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From the lounge staple “Volare” to the hip-hop smash “Not Like Us,” here are all the hits that won both of these top prizes.
Timothée Chalamet makes his Billboard album chart debut as the soundtrack to the Bob Dylan biopic, A Complete Unknown, in which Chalamet stars as Dylan, arrives across four charts (dated Feb. 8). The set launches on Soundtracks (No. 17), Indie Store Album Sales (No. 23), Top Current Album Sales (No. 29) and Top Album Sales […]
“It’s like an overnight life change, kind of,” says Robbie Blue. It’s two days after the Grammy Awards, and the 24-year old choreographer still sounds like he’s in disbelief. “It’s really, really special. I guess I just didn’t know how big this was going to be.”
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Blue’s choreography for Doechii’s stunningly inventive, meticulously realized performance of her “Denial Is a River” and “Catfish” made for a moment that most observers considered the best of the night — and perhaps one of the best in Grammy history. Astonishingly, it was the first-ever live performance – and first Grammy appearance, period – for Blue as a choreographer. Among the flood of overwhelmingly positive reactions he’s received since that night are Doechii’s own: Blue says that the two have been “gushing over each other back and forth on text, talking about how epic this performance was.”
For Blue, whose complex, ultra-physical choreography has attracted talented dancer-artists like Tinashe, fka twigs and Tate McRae, Doechii’s Grammy performance was his biggest stage yet, and a long way from where he started out. Growing up in a small town in Ohio “in the middle of nowhere,” he was lucky to train at a “brilliant, epic queer dance studio” situated, as he puts it, “between a prison and like, the largest statue of Jesus in the world.” At 16, Brian Friedman — the “jazz funk legend” known best for his choreography for Britney Spears — took Blue under his wing as an assistant; by age 18, Blue was dancing professionally for major artists.
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Robbie Blue
Desiree Reed
In fact, he technically still was on Grammy night: he’s one of the performers in Lady Gaga’s “Abracadabra” video, which he watched “on a small hotel TV” after wrapping Doechii’s performance (he calls Gaga a bucket list collaborator: “I would die”). But as Blue puts it, choreography is now where he feels most at home. “I feel like through choreography I can truly speak,” he says with a smile. “I think I don’t want to do anything else right now.” He spoke to Billboard about Doechii’s exceptional taste and work ethic, their cast of Doechii “clones,” and precisely how that onstage conveyer belt worked.
It felt like the minute the performance ended the internet was going crazy calling it iconic, one of the great Grammy performances of all time, going down in history. It reminded me of the heyday of Missy Elliott performances. When you were working on it, did you have a sense that it was going to have that kind of impact?
This was my first time ever doing a live performance. It was my first time ever doing the Grammys — even as a dancer, I’d never done the Grammys. So really, I was not expecting it to be this great, to be honest! I knew it was good. I knew that we had ample time to rehearse and create and cultivate and really figure out all of the logistics of the performance. So I knew that every moment had been looked at, and that every moment was iconic and major.
But it wasn’t until we got there that I think I realized, “Holy shit, this is going to be legendary.” But all along [leading up to it], I’m so in it, it’s Doechii’s first Grammys too so she’s so in it and involved, we’re not even thinking “Oh my gosh, this is going to gag everybody.” We are just looking at it like, “Okay, this needs to be changed. This needs to be fixed.” We wanted it to be perfect for the first time out. That’s kind of what drove us to have this performance that was essentially flawless.
What kind of timeline did you have to put it all together?
We actually had a ton of time, four weeks in total of rehearsal. The first week was just me and some dancers, getting an idea of what the choreography was going to be like, what references we’re using, how I’m going to pump myself into this. Then we had three full weeks with the full stage — tech rehearsal, essentially, with conveyors, the lift, the whole stage set-up. The conveyor belts in particular, we got them on the first day. That’s definitely part of the reason that everything looked so amazing, because we had so much time to really look at every single moving aspect.
Robbie Blue with Doechii’s dancers
Eli Raskin
How would you describe your style of movement and your own influences?
I think my calling card has been kind of like, a f–ked-up Fosse. That is what I’m sought after for. The last five months is when I’ve really just started choreographing for major artists, and every time I get an inquiry that’s kind of where they’re coming from — they’re wanting something that feels Fosse, something that feels abstract. And when I talked to Doechii on the first day she said the same thing — she was like, “I want your Fosse element, but I also want it to be hip-hop and grounded and nasty and dirty.”
So that was kind of our jumping off point. Fosse is a master and he is everything to me, so that that is always my inspiration going in, and then I start to fuse that with my background in contemporary dance, modern dance, hip-hop. I try to take what I know of those Fosse references and basically just make it, like, nasty, if that makes sense.
Doechii performs onstage at the 67th GRAMMY Awards held at the Crypto.com Arena on February 2, 2025 in Los Angeles.
Christopher Polk
How did you two first link up? Did Doechii seek you out?
I’ve been a fan forever, but when I started to kind of gain some traction with my choreo [a couple years ago], she followed me on Instagram. I died, dead. So in the back of my head, I was like, maybe one day she’ll be like, I need you for this. And it happened so quickly. The same day that I got a call from my agent saying that Doechii was wondering about me for the Grammys, I was in the studio that night. Like, “Here we go!”
Artists like Doechii, fka twigs, Tinashe, who you’ve worked with — these are girls who can dance. And your choreography seems quite complex and rigorous, like it demands an artist who has significant dance background to begin with.
100%. I think the artists that seek me out are mostly artists that are willing to push themselves and really want to dance and love to dance. For me, the perfect artist is a Doechii, it’s Twigs, it’s Tinashe, it’s Tate [McRae], it’s somebody who really is willing to get in a studio and work really hard. Doechii was in the studio every single day, eight hours, beginning to end dancing — and that’s why she looks so good. She is naturally an amazing dancer, but on top of that she was willing to try all of these things. She was just fearless – and some of that s–t is really hard!
Yeah, like that lift where she’s in a full center split — did she tell you she was capable of doing that?
So I had actually created a vignette of five boys with her in some kind of shape [above], but I did not originally have her up there in the splits. That was her idea. It was our first day, basically, and and she was like, “Can I just try to hop up there in a center split?” And I was like, yeah, totally. Like, you can do that if you want to! [Laughs.] It was that moment of oh, she’s really willing to take it there.
Are there particular collaborative moments in the studio you remember where she had an idea that really inspired the final product?
For sure. When it came down to designating jobs, I really wrangled the dancers, the movement I created from scratch, that was all me. And then when we started working on her track, I started teaching it to her, and that’s when things got really collaborative, when I started to see, really, what she was capable of – like, she doesn’t want to just stand there, she wants to dance, she wants to do all this crazy stuff. She’d be like, “ I feel like I could do a lot more here.” And I’m like, great, let’s do it. Let’s take it there.
So I think some key moments that were super collaborative were that specific straddle lift moment, that center split. And the lift in “Denial,” where she walks up the staircase– that Chicago-esque thing was something she mentioned from the very beginning. She was like, I really want to feel like I am Roxie Hart, you know, walking along these people. I want to have that moment in there. And we all loved that idea. She knows exactly what she wants and she knows exactly the vibe.
What were conversations like with her about casting? The ensemble of dancers with Doechii seemed really intentionally chosen, especially after hearing what Doechii had to say about representation in her acceptance speech.
The concept from the beginning was clones: we wanted it to feel like Doechii was cloned. And so from the beginning of casting, it was, who looks the most like Doechii, who has her complexion, her features, that’s exactly what we’re looking for. It took a second to be that specific with each individual person, and all of us had our hands in it – it would get sent to me, it would get sent to [C Prinz, Doechii’s creative director], it would get sent to Doechii, to make sure that every single person fit that clone narrative. And it ended up just being so beautiful.
Doechii at the 67th GRAMMY Awards held at the Crypto.com Arena on February 2, 2025 in Los Angeles.
Christopher Polk
How and when did the idea of the conveyor belt happen?
By the time I got onto the project, I was already sent a treatment with conveyor belts. I believe the idea for them came straight from her — she wanted the whole stage to be a conveyor belt, constantly be sliding. But I guess the Grammys was like, that’s a hazard? [Laughs.] So she ended up doing three conveyor belts. It did take a lot of time to figure out exactly when they start, stop, how fast they go down to, like, point one seconds, when they reach center….things like that were very meticulous. But the conveyor belts were just fucking fun. Everybody wanted to be on the conveyor belt.
In the short time since the Grammys, have you already seen an uptick in interest in you and your work?
I have never received so much love, I think, in my life, from everybody that’s in my circle, and then also from choreographers that are my mentors, major celebrity choreographers I have looked up to forever who have reached out and commended me on the performance. I don’t even know what to say. I’m like, thank you so much. And when it comes to the work, I’ve never got this much inquiry from artists about upcoming projects, like almost immediately after the performance, that next morning. It’s really wild.
Looking back, because it is my first Grammys — she really did take a chance on me for this one. She kind of pulled me out to do this, and I appreciate her for that.
Besides Gaga, who else is on your artist collaboration wish list? I feel like you’d be great with Charli XCX, too…
I toured with Charli as a dancer when she did Crash — I’ve been a Charli fan since the beginning of time, she will always be on the list! Ashnikko is always on the list. Tate is on the list. FKA is always on the list. Gaga would be like, out of this world. But I love gay icons. I love powerful women artists. So to have done Doechii…. I’m still, like, processing that. [Laughs.] She. Is. The. Girl.
What happens when Caribbean tropical rhythms meet the world of astrology, feminine energy, and spirituality? A colorful supergroup called ASTROPICAL is born.
The new band group created by Bomba Estéreo and Rawayana — two of the most beloved contemporary bands from Colombia and Venezuela, respectively — took the world by surprise just a week ago when it released the track “Me Pasa (Piscis)” while making the announcement that the song was just the first single of an entire project that was soon to come.
On Thursday (Feb. 6), Billboard Español can announce that the 12-track album — one for each zodiac sign — will be released on March 7. Or as Li Saumet from Bomba Estéreo says: “Before Mercury goes retrograde.”
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The LP, also titled ASTROPICAL, includes the songs “Brinca (Acuario),” “Siento (Virgo),” “Otro Nivel (Capricornio),” “Una Noche en Caracas (Tauro),” “Happy (Libra),” “Calentita (Aries),” “El Lobo (Cáncer),” “Llegó El Verano (Sagitario),” “Quién Me Mandó (Géminis)” and “Corazón Adentro (Escorpio)” — in addition to “Me Pasa (Piscis)” and the upcoming single “Fogata (Leo),” to be released on Feb. 20, and which Saumet feels “is going to be one of the most transcendental songs of this album.”
And they have already started scheduling live performances, beginning with the Vive Latino festival in Mexico City, where they are set to play on Sunday, March 16, and the Estéreo Picnic festival in Bogotá, where they will perform on Saturday, March 29.
In an interview with Billboard Español, Saumet and Beto Montenegro from Rawayana talked about zodiac signs, feminine energy, and the musical “child” that was born from their union.
For starters, how did this collaboration come about?
Saumet: I have an intuition, and I visualized. A little voice told me, “The time has come to make the song with Rawayana.” And I woke up and said, “I’m going to call Beto and tell him.” Since my team is close to his team as well, I asked for his phone number. And Beto got me right away and sent a track.
Montenegro: I told her yes, of course, but let’s book two days in the studio instead of one in case the first day doesn’t go so well.
Beto, were you already a fan of Bomba Estéreo?
Montenegro: I have loved what Bomba has done in their career; they are an icon and musically speaking, they are exceptional. And something was happening to me — like I was understanding the power of manifestation and discipline and work. When Li contacted me, it was one of those things. I was watching Bomba Estéreo at a sunset on a beach in Chile, in Pichilemu. We were the four Rawayanas watching Bomba and I told the guys it felt like: “Wow! It seems like this is what’s going to happen now.” And then Li contacts me a year later. We got together in the studio and in two days three songs came out, so from there we agreed: “Let’s make an EP, but let’s go to your house in Santa Marta.”
How was that process, and why is it called Astropical?
Montenegro: Li is so wonderful, full of flowers and light and spirituality. And throughout the process, the presence of the [zodiac] signs was there. It was like: “You are so Aquarius, you are so Capricorn”… her and her friends. So I tell her, “We have to do something that has to do with the stars,” because we had the whole process with this theme. And I tell her, “Honestly, I don’t follow astrology much, but I find it very interesting.” And it didn’t take long for her to say, “How about Astropical?” And I said, “Wow!”
When did all this happen?
Saumet: In January last year. I mean, a year — we literally had a child. In January he impregnated me, or I impregnated him, because from here you don’t know who impregnated who. And now the kid is coming out. And it’s nice because I’m lucky enough to coincide with people with whom I complement with musically and things come out, always trusting also in my intuition, which is accurate in the sense that I can complement something or contribute something nice and organically. I feel it has been incredible to work with Beto and the guys, because their energy is wonderful. He is Aquarius! I mean, my husband is Aquarius. Aquarians are beings that move me a lot because I am Capricorn and I am earth, I am always working and I have many ideas. But he takes those ideas of mine and complements them. When that comes together, it creates a wonderful mix.
Add to that that my birthday (Jan. 18) and his birthday (Jan. 21) are close, so there are the signs. Then the planets align. I mean, it’s all very crazy, even to me as someone who believes in that. I feel that everything that is happening is organic, we haven’t planned it. Of course, there is a general plan, because fortunately, we are very clear about what we want and we have good ideas, but it has been very organic and very nice. It has been like a complement not only vocally, but also lyrically. I feel that the whole image and the whole concept has been complementary and it has been nice because he says he has learned a lot from me, but I have learned a lot from him too.
How do you complement each other?
Saumet: Well, Beto is a millennial, and I am timeless. [Laughs.] I am very open to changes, and he is very aware of what is happening. That was one of the things that attracted me a lot to this new process with Rawa, it inspired me like, wow! Because artists are always reinventing themselves, it’s not something you do or you don’t — you have to do it as an artist. But what people from younger generations have a lot, more and more, is that they reinvent themselves all the time: One day they are one thing or the other o everything at the same time.
They don’t let themselves be typecast…
Saumet: No, they don’t. And that has always caught my attention, because in a way, when I started making music, I did that. I made music that no one else was making and it was weird and people said, “What is this? Or I don’t know, a haircut or something. I mean, very atypical things at that time, because I have always been very atypical and I feel that he has a very good intuition at the work level and he is also very logical, he has like a very masculine energy, which is cool. The Aquarian is always a being who is between heaven and earth, that is, someone who is a bit made to do great things. And well, I am very spiritual, but also very hardworking, very disciplined, so I feel that we complement each other in that: intuition with thought.
What have they learned from each other?
Saumet: I’ve learned to listen, to trust. I’ve learned a lot! From the way he treats work, which I always had at a certain level and now I see from a different perspective, like interacting more. I don’t know how to explain it. Something I’ve seen from Beto in these months that I have been with him, is that he opens up a lot, and I have always opened up a bit but closed, very much respecting my space. I feel that it shouldn’t be like that, that there should be a balance.
I feel that this interaction makes things move forward as well, because it’s always an exchange of energy, and he is very good at that. He takes the leadership and he goes out and he makes it happen. I’m a bit shyer sometimes. When I’m on stage it’s another thing, but in terms of — I don’t want to say the word, lobbying, I’ve learned from him that when you open up, other things open up for you as well.
Montenegro: What happened to me, in the moment I am personally living now, is that the arrival of Li has been like an encounter with spirituality. It’s like a rain of flowers mixed with a strong feminine presence. I mean, I feel super feminine in this process. I have been working with men for many years, and working with a team of girls, where we are debating things or making decisions, I am delighted.
I think God is sending Li to me so I can connect with that, with spirituality. In the creative process, I tell my team: “Here the boss is Li. We are here; let the feminine power take over us.” And I really like that she is a person who has managed to design a life full of colors. She says she is reserved, but she shows a very interesting openness. And I think maybe the mix works because of that. I also think, when you hear her voice, it’s an explosive thing and maybe my voice is a bit sweeter. You can feel that in terms of sound.
Any fun anecdotes from this last year working together?
Montenegro: Well, our birthdays celebration was crazy.
Saumet: Ahhh, it was great! We went to San Sebastián in Puerto Rico, where we were actually doing a listening of the album, and we celebrated every day.
Montenegro: It was like a That was like a fair. We danced… The cultural interaction has been very interesting, but I feel that if we weren’t singers, Li [still] would be my friend. We like similar things. I mean, we celebrated our birthdays and I felt like when parents bring two little kids together to share a birthday, with the same friends. Our friends [ours and hers] are all alike. We are different nationalities, but we are all the same specimen.
Saumet: It was lovely. We did karaoke, salsa lessons. We had a great time.
What can we expect next?
Saumet: A song that I really like, called “Fogata (Leo),” which I feel is going to be one of the most transcendental songs of this album. It comes out on Feb. 20. It also has a beautiful video. I feel that when we made it — I don’t remember if I was on mushrooms or not, I don’t think so. But I remember that it was something magical; that song generated a super nice energy for me.
What is it about?
Montenegro: Well, “Fogata” is like a request of what we want for when we are not around anymore.
And when is the full album due?
Montenegro: March 7th.
Saumet: Before Mercury goes retrograde!
Lil Wayne may not be headlining the Super Bowl LIX Halftime Show, but he’s still making some noise days ahead of the big game. Weezy starred in an ad for Cetaphil on Thursday (Feb. 6). However, it wasn’t his skin routine that left our jaws on the floor as the New Orleans icon seemingly announced […]
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Source: handout / Golden State Entertainment
The NBA All-Star Game is hitting The Bay and in celebration, the Golden State Warriors’ record label Golden State Entertainment is releasing a collection of songs from Bay Area artists including two legends. E-40 and Too $hort dropped a new single, “Had To,” from the upcoming For The Soil, led by Bay Area rapper and producer P-Lo, which comes out on Feb 12.
“‘Had To’ and ‘For the Soil’ represent a journey of passion, creativity, and connection,” said P-Lo in a statement. “It’s been an amazing experience collaborating with E-40 and Too $hort to create this track. Golden State Entertainment and the Warriors are leading the way in bridging music and sports, and I feel honored to have worked on this track with them. Bringing this vision to life with such legends and tying it to a team and culture I deeply admire has been unforgettable.”
Golden State Entertainment is the first record label owned by an NBA team. According to their website, GSE “produces compelling documentaries, drops cutting-edge music, and hosts events and experiences to tell the stories of those who shape and move culture around the globe.”
The label is headed by David Kelly, GSE’s Chief Business Officer and Former Executive Vice President of A&R for Def Jam Recordings and Executive Vice President for Capitol Music Group, No I.D.
Besides E-40 and Too $hort’s “Had To,” For the Soil also features Larry June, Kamaiyah, Saweetie, LaRussell, G-Eazy, thúy and YMTK on a track called “Players Holiday.”
“P-Lo, $hort, and I had to drop this one for The Bay,” said 40 Water in a statement. “‘Had To’ is that real player’s anthem, straight from the soil to the stars, so it’s only right we bring the energy!”
The 2025 NBA All-Star Game goes down February 16, 2025 and it will be the fourth time the Warriors will host the game and the first time since 2000. The game will be televised nationally by TNT for the 23rd and final consecutive year. It will return to NBC (which aired the game for 11 years prior to TNT taking over coverage) next season.
Number_i’s “GOD_i” rules this week’s Billboard Japan Hot 100, dated Feb. 5.
After dropping Jan. 27, the latest single by the three-man group produced by member Yuta Kishi hit No. 1 for downloads, video views, and radio airplay, while coming in at No. 16 for streaming. The track launched with 60,058 downloads, which is second-most for the group following the top first-week figure for “GOAT” (64,321 units). Other songs by the trio have climbed this week due to the new single’s release, with “BON” rising 87-86 and “INZM” 97-91.
Mrs. GREEN APPLE’s “Darling” holds at No. 2. Streams for the new single by the three-man band are up to 102% week-over-week, rising a notch to No. 1, and the track also hits No. 5 for downloads, No. 2 for radio, and No. 3 for video. “Lilac” by the hitmakers follows at No. 3 on the Japan Hot 100, and while points for the former No. 1 song have been on the decline after peaking on the Jan. 15 chart, the song has coasted along in the top 5 for over 9 months since hitting No. 3 on the chart dated Apr. 24 last year.
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Kenshi Yonezu’s “BOW AND ARROW” debuts at No. 4. The theme song for the anime series Medalist was downloaded 29,132 times to hit No. 2 for the metric, while coming in at No. 7 for streaming, No. 8 for radio, and No. 19 for video.
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Hinatazaka46’s “Sotsugyo shashin dake ga shitteiru” bows at No. 6 with 496,191 CDs sold in its first week (No. 1 for the metric), while BEYOOOOONDS’s “Do-Did-Done” also charts for the first time at No. 7 with 99,460 CDs sold (No. 2 for the metric).
Notable chart moves outside the top 10 include Gen Hoshino’s first new single in a year called “Eureka” hitting No. 11 and Creepy Nuts’ “doppelgänger” jumping 56-23. The brand-new girl group HANA, born from the audition project No No Girls, launches at No. 36 with its pre-debut track “Drop.” The track hit No. 6 for downloads and No. 54 for streaming.
The Billboard Japan Hot 100 combines physical and digital sales, audio streams, radio airplay, video views and karaoke data.
See the full Billboard Japan Hot 100 chart, tallying the week from Jan. 27 to Feb. 2, here (https://www.billboard.com/charts/japan-hot-100/). For more on Japanese music and charts, visit Billboard Japan’s English Twitter account (https://twitter.com/BillboardJP_ENG).
From Theodoros Bafaloukos’ classic film Rockers (1978) to Steve McQueen’s more contemporary anthology entry Lovers Rock (2020), the luscious melodies and charming lyrics of lovers rock – a particularly romantic reggae subgenre – have been enrapturing and inspiring artists for decades. Montreal rapper Skiifall (pronounced “skyfall”) is the latest rising star to be bitten by the lovers rock bug, but he’s not wholly unfamiliar with the style.
Hailing from Barrouille in Saint Vincent and the Grenadines, Skiifall moved to Montreal, Canada, with his family as a child, and spent his high school years falling in love with Atlanta rap, moving away from the soca and reggae that soundtracked in his childhood. After a few years of toiling in local bands and honing his chops with partially government-funded studio time, he released his breakthrough debut single, “Ting Tun Up,” in 2020. The song garnered massive buzz in the U.K., leading to a remix with Knucks and increased eyeballs and ears on Skiifall. Though his sound morphed into something closer to hip-hop than soca, Skiifall’s sonic profile never completely abandoned his roots: think of the infectious dancehall pulses on “2 Charming” from his 2023 Woiiyoie Vol. 2 – Intense City EP.
Montreal-based producer and DJ YAMA//SOTO is billed as a co-lead artist on “Ting Tun Up,” and that song kicked off a professional relationship that would soon bring both parties into brand new creative spaces. The idea of making a lovers rock project started with “Yama sharing this playlist with me in 2022,” says Skiifall. “From there, I went to Spotify and learned how to use the algorithm to find new music. Once I found one, I couldn’t stop there. It’s now a 12-hour playlist, filled with lovers rock.”
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In his exploration of lovers rock, the music became more than the background noise he used to disregard it as. He and Yama worked on a few early cuts and “from that first session, we knew that we were going to make a whole project – but we didn’t know exactly what we were going to make,” Skiifall recalls. In less than two weeks, the pair had three songs they worked on with Kenny Beats, a genre-agnostic producer whose penchant for live instrumentation made it easy to wade into the world of lovers rock. Their sessions eventually culminated in Lovers Till I’m Gone: a breezy, earnest seven-song lovers rock set that explores stories of contemporary Vincy love and includes a guest appearance by Grammy-nominated U.K. R&B star Jorja Smith. The full set arrived on Jan. 10, with the Smith-assisted “Her World” garnering over one million Spotify streams in less than a month.
In a candid conversation with Billboard, Skiifall recounts how his producers helped him find the coverage to reimagine lovers rock for the 2020s.
When did your family move to Montreal?
My mom moved away before I did; she got me to come join her about two years after in 2009. I was around eight [years old] at that time.
I used to love this movie called Monster House, and the only way I would imagine overseas was through that lens as a kid. I thought that when I got to Canada it would be autumn all the time, but when I arrived, it was fully snowing – like snow to your knees-type s—t [laughs]. I remember being held by the flight attendants waiting for my mom to come pick me up. It felt like a movie, like a new start.
Did you grow up listening to a lot of Vincy music?
When I was small, yes. Soca music has always been a part of my life, reggae music as well. When I got older and went to high school, it was the first time [I had my own phone] and was able to download music. I automatically gravitated towards rap; I started listening to a lot more American music from that age: Rich Homie Quan, Young Thug, Migos, Travis Scott, K Camp, 2 Chainz, etc
It’s only in 2021 that I tapped back in with reggae. I didn’t like it so much because I felt like everywhere we went, it came on. Parties, barbecues, everywhere – that’s all you’re hearing. I wanted to hear some rap.
When did you start working as Skiifall?
Around 2018. But I really started making music as Shamar, at 12 [years old]. I was a vocalist in a band, and we did summer sessions together where we would write albums and perform in front of a bunch of people. We would [also] have studio sessions, which are offered to you while you’re in school. While I was in high school – from 12 to 18 – there were studios in Montreal that allowed you to record for free. You get free recording and free mixing and mastering, so I’ve been going there for a long time. Most of my early music that came out was made there.
I’m super open to exploring and seeing what I can pull from, whether it’s jazz or classical. I take bits and pieces and merge them all together. For [Lovers Till I’m Gone], it was important to try something like that. Me and Yama made a few good songs and then later showed them to Kenny. That spiraled into us like making “Mystery Man” in our first session in 2022. From there, we knew that we should definitely continue to build it. In our first three sessions, we made “Mystery Man,” “Sandy” and “No More.” I remember walking around L.A. at the time and blasting [“Mystery Man”].
I automatically knew what to do [in those sessions], but I wasn’t sure if I was gonna be able to do justice to some of my faves. Yama, Kenny, Venna and Nami [Ondas] really gave me that boost — whether it’s lyrics or the beat or just saying something that might inspire me. Without them, I wouldn’t be able to make [this project] by myself.
What was it like working with Kenny Beats and bringing him into the reggae world?
I think it just came naturally. If you’re a fan of music, you’re able to make whatever you wanna make. If the right parts are there, then the machine is gonna move. Kenny’s aura is the perfect vibe; he makes you feel at home. If you’re not inspired, he’s not gonna force it. He’s gonna let it be and try again the next day. I’m looking forward to making more music [with him] for sure.
Our managers are friends, so that’s how we met. He’s also a fan of my music as well. The first time we met was at his home in 2022 after he DMed me on Instagram. That’s the day we made “Mystery Man.”
How did you get Jorja Smith on “Her World?”
She’s been a fan of mine ever since I blew up, and I was always a fan of hers as well. Her name kept coming up during the process of figuring out who would be the best person to join forces with and build a great song. Luckily, at the time our managers were friends, so she was down to work on the song. She got the song, and she was pretty down, so I waited for her to send her verse back and the rest was history.
At first, I didn’t like “Her World” because I didn’t think it sat on the same level as “Mystery Man,” but Jorja brought it to that level. She gave it a different flow. She bodied that because I’d never heard anybody do lover’s rock like that; she just broke it down and built it back up.
What are your plans for the visual world of Lovers Till I’m Gone?
I have this film coming that’s supposed to be sort of like Rockers (1978). I worked on it super closely with my director Simon [Davis] and my dad; we went back to Saint Vincent to shoot. It’s about 17 minutes and is meant to showcase the country and the vibe going on there.
I remember speaking to Kenny about not wanting to [recreate] the ‘80s or what people looked like back then. We wanted to keep it [focused on] how it is currently – what people are going through right now and how they’re living and all that. It’s kind of like a documentary but with music.
What should we know about the Montreal music scene right now?
I think you should know nothing because… yeah.
Do you plan to stay in the lover’s rock space a bit longer?
This project was recorded a long time ago, so I already have all the stuff that I’ve been working on ready to go. I’m ready to be out on the road as well. If this lifetime grants me the time, I will definitely keep making reggae. I love rap, so reggae is gonna be occasional. But when it’s done, I have to make sure that it’s done well because I feel like it’s not been treated well in some ways. If I’m going to personally attack it, then I have to do right by it.
Who are your top three favorite lovers’ rock artists?
Billy Boyo, Dennis Brown and Johnny Osbourne. My favorites of all time are two very different people: Sister Nancy and Yellowman. Jah Cure is in there too.
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