m obsessed with her and I just finished the second of two of her books. I’ve immediately ordered the next one because I want to read it whilst I’m still in that world.

She’s my focus at the moment. I’ve been watching The Bear. I think it’s amazing. The writing is brilliant, and the acting is so realistic that it’s kind of scary that people can act but also be so human at the same time. I love food as well so it’s a good one.

There’s a moment in Adam Sandler’s new comedy special, Love You, when the comedian picks up an acoustic guitar and very intently and fluently plays “Malagueña,” the classical guitar instrumental by Cuban composer Ernesto Lecuona, before he launches into “Mutterin’,” a comedic song about murmuring negative asides under his breath.  

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In Sandler’s first Netflix special in six years, he finds humor in most things — 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. 

“When I was a kid, my dad had an acoustic guitar, and he would play ‘Malagueña.’ That song means a lot to me,” Sandler tells Billboard.  One day, Sandler — who was already taking guitar lessons while growing up in Manchester, New Hampshire — came upon a Stratocaster in a store window. “I was in bands all through junior high and high school and I said, ‘Oh my God, I would do anything for that guitar.’ My dad said, ‘I’m not just going to get it for you, but if you learn “Malagueña” note for note, I’ll get that guitar for you.’ 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.”

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And he picks up the guitar a lot in Love You, which was directed by Josh Safdie, whom Sandler worked with to great acclaim on the 2019 drama Uncut Gems. Instead of the usual comedy special where the comedian walks out onto a brightly lit stage to applause, Love You opens with a decidedly more frantic, in-your-face tone.  Sandler pulls up to the venue dealing with a shattered windshield, he’s then barraged by autograph seekers, he can’t find a clean hoodie to wear, his coffee order is wrong, and he’s running late. Once he gets on stage in the darkly lit small club — a deliberately disheveled Nocturne Theater in Glendale, California — things aren’t much better: there are technical glitches with the screens, and a stray dog even wanders onto the stage.  

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When Safdie came to him with his slightly skewed vision for the special, Sandler says, “It definitely took me a little while to go ‘yes.’ 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, ‘Let’s try to do something different.’” 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, Safdie’s plan kept Sandler on his toes, and gives the special a jagged edge. “That made it more exciting the days we were shooting,” Sandler says. “I 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.” 

As if there wasn’t enough disruption, an unplanned kerfuffle breaks out between some audience members. “It was kind of early on in the show, and then all of a sudden you felt some hostility in the crowd,” says Sandler, who quickly diffused the situation. “When you’re on the road, it’s going to happen. Things get out of control in the audience and you got to react to it and try to calm things down.”

Just as his 2018 special, 100% Fresh, ended with a sentimental, sweet musical tribute to the late Chris Farley, his friend and former Saturday Night Live castmate, Love You similarly concludes with “Here Comes the Comedy,” 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.  

Sandler apologizes that he has to cut the interview short because he’s in the middle of pre-production on Happy Gilmore 2, his sequel to his 1996 comedy classic. The movie will start shooting in New Jersey next year and Sandler’s 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 April’s Coachella. “He’s gonna come by. He’s a very nice guy,” Sandler said on The Tonight Show on Aug. 20.  “You guys would love him in real life. What a big, handsome guy. Funny and cool as hell. He’s a stud and he’s so funny.”

There’s no word on whether Kelce’s girlfriend, superstar Taylor Swift, will also make a cameo, but Sandler is an unabashed Swiftie. He and his family attended a Los Angeles show on the Eras tour in August 2023, as well as the Los Angeles premiere of Taylor Swift: The Eras Tour concert film. When asked his favorite Swift song, Sandler struggles to pick just one, but it’s clear he has plenty riffling through his head from years of being the ultimate girl dad.

“Everything [my two daughters] throw on I love, but one of the first ones they threw on when they were young was ‘The Best Day,’” he says of Swift’s sentimental track about her mom from 2008’s Fearless. “We connected with that when the kids were young. Every album, we listen the first day it comes out. There’s not a song they don’t know every word to.”

Like Swift, Sandler is no stranger to the Billboard charts. Between tunes like “The Chanukah Song,” The Wedding Singer’s “Grow Old with You” and “The Thanksgiving Song,” as well as his Grammy-nominated comedy albums, Sandler’s landed on 10 different charts, including topping the Comedy Albums chart in 2019 with his 100% Fresh album. It’s something he’s kept an eye on since his early days. 

“When I was young and my albums came out, I worked with Brooks Arthur,” he says, referencing the renowned late music producer whom he collaborated with for nearly 30 years. “He  used to talk to me about his charts and I’d ask him, ‘How are we doing on Billboard?’ I always wanted to know.”  

In a year brimming with highly acclaimed releases from women in Nigerian music, Qing Madi’s voice is hard to ignore, set apart by its youthful resonance. 
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. 

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“One 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,” she tells Billboard via Zoom. “I asked to do a freestyle to the beat and titled it ‘See Finish.’”

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She uploaded it onto TikTok in 2022. “I used to post cover videos on TikTok and some of them would blow up,” Madi says, citing her renditions of “Overloading (OVERDOSE)” by Crayon, Ayra Starr, LADIPOE, Magixx and Boy Spyce and Burna Boy and Ed Sheeran’s “For My Hand” as examples. “I never put out anything original because I wasn’t bold enough and didn’t think people would like it.” 

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But as “See Finish” went viral, Madi says she was swarmed by DMs from different local and international record labels. “My 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,” she says. “The next step was to release an EP with songs I’d worked on.”

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 “Madi’s Medley,” she asserts strength in difficult situations. “Why” explores what it’s like to be your own person amid pressure to conform. Eight months later, Madi released its deluxe version featuring three new songs: the “Vision” remix with Chloe Bailey, the Kizz Daniel-assisted “YBIL (You Believe in Love)” and “Sins For U”. 

Since then, Madi has performed in the U.S. for the first time as part of BNXN’s tour, gained co-signs from Afrobeats superstars Wizkid and Ayra Starr (with the former tapping her for background vocals on his “Diamonds” track last year) and earned a spot on Billboard’s 2024 21 Under 21 List. Still, the 18-year-old singer-songwriter admits she has moments where she can’t believe it’s all real. “Seeing the crowd screaming my songs back to me affects me in a big way,” she says. “I’m really writing songs for the whole world to listen to.”

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 “Afro-delulu.” 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 “American Love,” I sang about traveling around the world, when I’d 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 “Afro-delulu” wasn’t 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. “See Finish” came from a friendship breakup that hurt me, and no one really talks about those, because they’re not supposed to hurt as much as heartbreak from romantic relationships. I’m not a confrontational person – so if I have an issue with someone, I’ll probably make a song about it, because it’s the easiest mode of expression for me.

This year, Afrobeats has been largely defined by women, each with their own distinct sound. What’s it like to be part of a rising crop of artists who decide to prioritize their own vision and go outside of the norm?

It’s beautiful. I’m 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, “This music is too slow, this isn’t what we want.” We’re all growing to the point where everyone has a genre that they truly enjoy, and since they’re more accepting of other kinds of music, we don’t have to subject ourselves to a particular pattern. It also helps that Nigerian music is more global than ever before, so I’m proud to be part of it, being on the inside and getting to watch the growth up close.

There’s 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 “feminine.” I’m not really trying to fit into that ideology, because that’s not who I am. Sometimes people say things like, “You’re a pretty girl! Why not dress more like this?” Or “If you change your style, you’re going to get a lot more [public approval].” 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. I’m 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 don’t focus on what people expect of me, because there’s always going to be criticism. My  music is always from my heart, so if it doesn’t feel genuine to me, it won’t be released. When I put out “See Finish,” people were like, “She’s a one-hit wonder, she’s not going to do it again.” And when “Ole” [featuring BNXN] came out, they said, “You just got lucky with a major feature.” 

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 don’t think about limitations because of the fast pace at which we’re growing. Everything is falling in place and I’m 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 it’ll 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 Angeles’ Silver Lake neighborhood wearing a tank top and intermittently drinking from a large water bottle.

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It’s been a few weeks since the artist released his debut album, Head Rush, 17 tracks that package myriad elements of Tres’ psyche — “my love life, dealing with loss, dealing with the transition when my dreams become reality” — 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.

“Now I’m somebody people will recognize sometimes,” he says. “I’m not just a bedroom musician anymore. I’m doing things. It was like, ‘I 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 it’s also something that can be a headache.”

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This characteristic depth is balanced by a lot of output that’s just purely danceable. This fall, Tres will go on a 15-date tour with Kaytanada for shows he predicts will be “the biggest dance parties of the year.” He’s also currently working on dance music that he’s 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 Lamar’s “Not LIke Us” video, he says “a lot of people came up to me like, ‘Yo man, we love what you’re doing. We’ve gotten into house music.’ I would never think going back home that I’d hear this from people. Stuff like that inspires me.”

Ahead of his performance at HARD Summer in Los Angeles this weekend, Tres talks about what he’s done, what he still wants to achieve and the times he’s just been able to enjoy the moment.

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It’s 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 didn’t want to feed into all the positive feedback and fill my head up with all positive things, thinking I’m 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 won’t affect me as much. Because the more you get into this, you realize it’s just going to be all types of comments coming at you. I always safeguarded myself from that, but this time, I was like, “No, I’m going to engage.”

Then after that two weeks, I stopped. I was like, “Okay, cool. I’m going to go back to therapy, and instead of bi-weekly make it once a week.” [Laughs.] Then I just got really excited about the future. I was like, “Wow, I really put a chapter of my life into 17 songs and released it, and it feels so good.” I’m 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, “This 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.” After it was all said and done, I was like, “Oh, I’m only in competition with me.” I get to do something I’m 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 “ready for big s–t… ready for the big stage type of energy.” Do you feel like you’ve achieved that with this album?

No, I don’t feel like I’ve achieved that. But I feel like I achieved what this album was supposed to achieve for me. I didn’t get to where I want to go with this album, but I’m thankful I did it, because there’s 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 there’s 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 I’m doing, but I’m not in a rush for that. I know those things come with the more work I put in.

Have there been moments when you’ve 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 they’re all going to show up. I was like, “Let me just go for the fans and give this body of work the appreciation it needs.” 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, “This is what it is. It’s about community.”

These are people I’ve 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 — 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 I’ve 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?

I’ve already been working on new music. I’ve been finding new sounds. With Head Rush, I needed to rap more and incorporate some of my hip-hop roots and R&B roots. It’s an electronic album, but it’s not the dance album I wanted to make. It’s 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.

I’ve been making dance music again. I mean, I never stopped, but I have a re-love for it again. I’ve been practicing DJing again, and I’ve been finding sounds and new BPMs. I’ve been doing more after parties and underground club parties and testing out records in my DJ sets. I’m 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 you’ve 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 wasn’t necessarily getting the best work. When I came into the music, I’m thinking I’m working for my team, when in reality, I’m Channel Tres. I created Channel Tres. I’m in the studio creating the songs; I’m 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. Nobody’s 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, I’m very loyal. But sometimes that doesn’t 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 we’re trying to get to. Because I am a musician and a creative, but I’m also well invested into the business of Channel and how we can further that. I know that I’m gonna show up, and I’m going to put the work in, and when I have somebody that’s working with me, and they have the same energy, I can sleep at night with that.

You’re going on tour with Kaytranada this summer. What’s that show going to look like?

When the Kaytranada tour offer came it was just like, “Wow, this is exactly what I need right now.” I was excited to go on tour by myself, but then I was like, “Nah, Kaytranada and I together on a tour is just going to be the biggest dance party of the year.”

[My team and I] are so locked in to capitalize on the things I’ve already done. My routine is better. Me and creative partner, we’ve gotten better. I’m open to learning, but I’m also coming with fire. I’ve been rehearsing, and I’m honing in on things I haven’t before. Even if it’s just a dance move I want to add to my repertoire. I’ve been watching a lot of Broadway shows like The Wiz. Now I’m walking around in the house, but I’m doing it in a Broadway fashion.

There aren’t that many dance artists that incorporate actual dancing into their live show. Why is that a compelling thing for you to do?

I’ve been dancing since I was a kid. In high school I was in ballet. I’m just an art kid. If I wasn’t doing music, I’d 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. There’s 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 “I’m just gonna be a producer and be in the background.”

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 don’t live where I grew up anymore. I’m not the person that all those people knew anymore.

I experienced house music and dance music and was like, “There’s no time to be precious about this. I’m going get a choreographer. I’m going start taking classes. I’m going to practice and start being the person I want to be. Fuck it. There’s just no time to be cool. If it falls through the floor, it falls through the floor, but I’m just going to put myself out there, because you only get one life.” And it worked.

What was the seventh grade talent show performance?

I grew up in church, that’s 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, “I’m gonna bring this energy to school, and it’s gonna be good.” Me and my friend wrote a gospel song. I sang it. I was dancing, and it was just a sea of laughter.

That’s tough.

Because it wasn’t cool to be like that. I’m going to school in Compton. Either you play sports, or you’re a gangbanger. That shit wasn’t 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 – the drummer and vocalist for soul outfit Durand Jones & The Indications – released his first solo album Introducing… 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. 

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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 – a challenge he’s nervous, but ready to accept.  

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“At this point in people’s careers, if they’re the front person up there without an instrument in their hands they have probably been doing it since they were a kid,” Frazer tells Billboard. “And I’ve spent a lot of time on my butt … behind a drum kit.” 

But Frazer isn’t 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.  

“It moved really quick, which was cool, man,” says Frazer. “I don’t think anywhere in the world has my back the way L.A. has my back.” 

Tonight, he’ll 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 Frazer’s talents. Following his heavily soul-focused debut, Into the Blue takes the listener from 1950s pop of “Perfect Strangers” to the ‘90s R&B-styled “Fly Away,” along with boleros-inspired Spanish-language track “Dime.” While the genres sound disparate, Frazer and co-producer Alex Goose manage to ground the album in Frazer’s slick drumming and signature falsetto.  

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 “genre-agnostic” artist. 

Into the Blue takes you into even more genres than before with ‘90s R&B, 1950s/1960s rock’n’roll and, of course, soul. How do you make all these genres sound cohesive on one album? 

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 – very breakbeat-oriented drums. For me, it is keeping the drums tough throughout.  

For example, the opening track “Thinking of You” — I was listening to a lot of Black Ivory from Harlem when I was writing that. The true 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 “Dime” 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. 

Speaking of “Dime” featuring Cancamusa, what made you want to add Spanish-language vocals to this track? 

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 – 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 it’s 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. 

Your career has been heavily influenced by older soul music. What drew you to that music? 

I’ve always felt genre agnostic. Hip-hop for me has always been at the core of my musical DNA. That’s 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 you’re a kid. But on that record there is “Just the Two of Us” which is a Bill Withers interpolation and the “Men in Black” rap which is Patrice Rushen’s “Forget Me Nots.”  

From the jump, my introduction to soul music was filtered through hip-hop. It’s always been part of how I’ve understood music. Every hip-hop record draws multiple lines outward to other records across generations. So, here’s a drum break from the ‘60s. Here’s a soul sample from the ‘70s. There’s a jazz piano snippet. That’s the core of my musical philosophy. All these genres and different decades, it’s all just one thing. 

Despite the depth of genres and instruments you introduce on the album, the tracks never sound cluttered. How do accomplish that? 

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 they’re never like, “Whoa! Okay, I get it.” It’s never overbearing. Lee Hazlewood is another one that I come back to a lot. He’s making country music but there’s 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. There’s a call and response to create a conversation between the elements. That’s what it is a lot of the times. 

You had a very successful Threepeat run of shows in Los Angeles earlier this year, but now you’re going on a full headlining tour. What can fans expect? 

I have a drummer who signed on for this tour who also sings background and plays percussion. So, when I’m on the kit, he’ll be on percussion and background vocals and then when I go up front, he’ll be on the drums. 

So, unlike previous gigs, you’re going to be even more of a frontman. How does that feel? 

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. I’m learning as I go, but I’m looking forward to this opportunity to experiment with abandon. That’s something I admire so much about Durand as a front person – his sense of abandon, his freedom on stage.

I also need to figure out who I am as a front person. I don’t 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, I’m like, “Okay, I’m safe. I’m good. I have something to do with my limbs.”