State Champ Radio R&B/Hip-Hop
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Bone Thugs-N-Harmony famously could not re-assemble earlier this month to appear on comedian John Mulaney’s live Netflix late night talk show Everybody’s Live due to what the host said was a scammer posing at the Cleveland rap crew’s phony manager. Explore Explore See latest videos, charts and news See latest videos, charts and news But […]
Dallas rapper BigXthaPlug is speaking out about his journey to understand autism in a new PSA for the Autism Society of America’s Autism Is campaign during Autism Acceptance Month. “To me, autism is a journey,” he says in a new video in which he talks about his 6-year-old autistic son.
“The reason I say that it is a journey is because I have a six-year-old son who has autism,” he continues about his son, Amar. “There’s nothing wrong with him. He’s a perfectly good child. My journey as far as me having to be gone, be able to make funds for my child and him having autism, so the journey is not an easy journey. You can’t make it a hard journey, because if you make the process hard, it’ll all be hard.”
April is Autism Acceptance Month and BigX’s advocacy for his son comes just a week after Health and Human Services Sec. Robert F. Kennedy Jr., drew widespread criticism for his latest comments about autism, in which he said it “destroys families,” as well as making broad, unscientific claims about autistic people.
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At an April 16 press conference, Kennedy said that many autistic children were “fully functional” and then “regressed… into autism when they were 2 years old. And these are kids who will never pay taxes, they’ll never hold a job, they’ll never play baseball, they’ll never write a poem, they’ll never go out on a date. Many of them will never use a toilet unassisted.”
According to a PBS report, medical experts and people on the autism spectrum told PolitiFact that Kennedy’s comments were off-base, citing a 2023 study written by CDC officials and university researchers that found that one-quarter of people on the autism spectrum have severe limitations, a figure that is at the high end of studies. It noted that the vast majority of people on the spectrum do not have the kinds of severe challenges Kennedy suggested, nor do many of the people in the one-quarter of the autism population cited in the studies.
A HHS spokesperson later clarified that Kennedy was referring to “those that are severely affected by this chronic condition” and that “this was in no way a general characterization.” Kennedy, a vaccine skeptic who for many years has made false claims that vaccines cause autism, recently announced that his department is launching a “a massive testing and research” effort to determine the long-sought cause of autism by September of this year.
According to the BBC, experts called the effort “misguided and unrealistic,” given that autism spectrum disorder is a complex syndrome that has been studied for decades and that promising a definitive answer in six month is unlikely. At press time Kennedy had not revealed any details on the scope and range of the research project or how much funding will be devoted to it at a time when Pres. Trump’s administration is making drastic, wide-ranging cuts to research grants at HHS.
“As a dad to an autistic son, I’ve seen the importance of being understood for who you truly are,” the “Texas” rapper added in a statement. “This is personal for me — it’s about sharing our journey, showing up for my son, and breaking down the walls around autism. It’s about being real, spreading awareness, and making sure no one feels alone in this.”
The Autism Society — the largest and oldest grassroots autism organization in the U.S. — praised BigX (born Xavier Landum) for speaking out to “authentically” combat the “stigma and stereotypes by sharing his own family’s journey. Through his platform, BigXthaPlug is using his voice to reach fans and families who may be navigating similar paths — especially in communities where awareness and access to support can be limited. His participation in the Autism Is campaign encourages conversation, connection, and compassion.”
Speaking to People, BigX also offered some advice for other parents trying to navigate the sometimes confusing journey of helping their children. “You ain’t alone. I know in our communities, sometimes it feels like you gotta keep stuff to yourself, or like nobody’s gonna understand,” he said. “But there is support out there — you just gotta start askin’ questions, lean into the love you got around you, and don’t be afraid to speak up for your kid… Every kid on the spectrum is different, so take time to learn your child. Be patient, be open, and don’t wait for a ‘perfect’ answer — just show up, every day. That’s what matters most.”
BigX just scored his first top-five hit on the Billboard Hot 100 when his Bailey Zimmerman collab “All the Way” ran up to No. 4 on the chart dated April 19.
Watch BigXthaPlug’s video below.
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Most of Gen Z met Destin Conrad, 24, over a decade ago on Vine, where he shared hilarious clips that frequently intersected with music. In one classic clip, for instance, he freestyled “To the- to the- to, to the left!” over a lunch table beat.
Music has remained at the center of the Tampa native’s creative output in the years since, with his debut EP, Colorway, arriving in 2021. The year prior, he wrote several songs on Kehlani’s It Was Good Until It Wasn’t, setting the foundation for his slow-burning ascent in the R&B world. His ethereal mélange of hazy acoustic guitars, explicitly Black and queer lyrics and soulful, heartfelt vocal performance quickly spun early hits out of cuts like “In the Air,” which he recently performed as a surprise guest at the first Brooklyn show of FLO’s Access All Areas Tour.
Across a slew of post-Colorway EPs – including Satin (2022), Submissive (2023) and Submissive 2 (2024) – Conrad continued honing his sound, slowly crafting a singular lane in the contemporary R&B space through his incorporation of left-of-center subjects like the worlds of leather and BDSM. Those projects landed him supporting gigs on tours by alt-R&B stars Kehlani and Syd, as well as his own 2024 headlining tour.
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Over eight years since Vine disappeared, Destin has finally unleashed his debut studio album, Love on Digitial. Released on Friday (April 25) via Above Ground Entertainment and EMPIRE, Love on Digital trades on the futuristic percussion of turn-of-the-century R&B and disarmingly frank lyrics that explore the intricacies of navigating Black queer love in the digital age. Assisted by Lil Nas X, Kehlani, Cari, Teezo Touchdown and serpentwithfeet, Love on Digital is a stellar full-length project – and one that feels extra sweet for fans who have patiently waited for Conrad songs longer than two minutes. The new set is the culmination of all the things Conrad has learned in the years leading up to his formal debut.
“I’m still learning so many important things, but one of the main ones is that whatever I see for myself can be real,” he tells Billboard over a saucy Cava bowl. “There’s also a lot of different jobs and moving parts — making the music is literally just one part. Being onstage is another job, and then I gotta market myself too, there’s so many factors. Learning what I like most and what feels most natural to me has been fun.”
In a candid conversation with Billboard, Destin Conrad talks Love on Digital, performing with FLO, Black queer representation in R&B and defeating imposter syndrome.
How do you feel now that your debut album is finally out in the world?
Happy for it to be out. I’m also excited to move on. I’ve been trying to not make [the pressures of a debut album] real because it’s only real if you make it real. I’ve been reminding myself that I will keep making music after this; this isn’t the end-all be-all, even though it’s my debut. I’m going to grow and make better music.
Do you view Love on Digital as an introduction, a re-introduction or neither?
An introduction. I feel like people haven’t gotten to hear a full-length from me, and that’s been a common theme with my last couple projects. Everybody’s like, “All these songs are so short!” And I’m like, “Okay, well, I’m going to give y’all a bridge and you’re gonna know what a full song sounds like from me.” It also feels like I’m actually putting thought and intention behind a lot of things that we didn’t really do in the other projects for whatever reason. It feels like an album.
When did you officially begin and finish working on the album?
I recorded the first song [“Kissing in Public”] almost two years ago. I’ve had that one for the longest time; I made it in Tulum. I made a lot of the other songs in many different places: London, L.A., New York. I knew that I didn’t want to put “Kissing in Public” on Submissive, but I didn’t know it was going on my album. It didn’t fit [on Submissive], but it’s stood the test of time.
How would you characterize the sound of your debut? Would you say it builds on or moves away from sounds you’ve explored on your EPs?
I describe the sound as digital. It’s R&B through a different lens than what we view it in. Loud. Queer.
How and when did you land on the title?
I don’t know! And that’s the crazy part — I don’t remember [specifically] thinking about it. I called it Love on Digital because it’s a nod to the digital era of R&B. I feel like R&B used to be very instrument-heavy and then there was a shift where we got new software, and it became a different sound and style. Over time, [the title] gained a new definition and reason. It’s also me thinking about love from a long-distance standpoint and using the Internet to stay connected to people. Over the past year or two, the title has been in my ether.
What frustrates you most about navigating love in the digital age?
I hate being on the phone for hours talking on FaceTime. I really envy the people that can just sit and talk to their boo. That’s how I know I really like you – if I’m sitting on FaceTime with you. And even then, I don’t like it! I really enjoy being present and I love doing things with my time physically. One of my love languages is definitely physical touch. I need whoever my partner is to be there. I’m not equipped enough to do long-distance.
Have your feelings of imposter syndrome subsided now that you’ve made it to your debut album?
1000%. I still experience imposter syndrome, but not to that magnitude. Going on tour watered a lot of that down for me, seeing real people and real faces. [Those feelings] were there because I dropped Colorway during the pandemic, so I didn’t really get to do a full, traditional rollout.
After that, I toured Submissive, and I opened for Syd — that was my first time singing my songs anywhere. And then I opened for Kehlani, which was also really tight. But it’s a different feeling doing my own headlining shows. My fans have helped me navigate my imposter syndrome.
You were giving Main Pop Boy energy in the “Kissing in Public” video, hitting choreography and all. What was that video shoot like? Do you want to dance more in the future?
I definitely want to dance more! It was so fun shooting that video. [It was directed by] Zev York, who I’ve shot a couple of videos with, and my friend Kassidy Bright choreographed it, and she’s a joy to work with. I’m excited to keep pushing that and seeing what it looks like when we add movement to the visuals.
“Mr. E” is so witty. What was your songwriting process like for this album?
I wrote all of Colorway, and then I slowly started working with more writers. With [2022’s] Satin, it was me, my best friend Ambré, Jean Deaux, and one of my friends Astyn [Turr]. We went to Joshua Tree and made a good chunk of Satin in a week.
I’ve been working with a lot of different writers that are established in their field; I feel like that’s what’s different with this album. I worked with Starrah on “P.B.S.,” which was really different for me. Mack Keane also was a huge collaborator for this album. I wanted to challenge myself and push it in a different direction.
When you bring new cooks into the kitchen, how do you still keep the essence of Destin at the center?
I’m just not going to lie on the song. If it’s not something I genuinely resonate with, I’m not going to sing it.
Conceptually, you pull from a lot of really cool places, from leather and BDSM to the evolution of technology. Where do you get the confidence to create R&B through these lenses?
Fear is definitely still a thought; it’s not a non-factor to me. I definitely think about things all the time. I kind of just throw myself into s—t and see what sticks. I’m also very gay and that’s a factor. I feel like there’s not a lot of people like me in the R&B space, so I want to poke at people a little bit and not be mute or minimize myself – and do it in a way that’s still tasteful and authentic to me.
You and Lil Nas X reunited again on “P.B.S.” What does it mean to you to be able to connect with another young, black gay music star and have the work penetrate the mainstream?
I think what he’s doing is so bold that I wanted to bring it into my world a little bit. And he’s actually my friend! That was something I was very adamant about: working with people I’m actually cool with in real life and not just getting people on my album because they’re popping. I was like, “Who genuinely inspires me?” And [Lil Nas X] was definitely on that list. I sent him “P.B.S.” and he was like, “I’m going to do a verse tomorrow and send it.”
Who were some artists you felt a connection to growing up?
Brandy is at the top of my list when it comes to any form of inspiration in music. My mom loved Luther Vandross, and I grew up listening to a lot of him. Michael Jackson’s fearlessness. Stevie Wonder’s approach. I’m a melting pot of inspiration.
“Soft Side” is so intimate and Black. Talk to me about linking with serpentwithfeet for that one.
Serpent is also a huge inspiration. He’s somebody I’ve wanted to work with since I first heard his music. He’s a Cancer like me, and he’s so well-spoken and articulate. He asked me what my perspective was from my verse, and I feel like a lot of artists don’t really ask me what I was thinking when I made the song. “Soft Side” is definitely one of my favorites.
You popped out for FLO’s first Brooklyn show on their ‘Access All Areas’ tour earlier this week. How was that?
I love FLO! I’ve been a fan of them since they popped out. It’s so amazing to see them blossom and become such amazing performers. The last time I saw them was in D.C., I had a college show and they had a show the same night. I went to go pull up on them and it was a really small, intimate show. Going to see them play last night in front of thousands of people was so inspiring. They’re definitely at the forefront of the argument against R&B being dead, and I love that.
What does it feel like as a rising R&B artist to constantly hear people say that the genre is dead?
I never hear anybody say rap is dead! I just feel like people aren’t digging. They want it to come to them. Sometimes I just go on my Apple Music, and I literally just search for music. I feel like people don’t want to do that anymore. I feel like people just want it to be handed to them on a silver platter. I’m not going to lie, I like some artists, but I don’t love every song by them. I find what I do like and keep it pushing, it’s all subjective. But for you to say the whole genre is dead, that’s a stretch.
Can we expect a Love on Digital tour anytime soon?
Very soon! We’re actually working on it right now.
The Super Slimey duo has reunited. Young Thug is back with his first single since being released from jail in October as the Future-assisted “Money on Money” arrived on Friday (April 25). Explore See latest videos, charts and news See latest videos, charts and news “Money on Money” is slated to appear on Thugger’s upcoming […]
Megan Thee Stallion season has returned with plenty of time to heat up before the summer. The Houston Hottie has kicked off her next era with the arrival of “Whenever” on Friday (April 25). Explore Explore See latest videos, charts and news See latest videos, charts and news The fiery track serves as Meg’s first […]
As Ye (formerly Kanye West) continues to spend time in Spain, he’s still finding time to fire away on his X account. West once again went after Kendrick Lamar and Tyler, the Creator, whom he deemed to be “overrated” and to be on an “equal” playing field when it comes to their rapping ability. “Name […]
The Weeknd’s film debut as a lead actor is less than a month away. With Hurry Up Tomorrow set to hit theaters nationwide on May 16, Abel’s press run is underway as he opened up about the movie alongside director Trey Shults and co-star Jenna Ortega to Fandango on Thursday (April 24).
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While the Hurry Up Tomorrow album arrived in February ahead of the film, the Toronto singer explained that the film actually came before the LP took shape.
“The film came first. The album didn’t exist. We were scoring and writing music to picture,” he said. “The idea came from a real-life incident that had happened and I always saw it as a film. The film came first, then the music.”
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Shults revealed that The Weeknd came to him with an idea for the film, which they bonded over, and the duo continued to “swap traumas” and built out the universe for a potential movie.
“We’re both cinephiles that have this like-minded taste,” Shults added. “First, it started just, like, Abel had this idea, and we were both connecting over that. And then [we] got creative juju and super inspired and excited and bouncing back and forth.
He continued: “And then, naturally, influences started filtering in. You know, it ranged from Persona to Raging Bull to Purple Rain to Audition and you name it.”
The film finds The Weeknd playing a fictionalized version of himself as a pop star. Jenna Ortega (Annie) plays his love interest and Barry Keoghan also stars in the film as Abel tests the depths of his soul throughout the psychotic journey.
With the album serving as a companion piece, The Weeknd released another visual from Hurry Up Tomorrow for “I Can’t Wait to Get There,” which pulls scenes from the movie and is essentially a preview to the flick, enticing fans to buy tickets.
Fans in select cities will have the exclusive opportunity to screen the film early on May 14, prior to Hurry Up Tomorrow coming to theaters on May 16.
Prior to the film’s arrival, The Weeknd will kick off his After Hours Til Dawn Tour on May 9 in Phoenix. The trek will invade stadiums across North America this summer with Playboi Carti and Mike Dean serving as the tour’s special guests.
Check out The Weeknd’s interview with Ortega and Shults as well as his new video for “I Can’t Wait to Get There” below:
Slim Thug has reacted to Megan Thee Stallion turning down his romantic advances, and says he’s not giving up that easily. Slim Thug hopped on Instagram Live Wednesday (April 23) to once again share his thoughts on Megan Thee Stallion, who turned down his previous romantic advances during her performance at Coachella last weekend. Slim […]
Cornell University has canceled Kehlani’s upcoming performance, which the singer was slated to perform on campus at the university’s annual Slope Day on May 7. According to The New York Times, Cornell president Michael I. Kotlikoff emailed students and faculty on Wednesday (April 23) to make his decision to cancel Kehlani’s performance official. Explore Explore […]
The toxicity of contemporary male R&B has been a talking point for nearly a decade, and Texas-bred R&B crooner Dende is ready to take action and bring “yearning” back to the forefront.
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“I don’t feel like a lot of people yearn anymore,” he tells Billboard days after releasing his I Am, Because You Are… EP. “There’s a certain amount of emotion that R&B requires.”
In other words, Dende is over the era of nonchalance. Born in Austin and raised in Katy, Texas, Dende has been a musician his entire life. From church choir stints to makeshift bedroom studios in college, the soulful multihyphenate has spent years honing his sound into its current amalgamation of passionate ad-libs, gospel chords, pop inclinations, and hip-hop cadences.
Earlier this year (Feb. 12), Dende (born Jeremi Lewings) signed with Def Jam, marking an end to his time as an independent artist – an era that led him to close studio collaborator Billy Blunt and his CXR management team. Dende’s transition into the major label system came shortly after a viral live performance video of “Nightmares,” a track from his acclaimed 2023 ’95 Civic EP. With his face covered in bloody makeup to accentuate his particularly theatrical rendition of the song, that live performance video encapsulates everything Dende seeks to bring to contemporary R&B: From his quotidian fashion to his stage show, Dende is wholly unafraid to feel the full extent and breadth of his emotions in front of an audience — he isn’t too cool to be hurt or hopelessly in love.
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With a smattering of singles and a handful of EPs dating back to 2018, Dende has slowly made a name for himself in R&B circles with his spunky, introspective tunes. His new I Am EP transports him to visual art, taking notes from Picasso and Basquiat in how they allowed their muses to speak through them and their work. Featuring collaborations with Luciia, Roy Woods and Kiilynn, Dende’s latest project is his strongest stab at world-building yet – from the scene-setting “The Louvre” – to the heart-melting “Dance With Me.”
Billboard spoke with April’s R&B Rookie of the Month about the evolution of his sound, the origins of his stage name, his all-time favorite ad-libs and his relationship with fashion.
What are your earliest music memories?
I was really young when I started singing in church. My dad was a pastor, so I was in the choir. At one point, it was literally just me and my sister doing solos in the choir. I also played the drums for the church.
I was also really into American Idol, which we used to watch as a family. In elementary school, we had a talent show and I sang “Flying Without Wings” because Ruben Studdard sang it. And my teacher cried. [Laughs.]
Do you hear the music that you grew up with in the music that you make today?
In unconventional ways, yes. Obviously, I don’t make gospel music, but on my last project, I had a more gospel-leaning song with a choir. And the fact that we use live instrumentation; my producer, Billy Blunt, is a heavy church baby too. That’s where he gets all his chords and progressions from.
What’s the first song you remember being stuck in your head?
“Nobody’s Supposed to Be Here” by Deborah Cox. I used to scream that song in the car.
Do you remember when you wrote your first song? What was it?
The first real song that I wrote was probably in my freshman year; I wrote it in a practice room. My cousin had given me an old microphone, and I put a sock over it, played the piano and recorded it on my laptop speaker. I don’t remember exactly what the song was called, but I know it sucked! [Laughs.] I made very bad music for a very long time. I was decent enough on instruments to put stuff together, but the songs themselves were bad.
What were you writing about back then?
Being a sad boy, as I tend to do. I still do that to this day.
When did you decide that you wanted to pursue music professionally?
Probably my sophomore year of college when I was at Clark [Atlanta University]. That was my first year living off campus. I had an apartment with my sister, and people would come over to record. People were paying me for studio time [and] I didn’t know what I was doing! Around then, I stopped going to class [because] I just wanted to do music. I was entering different contests in Atlanta [like Mic Check]; even though it was mostly rappers, I would go up there and sneak some singing in.
Why did you decide to use a stage name and how did you land on Dende?
I’ve always had nicknames. When I was younger, people called me “Jerm” and that [ended up being] my first artist name. I didn’t really like that, and no one really calls me by my actual name, so I got the name Dende because I’m a heavy anime nerd. For people that don’t know, Dende is from Dragon Ball Z, and I have him tatted on my forearm. [In the show], Dende cannot fight, but without him, the dragon balls don’t exist, so without him, a lot of people don’t get their wishes. I liked that because he’s a side character, but he’s really important to the plot.
How would you describe the Dende sound? How has it evolved over the years?
Poppy R&B with a little bit of hip-hop and gospel chords. At first, it was just straight-up piano and terrible drums, then it became straight up electronic drums and beats and rapping – I wasn’t singing at all. [After that], I transitioned into doing half-singing and half-rapping, then I moved more into the R&B space.
What’s your favorite part of the music making process? Is there any part that you find more annoying or draining than others?
I love writing. Post-production is probably my favorite part, because we can add cool stuff. A lot of my songs translate well to live sets, because there’s lots of hits and live instruments. We get to be a little bit more creative with how we structure the song – outside of lyrics – at that point. I don’t find mixing fun. I used to mix all my stuff, but I don’t do that anymore. It’s annoying because it’s a tedious process.
Talk to me about your indie journey. Why did you end up signing to Def Jam?
When I was independent, I was doing everything by myself – mixing, mastering, recording, producing. Then I got [in touch with] Billy Blunt [in 2021] and he started producing for me. CXR, my management team, came [into the picture] right after the pandemic. CXR is my management, but we function as a label. So going from that to the indie label space and the signing with Def Jam [in early 2025] wasn’t that crazy of a transition for us because we had been working together as a label and team for such a long time. I don’t think much is different other than having other people around us that can help ensure our vision comes to life.
Why did you decide to go with CXR on the management side?
To keep up with the momentum that I had gained virtually on my own during the pandemic, I was looking for management. It was between [CXR] and [another person] that’s in Houston. I went with [CXR] because they fit me more. With them, I get a whole team. We have marketing, A&R, day-to-day managers, social media managers – it’s a whole machine. I don’t even think I was ready for that yet, but it definitely helped propel me to another level.
What inspired the new EP? When did you start and finish recording?
[I was inspired by] things that I was feeling while going through life, which is pretty much what all my music is about. This [EP] is about falling in love and finding somebody that you feel fits you perfectly while also maybe not being the most financially sound [option at the time]. The purpose of this project is a starving artist falling in love and trying to navigate that. We started making this one before we even put out [‘95 Civic]. The last song we did was “The Louvre” with Luciia, which I cut last January.
Was the plan always to make the track-list half solo songs and half duets?
No, I was gonna do it all by myself, but it just ended up being that way. It became a more collaborative effort. I felt that some of the songs needed somebody else to strengthen them, so we did that. What I’m looking for [in a potential collaborator] is: Are you going to make the song better? My team is also looking for what’s beneficial about the feature outside of the music – I probably should care more about that, but I tend not to. I just want to make the best song possible. That’s why I have a team!
Who are some of your favorite visual artists?
I like Basquiat a lot. He was an insane human being, and I really resonate with that. I’m not nearly as insane, but I like people who are doing what they want to do in the way they like to do it – because that wasn’t the norm.
I also really like Dita Montana, an artist in Houston who actually did the cover art for my EP. I’ve been a fan of her for years. I literally had paintings that she painted in my house that I got five or six years ago.
Why did “Need U Like” and “The Louvre” feel like the right songs to introduce this project?
“The Louvre” fits the aesthetic of the project the most on the whole EP. This project is about physical art, and this song is saying that you deserve to be hung up on the wall at the most prestigious place in the world [for art] to live.
“Need U Like,” is not only a hard song, but it also showcases my personality and how I approach relationships. I’m telling this person that I’m willing to do the impossible to make us happen.
Do you plan to rap more on future projects?
Maybe just a little bit. I enjoy singing more than rapping, I just like writing in the way that a rapper would. I wrote “Need U Like” as if I was rapping, and then I just sang it.
What do you think you’re bringing to contemporary male R&B that’s unique?
I wouldn’t say it’s unique to me, because it was in existence at one point, but I don’t think it exists as much anymore: yearning. I don’t feel like a lot of people yearn anymore. When I perform “Better Than Him” [from 2023’s Before We Crash EP], I literally will drop down on my knees.
Any plans to tour this EP? Is there any particular artist that you’d like to open for?
We are planning to tour the project. We did a few listening parties, and I know I’m about to do a Houston show for the EP on May 2. After that, we’re gearing up for the next project.
[Opening for] Tyler, the Creator is obviously the dream. I like Kenyon Dixon a whole lot; I would love to go on tour with him. Obviously, Lucky Daye, but I don’t know if he’s going on tour anytime soon. And Bieber!
How do you incorporate fashion into your music and overall brand?
I like to look good, and I like to make a statement with what I’m wearing. When I do live shows, I fit the aesthetic of the project with what I’m wearing. On the last project, I was the guy that shows up to your window with a boombox, so I’m wearing jeans, a fitted cap and a letterman jacket. Halfway through the set, I switch clothes and switch over to a [different project], and that dude looks like he got stood up at the altar.
You’re in a moment of a lot of momentum right now. Does it ever get scary knowing what’s on the horizon for you?
I wouldn’t say it gets scary. I think I get overwhelmed with how many things I need to do, but I’m not really scared. I keep God first, so whatever is for me is for me.
If you could pick one producer to lock in with for an entire project, who would it be?
D’Mile.
What song has your favorite ad libs of all time? Pick one of your songs and then pick someone else’s song.
For me, let’s say “Block Me.” For someone else, we’re going to go with Charlie Wilson’s “There Goes My Baby.”
