State Champ Radio R&B/Hip-Hop
Page: 403
In May, Baby Keem and Kendrick Lamar reintroduced themselves as “The Hillbillies,” a quirky pair of big flexers (“One-hundred and fifty grams of protein,” Dot raps in the duo’s eponymous single) and even bigger spenders who show off their lavish lifestyles and Lamar’s embossed python square toe 3-inch heel cowboy boots in “The Hillbillies” music video. But the opening shot at L.A.’s Dodger Stadium and goofy cameo from Tyler, the Creator — who confirmed Camp Flog Gnaw would officially return this year for the first time since the pandemic at the end of the clip — foreshadowed Saturday night (Nov. 11), where Lamar and Keem took over Flog Gnaw night one’s headliner slot hillbilly style, of course.
[embedded content]
But Keem started off the evening with a surprise: He debuted the trailer for The Melodic Blue short film, starring him, Amandla Stenberg, Shakira Ja’Nai Paye and more, that will premiere Dec. 5 on Amazon Prime Video. But the lead actor let “Savior – Interlude” play out like a movie’s beginning credits while sitting on the hood of an old-school black car, Lamar lounging in the front seat before shooting the s— with his baby cousin in the black-and-white video that was projected on the stage’s middle screen.
After Lamar officially introduced himself as “the OG Hillbilly” in a Beverly Hillbillies-inspired accent, the bombastic beginning horns of “Family Ties” activated the audience, with fans shaking off any exhaustion they’d sustained throughout the day. Despite the contradictory opulence of his hillbilly aesthetic, Lamar opted for a vintage brown sports jacket, white jersey, ripped jeans and Timberland boots with small square-frame glasses. He’s already claimed the rap throne a long time ago — and he’s certainly looked the part before, from sitting on an actual throne in his 2015 “King Kunta” music video to wearing a crown of [Tiffany & Co. diamond-encrusted] thorns at 2022 Glastonbury Festival. But his current attire represented humble beginnings that can get flipped on their head.
But no amount of money in the world could buy the happiness experienced during the family reunion, which even projected the “Family Ties” cover art — an old photo of Lamar, Keem and their unidentifiable relatives — onto the Camp Stage. Yet during Saturday night’s performance, the passionate festival-goers found themselves in the picture instead. Lamar spoke to his younger fans, some of whom he estimated were 9 or 10-years-old when they first discovered him, and guided them through his biggest hits from his 2012 album good kid, m.A.A.d city, his 2017 album DAMN. and all the essentials in between. If his music raised these kids, then Lamar’s family was far more extensive than any photo could ever show.
But his relationship with Keem is different because it’s inside their DNA. With everyone flinging their arms in the air with reckless abandon, Lamar’s rousing performance of “Alright” was more than just a tough act to follow — the set could’ve very finished right then and there. But in between songs, he pleaded with his cousin (whom he endearingly referred to as “nephew” earlier) to save him from the “s—” music that’s being put out lately. Keem stepped up to the plate and offered a smorgasbord of his own hits, including his 2019 sleeper hit “Orange Soda,” his TikTok-fueled cut “Lost Souls” from his 2021 debut album, The Melodic Blue, and his stirring feature on Kanye West‘s “Praise God” from Donda.
And what better way to finish off their performance than with the live debut of “The Hillbillies” — which earned a 2024 Grammy nomination for best rap performance just the day before the festival — and having Tyler run back his music video cameo. Shuffling across the stage, the festival’s chief curator felt like The Hillbillies’ long-lost cousin, his eccentric mannerisms being on par with those of Lamar and Keem’s as the trio entertained the audience with their shenanigans. Watching two rap titans and one incredibly promising rising star run around the stage felt like watching three kids run around the neighborhood playground. Flog Gnaw is Tyler’s personal playground after all, where imagination is limitless. Fans might’ve usually referred to Keem as “Two-Phone Baby Keem” and Lamar as “Dot,” “Oklama” or any one of his other notorious nicknames, but for that night, they were The Hillbillies.
Check out the full set list for The Hillbillies’ Camp Flog Gnaw headlining set below:
1. “Savior – Interlude”
2. “Family Ties”
3. “N95”
4. “A.D.H.D”
5. “Element”
6. “Hooligan”
7. “Honest”
8. “DNA.”
9. “Swimming Pools (Drank)”
10. “Trademark USA”
11. “Lost Souls”
12. “m.A.A.d city”
13. “Praise God”
14. “Humble”
15. “Orange Soda”
16. “16”
17. “Range Brothers”
18. “Backseat Freestyle”
19. “Bitch, Don’t Kill My Vibe”
20. “Money Trees”
21. “Alright”
22. “Vent”
23. “Savior”
24. “The Hillbillies”
James Fauntleroy says he learned of his and Terrace Martin’s nomination for their first joint collaboration, Nova, when he awoke to 38 text messages on Friday (Nov. 10). “I was worried at first, you know, that it was something bad,” says Fauntleroy about seeing the flurry of messages about the project landing a berth in […]
Coco Jones was 11 years old when she made her first CD. Despite being a novice, the singer/songwriter had dreams of one day winning best new artist at the Grammy Awards. Fourteen years later, Jones, 25, finds herself closer than ever to achieving that feat after notching five Grammy nominations Friday morning (Nov. 10).
“That child-like faith is what kept me going,” Jones relayed to Billboard hours after receiving the news.
This year, Jones morphed into one of music’s most formidable double-threats, thriving in both R&B and acting. Her breathtaking vocals on the Billboard Hot 100 hit “ICU” propelled her to platinum status and granted her a feature alongside pop giant Justin Timberlake for the song’s remix. Aside from “ICU,” Jones’ debut EP, What I Didn’t Tell You, captures every angle of the multi-faceted star and is a lush attempt at solidifying her place in the ever-growing R&B landscape.
“I think this is my first stamp of approval, recognition, and respect on my name,” says the best new artist nominee. “Honestly, I get why it’s now because I wasn’t ready before. As a child actor, I didn’t know myself. So, to me, it all makes sense why it’s right now and why it’s gonna be forever.”
Billboard spoke to Jones about being closer to her Grammy dreams, the beauty behind her mom’s prayers, and why R&B is in an amazing place.
I heard you were on a plane when you found out you were nominated for five Grammy nominations.
Honestly, I had just went to a celebratory dinner with my tour crew because we just finished the last show of the American leg of my tour. So, when I got on that plane, I was knocked out and I kept feeling this vibration like, “Dang. They driving crazy on this plane.” Then I was like, “What is this vibrating?” And of course, I had my Wi-Fi on so I can get text messages. I just saw all these messages and I knew what it was because I knew the nominations were this morning. I literally prayed with my manager [and] prayed with my mom last night. I knew it was something good and I was just shocked. I still had my sleep mask on, one eye off and I was just shocked. I was like, “How long I got on this flight? I wanna call people back.” It was crazy.
Between being nominated for best new artist versus “ICU” going platinum, which feat resonates with you more?
Oh, that’s really tough. That’s really tough. Honestly, let me think about that for a second because I don’t know. They both mean something so different to me. “ICU” is about my personal work. It’s something that I took risks to be vulnerable and say, this is my story, but best new artist is all-encompassing. It’s like you as an artist, how you carry yourself, [and] how you present yourself. It’s you. I’m just gonna have to leave it as inconclusive because I don’t know.
You said last month in an interview with HITS that you wanted to win best new artist. Your manifestation game is pretty strong, since you’re halfway there.
You know what? I really think it’s my mama’s prayers. Ever since I was a kid, she would write them down and I would see them on the wall — the prayers that she typed out for me, my brothers and my sisters. We all had specific prayers that she just stood on my entire life. I think it’s her.
What are your thoughts on R&B receiving a lot of love this year in the field, ranging from SZA to Victoria Monét and, of course, yourself?
Everything fluctuates and I love studying the Billboard charts. I tell y’all that all the time. It’s the world. It’s constantly changing, evolving and repeating. I feel like we just hit that rinse cycle and we’re going back to such a hearty type of music that connects. We need connection right now. We need to connect with people. We need those relationships again. We need songs about love again. That’s what the human race needs. As I’m watching R&B have its resurgence, it’s because we’ve been through a lot as a human race and we need connection again. We need passion. That to me is R&B. It’s vulnerability. It’s the pain. It’s the good. It’s sticking through rough relationships. It’s leaving bad relationships, but it’s very honest and I think that honesty is starting to be desired deeply again. I mean, it’s clear in these nominations that me, Victoria and everyone [else] are really putting R&B back on the map in a different way. I just feel like it’s time again.
[embedded content]
I was worried about you being labeled as just “the girl with the ‘ICU’ song.” With your project What I Didn’t Tell You being nominated as well, what does it mean for the overall effort itself to receive its just due versus the success of the single?
The project in itself was my introductory, renaissance moment. It was my re-introduction of myself into the music industry. The last time they heard me in a big way was when I was 16. So I tried to give them different sides of me. All the capabilities that I could think of that I fit on an EP at that time, I wanted to them to know what they’re getting from me and decide if they like it or not. This is me. I didn’t want them to not just love “ICU,” but to love “Headlines,” where I’m really talking my sh-t. To love “Fallin” and “Plan B” where I’m more sensual. To love “Double Back” where I pay homage to SWV. These are sides of me.
So to me, they’re just giving me my big ups for every side of me, not just the soulful side that I can tap into, but the upbeat [ones] like “Crazy For Me.” To me, it just shows that they see where I’m trying to go and how I’m trying to diversify myself and be in every lane, be in every cadence, be in every tempo, and eat it up my way. They’re giving me my big ups to do that. It’s really motivating for my debut album. This was my freshman EP. I feel like a freshman, you know?
Knowing your journey to get here, do you finally feel vindicated as a singer/songwriter after today’s milestones?
It does feel like that. It kinda feel like [I got] this stamp on my name. As soon as you see it, it’s like, “Oh. Don’t play with her.” Respect her. Open your ears. She’s serious. She’s good. She’s quality. Beyonce has the stamp. She got it like multiple times. I think this is my first stamp of approval, recognition and respect on my name. Honestly, I get why it’s now because I wasn’t ready before. As a child actor, I didn’t know myself. So, to me, it all makes sense why it’s right now and why it’s gonna be forever.
Victoria Monét always had it written on her vision board that she would one day become a Grammy-nominated artist. She probably didn’t foresee that the achievement would also happen simultaneously for her 2-year-old daughter, Hazel.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
After Hazel has shown flashes of brilliance and a keen sense of musicality by making what her mommy describes as “potty songs,” on Friday (Nov. 10), Monét’s daughter became the youngest Grammy nominee in history, after being credited on her mom’s song “Hollywood” alongside Earth, Wind and Fire.
“I’m so proud of her, but she has no idea. She’s just on the phone watching Baby Shark, chilling, while we’re all celebrating,” Monét tells Billboard after earning seven 2024 Grammy nominations of her own. “She’s like, kind of panicking, because she doesn’t know why we’re all screaming. I know I’ll be able to explain it to her when she gets older, and she’ll definitely appreciate it because she’s already into music and is starting to write songs unknowingly. She’s making potty songs and all that kind of stuff. So I’m super excited that this will be something that she has forever. I’m already thinking about her wardrobe for the Grammys.”
Though parenting the youngest Grammy-nominated artist is a humble flex, Monét’s bragging rights result from her own songwriting abilities. Lauded as a premier songwriter thanks in part to Ariana Grande’s smashes “Thank U, Next” and “7 Rings,” Monét became an R&B contender this year when she released her project Jaguar II. Headlined by her buzzy single “On My Mama,” Monét served Black Girl Magic on a song brimming with positive affirmations and swagger. With her Grammy nominations including best new artist and record of the year, Monét is finally becoming the star she always saw in the mirror.
“I just think this a big deal and is something I always wanted people to see for me and not just me seeing it for myself,” she says. “Today is a big win.”
Billboard spoke to Monét about her seven nominations, finally being “seen” for the artist that she is, and the importance of Black women uplifting each other.
What was the initial reaction in the Monét household this morning?
Oh my God! I actually got a hotel because my house is under construction. I just wanted to be able to have my team over, watch it and celebrate. Pending that we didn’t get nominations, we definitely set ourselves up to fall hard because we already have balloons. We already had champagne pulled out and a TV set up. We were on Zoom with my whole PR team and we’re just super excited. We were hoping for the best for sure, but we were gonna be grateful just to be together and drinking. Champagne had our backs today.
Jelly Roll is also nominated for best new artist, and he made a viral speech the other night at the CMAs about receiving his flowers at an older age. Knowing that you’ve been in the music industry as a songwriter first, what does it mean for you to get honored for a category like best new artist at this stage of your career?
I’m really just so happy. It feels like a long time coming. I guess the easiest way to explain it is like when you have a team that’s been underrated and the underdog for a long time, and they finally go to the Super Bowl — it’s that feeling. As a fan, I’m sure people are like, “See! I told you. I been knew!” And then, newcomers are now discovering the strengths and to be the person that’s on the receiving end, it just feels like, oh my God. It’s such a great validation for all the sacrifices, the hard work and the “no’s” that I received. I love even in movies when there’s this great underdog story, when this person keeps finding a way and ends up where they really wanted to be. I feel like this is the road to that with these nominations.
Your friend and executive producer, D’Mile, was also nominated for producer of the year. Have you guys been able to touch base at all about your wins today?
Yes! We FaceTimed immediately as soon as I saw he was nominated for producer of the year. We FaceTimed him and we watched the rest of the ceremony together. His stream was a little bit earlier than mine, funny enough. So he would be celebrating and I’m like, “Wait. What happened?” So I would get it like 30 seconds later and I’m like, “Oh shoot!” We got to share that moment together. We credited my manager for one of the reasons why he’s nominated, because when we got on a call to go over the categories that exist — like what songs to submit to what categories — we were encouraging D’Mile to submit for producer of the year, because it didn’t occur to him that he should. So he did, and he’s actually nominated. I’m just so happy for him, and he’s actually on his way to the hotel now to celebrate.
What I’ve loved about the success of “On My Mama” is the outpouring of support from Black women in the music and entertainment space. What has that feeling been like for you?
I feel like it’s extra special when you see Black women supporting each other publicly, because I also think publicly, we are pitted against each other a lot. In this world it only seems like there’s only room for very few of us, if not one of us — like, only one queen. I feel like super appreciative when we go against that narrative and support each other, like, “No. There’s room for all of us at the top.” I always look at it like songs are three minutes long and there’s so many minutes in a day, why can’t we all be heard?
I really am grateful for all my sisters who show me love loudly. The text messages are appreciated, but it means so much more going against the grain if you’re being supportive online and showing love. I love to see that and wanna keep that alive.
Seven Grammy nominations and six Soul Train Music Awards in 2023 – did you have any of this on your vision board coming into this year?
Oh my God! The Grammys have been on my vision board since I stepped foot into a studio. I always saw Kanye [West] and his 16 Grammys — at the time I remember he had 16 and that was the goal. I remember I said, “I want 16 Grammys. That would be so amazing.” The Grammys are extra special because they’re not just a fan-voted thing — I appreciate fans’ support, of course — `but it’s different when you’re acknowledged by your peers, or people who actually do what you do, because they understand what it takes, the sacrifices that have been made, and the work that has been put in.
The Grammys hit so different. Today I feel so seen and elated. I just wanna celebrate. I told my team that I wish I had a job to quit because I sure would. I would say, “I’m Grammy-nominated. I quit!” [laughs] It feels so nice and it feels so good. I’m so proud of my team. There’s so many people that go into making dreams come true, and I know that this journey hasn’t been one I walked alone, even though music can sometimes makes you feel isolated. But today I feel seen and just so happy for my team that they were able to assist me on this layup.
I love how you’ve used the word “seen” when describing this feat, because to me, you’ve been “seen” and spotlighted from a songwriting standpoint in the past. Do you feel after today that you’ve gotten that extra boost of validation and confidence from an artist perspective?
Oh yeah, I definitely do. I feel there’s so many things that I can relate it to when I look at movies, or when people try to pigeonhole you into one thing and don’t always see you for what you’ve always been. So you just kind of have to move with grace and give people the opportunity to change your mind and keep putting up shots. I think that’s what’s happening today. The narrative has changed. It’s Victoria Monét, the songwriter and you can officially add [Grammy-nominated] artist. [laughs] I just think that’s a big deal and is something I always wanted people to see for me and not just me seeing it for myself. Today is a big win.
Snoop Dogg is a man of his word. After promising to return a verse to T-Pain within the next 48 hours upon receiving it, The Doggfather delivered, and as a result, the “Buy U a Drank” crooner released his new single “That’s How We Ballin.” Explore See latest videos, charts and news See latest videos, […]
Chris Brown just dropped his aptly named 11th studio album 11:11 on Friday, Nov. 10 via Chris Brown Entertainment and RCA Records. As the title suggests, the hip-hop star was originally set to release the album on Saturday (11/11, get it?) — but on Instagram, he announced in a short clip that “I’mma give [the […]
Jack Harlow dropped a new single “Lovin On Me” Friday (Nov. 10) via Generation Now and Atlantic Records. “Thank u for allowing me to reset this year. I moved back to Kentucky and gave u an album I could not have made on the road. Surrounded by family & childhood friends this has been one […]
For fans who have been begging Jack Harlow to release the full song inspired by his viral snippet posted to TikTok, the wait is over. “Lovin on Me,” which samples R&B singer Delbert “Dale” Greer’s 1995 track, “Whatever,” in the hook, is set for release on Friday (Nov. 10), the 25-year-old rapper announced on Instagram. […]
Brent Faiyaz returns to the top five on Billboard’s Top R&B/Hip-Hop Albums chart, as Larger Than Life opens at No. 4 on the list dated Nov. 11. The surprise album, released on Oct. 27 with only one day’s notice, also launches six songs onto the Hot R&B/Hip-Hop Songs chart.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
Larger Than Life, released through ISO Supremacy/UnitedMasters, starts with 42,000 equivalent album units earned in the week ending Nov. 2, according to Luminate. Nearly all of that sum (41,000 units) is from streaming activity, equal to 54.1 million official audio and video streams of the album’s songs. Just under 1,000 units are in traditional album sales, with the remaining balance from track-equivalent album units. (One unit equals the following levels of consumption: one album sale, 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams for a song on the album.)
With Larger Than Life, Brent Faiyaz snags his second top five appearance on Top R&B/Hip-Hop Albums. His prior effort, Wasteland, debuted at No. 1 and led the list for a week in July 2022. The set has remained a steady presence; on the latest chart, it rebounds 41-39 in its 69th week on the list.
Elsewhere, Larger Than Life begins at No. 2 on the Top R&B Albums chart, where it marks Faiyaz’s third time in the top two spots. In addition to Wasteland’s one week in charge, his Fuck the World EP debuted and peaked in the runner-up slot in February 2020. On the all-genre Billboard 200 albums chart, Larger Than Life launches at No. 11.
[embedded content]
As Larger Than Life hits the charts, six of its tracks debut on the Hot R&B/Hip-Hop Songs chart. “Outside All Night,” featuring A$AP Rocky and N3WYRKL, is the top starter, at No. 26, fueled by its status as the most-streamed Larger Than Life cut for the week (5.2 million clicks). In addition to the new arrivals, two previously released tunes – “WY@” and “Moment of Your Life,” featuring Coco Jones – re-enter the list. Here’s a full recap of the singer’s placements on this week’s Hot R&B/Hip-Hop Songs chart:
No. 26, “Outside All Night,” featuring A$AP Rocky & N3WYRKL
No. 31, “Last One Left,” featuring Missy Elliott & Lil Gray
No. 33, “Upset,” featuring Tommy Richman & FELIX
No. 35, “Forever Yours”
No. 36, “Moment of Your Life,” featuring Coco Jones
No. 39, “WY@”
No. 41, “Best Time”
No. 48, “Tim’s Intro”
Kenneth “Babyface” Edmonds once said, “Lyrics can be important, but ultimately what pulls people in on a song is melody and the tracks, and the way music feels.”
Explore
See latest videos, charts and news
See latest videos, charts and news
He was right.
Think back to the last great song or album that immediately grabbed you. Sure, some lyrics may stand out and run constantly in your mind like the SportsCenter news ticker, but chances are it’s the production and melody that burrowed deep into your temporal lobe and made themselves comfortable.
At least that’s what happened when most people listened to Brent Faiyaz’s new full-length project, Larger Than Life, for the first time. While Faiyaz’s usual stoical splendor was on full display, it was the production that caught everyone by surprise. You’d be forgiven for hearing the mixtape’s first track, “Tim’s Intro,” and thinking Timbaland blessed the indie superstar with one of his vintage space funk productions. After all, the Virginia legend is on the track talking and beatboxing and the beat sounds like something he would have given Aaliyah over 20 years ago. Also, his name is in the title. Same goes with track #2, “Last One,” which features Timbo’s longtime collaborator Missy Elliott. But nope. Both beats are courtesy of David Patino, better known as D-Pat.
Born and raised in Houston, D-Pat taught himself how to make beats in college and then lucked into landing a dream placement with a then-ascendant The Weeknd. From there he linked with two like-minded musicians—Faiyaz and producer Atu—and formed the group Sonder. Although the group only dropped one official project, the EP Into back in 2017, D-Pat would help Faiyaz craft his debut album, Sonder Son. And, after being mysteriously absent from Faiyaz’s sophomore effort, D-Pat returned to anchor Larger Than Life—Faiyaz’s first project under his partnership with UnitedMasters and his new ISO Supremacy label. Producing eight of the mixtape’s 12 songs (two tracks are skits), D-Pat laid the foundation of the album’s referential but modern sound.
Billboard caught up with D-Pat right after the mixtape’s release on October 27th to talk about how the two first started working together, his ability to manifest his success, and what it’s like producing for one of your musical idols.
Before we get to the new album, how did you and Brent first start working together?
Well, I started out as a solo beatmaker. There was a movement, I’m not sure if you know, it was called Selection. Which was basically DJs and producers. It was a collective. And I got tapped into that crowd, even though I was still living in Houston. I would come out to LA for some shows sometimes. And I met another producer named Atu, who was also Selection affiliated. I was going to do a show with Atu so I went to [his] place. We were preparing for a DJ set or something and he randomly put on a SoundCloud when Brent’s songs came up. As soon as it started—I think he only had two or three songs out at the time, this was 2015—and we heard his voice, we were like, Whoa, who is this? I’m not saying we were big or anything, but we had some followers. He agreed to meet with us and we just had a couple sessions. The three of us were on the same page sonically and [with] our influences. We weren’t even anticipating making a group or anything as the three of us started Sonder. The chemistry was so strong from the first time, it was inevitable in a way.
I had no idea that’s how Sonder started
It was a SoundCloud algorithm. So shout out to that.
Looking back, how would you describe Sonder?
It’s funny. It was a side project for us all. We were all solo artists, and this was just a one-off project to see what happens. And when it started taking off, it came as a surprise, especially to Atu and I. But what’s funny is Brent knew what it was going to be the whole time. I remember we made the project in Orlando, which is where Atu was living at the time; he was going to school up there. Since I’ve known Brent, he’s the most confident person I’ve ever known in my life. I remember we hadn’t even made a song and he was like, “Yo, we’re about to shift music. We’re about to move the needle; have so many fans. All these people are going to be on our wave.” And I’m like, Okay, can we make one song? We hadn’t even done anything, and he was already saying all these grandiose things that we were going to do. And I can see now, looking back, he was just manifesting it.
And how did you get into producing?
I used to be a skater kid, and then I broke my arm. During that time, I started picking up the guitar. That’s really how it started. My dad had a guitar at the house and he would always play it, but he only knew three chords, and he would play every song to the same three chords, which is hilarious. I love that for him. But, yeah, I taught myself [guitar], which transitioned into me learning piano. I was in a high school band, and then later on when I went to college I had an electric guitar, but I couldn’t really play that in my dorm. So that transitioned into me making beats. I was very inspired by Kanye, 9th Wonder, [J] Dilla, so my sound was chipmunk-pitched up soul samples. I think everyone starts that way [Laughs].
I guess what got me into Beats, too, was I heard [Mos Def and Talib Kweli’s 1998] Black Star album. Those beats just blew me away. I hadn’t really, I guess, appreciated hip-hop until I heard that, which led me to A Tribe Called Quest and all the classic hip-hop stuff. That’s really what drove me to start to make beats.Interesting.
I have the craziest story. I started making beats [in 2011], and that was the year that The Weeknd came out. And I remember being such a big fan of The Weeknd. He was so mysterious—no one could reach out, talk to him, nothing. And, somehow, I started talking to him and I got a placement with him. I had only been making beats for a year. It was insane.
Wait. What? How did you start talking to him?
I used to have a Tumblr, because Tumblr was a thing back then, and I made a beat tape. Somehow, someone in his camp heard it and they reached out to me and they were like, “[Send] 10 beats to the Weeknd.” And I was such a huge fan. I was like, Holy shit! It’s crazy.
Wow. I can’t believe you got connected with The Weekend via Tumblr.
It’s really weird. I manifested it and I don’t know how. But ever since then, it feels like I can just manifest anything I want. It’s really weird.
That is a crazy story.
I remember I just sent him a beat and I sampled “Tell Me Do You Wanna” by Ginuwine. And he was so gassed on me, and it was just so funny because I didn’t know what I was doing back then. And I made that beat on Garage Band, which is even more funny to me.
That was “Remember You” on Wiz Khalifa’s ONIFC album, right?
Yeah. And then that became the single. Then it got Grammy nominated. And I’m like, Bro, I don’t know what I’m doing [Laughs]. I actually had the biggest imposter syndrome ever. The craziest thing is that I sampled Ginuwine. I don’t know why. It’s just crazy. Who knew years later I would be bringing that sound back in a way with Brent?
D-Pat
Listening to the intro on Larger Than Life, I thought, “Wow this is the best Timbo beat I’ve heard in a while.” Did you make that beat to sound like him or was it just a coincidence that it aligned that way?
That’s a good question. I’m just a student of music of all genres, and I’m a chameleon. I can reverse engineer or recreate anything, any genre. Obviously, we’re already fans of that sound. We did a studio lock-in for this album. [It] was basically a studio in a hotel that Brent booked for a week straight. So, it was just wake up, [go to the] studio until ungodly hours, go to sleep, wake up, studio. On the sixth day of this lock-in, Brent was like, “Oh, Timbaland’s coming to the studio and I want him to be talking on an intro.” I was like, okay, cool, let me make a beat. In my head, I’m thinking, What could be cool for Timbaland to talk on? All of us [grew] up listening to Timbo talk his shit, beatboxing, the ad-libs—they’re just so iconic. And so, in my mind, I’m like I want this to be a statement.
Since it’s the opener of the album, I wanted it to hit hard. And the whole approach of this album, which I’m sure people can tell by now, is that Brent wanted it to sound like a mixtape. So that’s why there’s all the producer tags, the air horns; it’s very sample heavy. It’s all intentional. But, yeah, I wanted it to be an impactful intro. If Timbaland’s about to be talking on my beat, I felt like I had to deliver production-wise. He’s such a legend. That moment was the culmination of everything, my whole past: what I told you about sampling Ginuwine how many years prior, the Sonder ep, everything we’ve done. I’m like, okay, Timbaland’s about to come. This is everything I’ve learned. And then I made the beat in 15 minutes. I showed it to Brent and he was like, “Yeah, this is it.” And then Timberland came in and it was the most surreal full-circle moment for Brent and I. We were kind of speechless. As soon as Timbaland heard the beats, he was in awe.
I was wondering what his reaction was to hearing that beat.
It’s funny because it could go either way. He could be like, Wait, they’re just taking it, or whatever. But he had the utmost respect, and he was like, “I honestly feel like I’m 18 again right now in the basement with Ginuwine, Aaliyah, Missy.” You could see it in his eyes that he was just very humbled, appreciative. And I think he’s just a fan of Brent. It almost felt like a passing of the torch moment. He called Brent and he’s like, “You’re like the next Static.” And then he looked at me and he’s like, “This sounds exactly like me.” It was just a surreal moment for not only Brent and I, but for him. It was a mutual thing.
There’s no better compliment than that.
That’s my favorite studio moment of all time. And after he left, the energy of the studio was insane. There were like 50 people in there going crazy.
[embedded content]
In what order were all of the songs made?
The project started last December, I would say. We went to Tulum with no expectations, just for Brent and I to make songs. But that was where the first song was made, which was “Pistachios.” A majority of the project, honestly, was made [during] that one week at lock-in with a couple made throughout the year. But the majority were made in that lock-in. I’ve never seen anything like that. [Brent] was writing one, two songs every day. It was actually insane.
Can you talk about “Best Time”?
Yeah. The whole project is an homage to our musical predecessors in a sense, since it’s a mixtape. Brent really wanted to shine a light on who he’s inspired by, his influences, and stuff we grew up on. It’s just paying our respects to our pioneers, the trailblazers. We actually had sessions with Chad [Hugo]. I know Brent has songs with the Neptunes, but that was my first time meeting Chad. It was earlier this year and I was very appreciative.
So for “Best Time,” is that “Caught Out There”?
Yeah. We used the melody from Kelis’s song “Caught Out There,” and then I just made new drums for it. Kind of like a different bounce, but it’s still Neptunes flavored.
It’s interesting that “Pistachios” was the first song you guys made. Did that set the tone for everything going forward?
I really like pistachios. That might be my favorite [on the album]. It started with Brent wanting to flip the Adina Howard song that we sampled on that, “If We Make Love Tonight.” Maybe from there that kind of subconsciously set the mood of being a sample-heavy album or with a mixtape approach. I think that did set the tone. A lot of the samples were Brent wanting to use them. The Rome sample on “Belong to You,” [for example]. I’ve just been working with Brent for so long, we both know what each other wants. If he sends a song he wants to flip, we both reach the finish point without saying too much.
So what’s next?
Well, right now I’m working on a trilogy of solo projects, just instrumentals and stuff like that, which I had been doing before Sonder. I know Timbaland had his own albums but they always were feature heavy. I thought it’d be interesting to see (should it be here?) just instrumental albums, and that’s stuff I love as well, so I’ve been working on that. And this album release has me inspired to work on full albums for other artists. I really like how Timbaland would produce all of Missy’s album or all of Ginuwine’s, Aaliyah’s, Justin Timberlake’s. Or even the Neptunes would do that, you know? I would really be interested in doing that. I don’t really have any artists in mind, but I would love to help. It doesn’t necessarily mean I have to produce every track, but just help craft and develop. An entire album feels more fulfilling to me than getting one track on [someone’s] next album.
