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Ibeyi

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Ibeyi Talk Career Beginnings, Working With Beyonce, Chilling With J Balvin & More

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"Let me tell you, we have a fire inside," Lisa-Kaindé, one half of the Cuban-French duo, told the Recording Academy
Jennifer Velez
GRAMMYs
Jul 23, 2019 - 2:50 pm

Ibeyi are magic. Only the Cuban-French twin sister duo could get a crowd who had been through rain, heat and overall moody weather, to shout "we are deathless" in perfect unison during their Sunday set at Pitchfork Fest 2019.

The mesmerizing live chant was a recreation of a verse that appears on "Deathless" feat. Kamasi Washington off Ibeyi's 2017 album Ash and has become a staple in all of their live shows. "They did really good," Lisa says of the crowd's participation after their set.

In their signature blue and gold jumpsuits, Lisa-Kaindé and Naomi Diaz, daughters of the late, great Anga Diaz from Irakere and Buena Vista Social Club, energetically dazzled the crowd with their echanting mix of Afro-Cuban roots music, soul, hip-hop, synth beats and Yoruba, English and Spanish. 

"People here are hungry and they demand that you feed them. That's kind of the feeling that you [get from the crowds in the U.S.]. They are the ones who shape the show, because they are the ones that send the energy," she adds.

The festival is Ibeyi's last date on a brief U.S. tour, but even miles away from their home in Paris, the two feel right at home. "We're so happy to be able to tour around the world and that people can listen to our music. We especially love Chicago," Lisa says. 

Though it's been a few years since their second album Ash was released, they have not stopped creating. The group wrote a song, "Cleo Who Takes Care Of You," for the Oscar-winning Mexican film Roma, which follows an indigenous Mexican woman as a caretaker in '70s Mexico City. And it likely won't be long before they release a new album. "It's been two-and-a-half years [since Ash], and we love it. But now we feel like we're ready to shed that skin and let the new skin shine," Lisa says.

For now, continuing to grab the attention of pop culture icons (J Balvin is one of the latest celebs to pose with them on Instagram) isn't so bad. Following their Pitchfork set, the Recording Academy spoke to the duo about their dynamic making music, popping up in Beyoncé's Lemonade short film, new music and much more.

You're one of the international acts on the 2019 Pitchfork lineup. How does it feel to play in the U.S.?

Naomi: We feel like it's kind of weird. We feel like we're kind of at home. 'Cause you know, every time we play in the States, it's like that, we're just so happy to be able to tour around the world. And that people can listen to our music. We especially love Chicago. And we love Atlanta, Philly. They have the same vibe. It's fiery. We love that.

Lisa: Well, I feel like people here are hungry, and they demand that you feed them. Does that make any sense? That's kind of the feeling that you get. They are the ones that shape the show, 'cause they are the ones that send the energy and we react to that energy, which is fantastic. And I think, the fact that we are an international band was on our heads, always obvious. And then at one point, we realized that there's not a lot of French bands that tour the world, and we're like, "Oh." In our heads it was always normal to go to like China, and then next week you're in Australia and the next week you're in America, whether it's Latin America or America, and...

Naomi: Australia.

Lisa: Or Australia. Yeah. Or Canada. I mean, for us it was always. Or Europe. It was always so...

Naomi: Natural.

Lisa: Obvious, 'cause we wanted that. We always wanted to connect with everybody. And to be there in like, make them feel "Deathless."

What's your earliest memory of music making. Was it with your dad?

Naomi: No. We were in classical music schools. I mean conservatory. I don't know if you say that in English. Conservatoire are like music schools. So we did more than 10 years of classical music. I think it was that. And then us making music together. We were 11. It was terrible.

Lisa: I mean, it lasted two hours. We have a footage of it actually 'cause our grandma filmed us.

Naomi: And we were like—

Lisa: Never again.

Naomi: Never again.

Lisa: And at 14, I started writing songs, and then at around 15 someone told me, “Okay. Do you want to do?” I was 16, “Do you want to do an EP?” And Naomi said, “You're not doing this EP without me.” And I said, "No, never without you." And we started like that.

RELATED: Cuban-French Duo Ibeyi Are Leaving Their Mark On U.S. Pop Culture

What got you to say, "Let's work together again?"

Naomi: I don't know. Well, first of all, I was like, "My sister's not gonna tour the world without me." It was a bit of pride, I think, at first. And then I was not really prepared. I mean, she was ready before me. And then I was ready and I was like, "Let's try," and actually we didn't think we would be touring the world, and do an album and a second. I think it was really us having fun and then everything happened.

Lisa: We kind of fell into it. We never thought, "We're gonna be musicians." But at the same time, it was happening and we were like, “Oh okay. Let's go with the flow." And then it happened really fast. We literally did our first headline show ever in Paris. And it was in front of like what, 50 people? Excel was there and two weeks after we went to see Richard at his studio and months after, we were recording our album.

Lisa: I was still in uni and I was literally working and passing my exams at the same time. And then the next day I came back and I was like, “I have that many dates I can't attend uni," and they were like, "Okay. Well, bye bye." 'Cause if you don't want to attend school—

Naomi: I was in uni for being a teacher. A music teacher. And it's like, she was doing too much for them for her to attend school. And it's like, you're teaching music but at the same time we can't tour because it's too much for you. I didn't really understand that.

Lisa: Yeah. Anyways I would⁠—

Naomi: I think it was rude.

Lisa: I think at one point it would've become unsustainable anyways because we toured for two years. And then we had a month off, did the second album after that month off, and then started touring again. 

Naomi, what do you mean by saying that she was ready before you?

Naomi: I think I was a little bit maybe lazy. And so was like, “Yeah, do it." Do it and we'll see, and [Lisa] really worked for me to like the songs. She really wrote some songs that I was really interested in. And since the day I was interested, I was full on in the project. She worked hard to please me.

So it's one thing to work in a group with another music creator. It's another thing to work with a sibling. You are twins. How is it? How do you do it so both your ideas make it in your music?

Naomi: Well, we're really different. We're twins but really opposites. So, it's not really hard. I think Lisa's is the melody and the rhythm. I'm a huge fan of hip-hop, danco.

Lisa: You like production and I kind of create the song without⁠—I create the skeleton and she puts the skin and the meat on top of it. We always find the middle ground. I think it's bias and trust because there is a bit of ground between her and me. Sometimes it's more towards me, and sometimes it's more towards her. The more we are growing, the more it's growing towards Naomi, which has been also a natural course. 

Like a balance?

Lisa: Yeah. Exactly, the next step. But if I let her go, then it's going to be a two-hour song. So I need to control a little bit too. It's never like a cat fight. But that confrontation, positive confrontation is what makes Ibeyi.

How do you decide what song is in English and what song is in Spanish?

Naomi: We don't.

Lisa: It comes naturally.

Naomi: We don't decide anything.

Lisa: I think the song decides. You know what I mean? 

Tell me more.

Lisa: It's sometimes the chords. Sometimes the way the chords are going defines the type of song you want to make and the kind of the lyrics that go out of your mouth, that being Spanish or English or Yoruba.

Naomi: It's really intuitive.

Lisa: Exactly. It's really intuitive. Also sometimes it's just a desire. I'm like, "Oh, I want to write a song in Spanish." And then suddenly, I sit and when I try to write in Spanish, but I think, yeah, it's a lot more intuitive than what people think. Of course, it's a lot of work after that. 'Cause once you kind of feel that, "Okay, that's how I feel. Oh there's some Spanish words or English words or French words that are coming out of my mouth," that you really need to work on them, and rewrite and rewrite and rewrite. But I think the start of it is always really intuitive.

In the U.S., for some of us it's a little bit new seeing Afro-Latino artists in pop culture, or at least knowing they are mixed. Cardi B is one artist that is out there that is Latina and mixed.

Naomi: I love her.

How does it feel to be able to open to people's eyes to a different side of Latinidad in the U.S.?

Naomi: I think the weird thing is that I don't think they see us.

Lisa: I think what is really nice is that people claim us for their own. So Latinos see us as Latinas. Black people see us as Black people.

Naomi: They don't see us as...Caucasian.

Lisa: I know they know we're not. They don't see us as Caucasian here. But I think—

Naomi: Neither in France.

Lisa: No, but I think in Cuba, they know we're French. Each country chooses how they see us and how they kind of connect with us, and that is something I actually love and I think it's important. And embracing every part of you. Every part of your culture, of your roots. Every part of what defines you.

I think there's also a thing with America where people have to choose. I'm not Latina, I'm American. You know, and then start slowly, “Okay, I'm Latina,” And then slowly, “I'm actually American-Latina, but I'm Puerto Rican. Oh, I'm Cuban." And you know slightly in America it starts getting clearer and bigger and you can be both. And you can be everything. Exactly the same with Afro-Americans. Before they're, “I'm Afro-American. Oh, I'm just American.” Then, “I'm Afro-American." Then, “Oh my family is from Nigeria." People are slowly starting to go back to their roots and that doesn't make them less of an American.

Naomi: We weren't raised like, we didn't had to choose.

Lisa: Our parents were clever.

Naomi: Yeah. So, our family was really cool with each other and there was never a [a feeling that] you had to choose, are you Cuban or are you French. And in France also, you don't choose.

Lisa: I think that we're really smart, but also I think it's something that you have to...you kind of have to learn. Also they were really smart in not making us choose and then slowly by slowly. Also journeying the world seeing how people would define us and finally how we want to define ourselves. It's really interesting.

So, your last album was in 2017. When can we expect another one?

Lisa: Not now.

Naomi: We're gonna stop for a little bit. 

Lisa: We haven't stopped working.

Naomi: We haven't stopped working. So we have some [music]. But we're like, it's the first time since the beginning that we're gonna take some time. People want to work with us. We want to work with other people. We're gonna search things. Try things. And we're gonna make the third one when we're ready. We weren't ready for the two first ones. But right now we feel like we have to gather our thoughts.

Lisa: It's gonna be lit. Let me tell you, we have a fire inside. It's been two-and-a-half years of this album, and we love it. But now we feel like we're ready to shed that skin and let the new skin shine. We've already written some of those ideas.

You've been hanging out with J. Balvin?

Lisa: Yes.

Are we gonna see something with him?

Naomi: Maybe. Maybe. We don't know.

Lisa: I mean, why not.

You appeared on Beyoncé's ​short film for Lemonade. How was it being a part of that project?

Lisa: Oh, we were so out.

Naomi: And humbled by the fact that she called us to be in this video and for this album.

Lisa: Iconic album. Yeah.

Naomi: For this iconic album because I think was like something very different from what she does.

Lisa: For me it's the album of her career. I mean, until now. Really, it's like the album that embodies everything she represents and how important she is for America. For black women. For women in the world. And then we saw her at Coachella, and then she came to see a piece of our set at Coachella. She was on the side of the stage. So it feels like, there's always little hint that she's following still where we're going.

My favorite song on your current album is "Deathless." And I heard your episode on Song Exploder, so I know the story behind it, so I know it's about a racist experience you had in France. It's a choice for you to be able to bring your experiences into the world. Do you think that's important?

Naomi: I think it's important if you're ready to talk about those things. I think it's important if you're ready to explain why you did it, because there are important subjects. So if you're not ready to really explain, then, you're not a journalist or even your family, don't do it.

Lisa: It's not something you can force.

Naomi: Yeah. You don't need to. But if you want to do it, then do it. But do it well.

Lisa: It was so important for us, because we were ready. We had done it previously on our first album that was about our family. That was to celebrate our family and the ones that are gone. We wrote that first album between 14 years old and 18 or 19. So that was our whole life, and then we started touring and discovering the world and discovering the problems of the world and everything that was happening, and hearing fans and their stories. Signing every night and seeing how the world is at that moment.

Lisa: And then the American election happened the first day we recorded the first song. The first day Trump got elected, we recorded Ash and "Away Away." That same day. 'Cause we were at the studio and it was our first day off studio and he got elected, and we were like, “Well now we have no choice.” We have no choice but to reflect how we felt and that's what we felt, but it was so, I always say, “Those songs were made for us,” we needed them. We needed to feel "Deathless," we needed "No Man Is Big Enough For My Arms," we needed "Away Away." We needed that chance, we needed that strength and that power.

Naomi: And we needed "Me Voy."

Lisa: We needed also to then celebrate. We needed all of those songs and so then when we realized that "Deathless" was becoming a little anthem for a lot of people, it was incredibly beautiful. And then we were like, “We want to make them sing that song,” and so now every night, we make people scream, "We are deathless." Today they were really loud, so that was nice.

CHAI On Redefining "Cute," Subverting Uniformity & Tasting American Ramen

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CHAI

Photo by CHAI

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CHAI On Redefining "Cute," Subverting Uniformity & Tasting American Ramen

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The Japanese quartet go deep on their debut album, 'PUNK,' playing their first Pitchfork Fest and why they want to "be looked at as more than just a band"
Jennifer Velez
GRAMMYs
Jul 22, 2019 - 2:01 pm

CHAI are determined to stand out. Hailing from Japan, a country whose culture praises uniformity, CHAI are making rock-influenced dance music for people who want to move to their own beat. But they're breaking more than one stereotype: Yuuki (bass), Kana (guitar), Mana (vocals) and Yuna (drums) are on a mission to change the ideals placed on women's bodies, specifically with the term "cute," or in Japanese, "kawaii." 

So CHAI came up with the term "Neo Kawaii," which means that all girls are pretty from the moment they are born. "There is not a single girl that is not kawaii," CHAI  state on their website. "You don't need to have big eyes or have skinny legs to be kawaii! Not everyone needs to follow the stereotypical  image of kawaii."

The message was heard loud and clear across the lawn at Union Park at their Pitchfork Fest set on Saturday. In matching outfits and ponies, CHAI energetically and enthusiastically took Chicagoans through songs from their punchy debut album, PUNK, which recalls dancefloor staples like Basement Jaxx, Gorillaz, CSS, and Tom Tom Club. The 10-track album, which is more inspired by the spirit of punk than the genre itself, showcases confident lyrics that proclaim with certainty: "I don’t know about the world, but I know me... What a cute girl I am!"

The Recording Academy spoke with the charming quartet about playing overseas, pushing back against the Japanese interpretation of "cute," covering ABBA's "Dancing Queen" and more. 

How's your time at Pitchfork Fest going?

Yuna: We were super exited. We're so happy to be here.

Yuuki: We're having a great time. It's actually our dream.

Kana: I also feel like this is our dream so we're super exited to be here and we're blessed.

Yuna: It's actually not just our dream to play America, but [to play] Pitchfork itself. We actually were written about in Pitchfork, which is amazing for us too. Also we just want to do everything, we wanna go to every country, we want to win a GRAMMY, we want so many things.

Yuuki: Yeah, we are super excited to be able to do anything in America. I think being able to tour in the States is our number one thing.

How is it singing exclusively in Japanese to an English-speaking audience? 

Kana: We don't even think about that at all.

Yuuki: Yeah, to be honest with you, we never thought about that at all. We don't think about whether the lyrics gonna be understood or not. For us it's more soul, music is universal, and I don't think you necessarily need a language for people to understand where you are coming from. We just love going out for the fact that the music, the sound is what gets the people and relates with people.

How did you all meet?

Mana: We were all friends, form the beginning. Myself, my twin sister Kana and Yuna, we went to the same high school. We were in the same music club together, so that's where we actually started jamming and doing the music thing. Yuuki we met later on in college.

I want to talk about your album, PUNK. What was the inspiration behind it?

Yuuki: This album PUNK, it wasn't based on the genre. It's actually based on the feelings, the mentality of being, the spirituality of being punk. Living in your truth, not letting anybody dictate how you wanna live your life. We were influenced by a lot of music, a lot of musicians: Superorganism, Justice and ERD. A lot of the musical inspirations have actually played a part in our songs in that PUNK album.

A lot of your music touches on body image and reclaiming the word "cute." What inspired you to make this album about that?

Yuuki: For us you know, doing not only this album but also our first album pretty much our theme is "Neo-Kawaii," which translates to "New Cute." I think in Japan at least, the word "cute" is a big compliment. It's sexy, beautiful, all those type of words are all intertwined with the word "cute." I notice in the States sometimes they might refer to people as cute when they are little or when they are shorter or like, "Oh you know you all, you so cute" like a little kid. But in Japan cute is actually considered more like a beautiful word. For us, because we didn't fit into those standards of cute in Japan, we decided to create this word, "Neo-Kawaii," which is the "New Cute" to represent everybody that doesn't fit into those standards that are set by society right now. For us, we wanted to create this word so that we can compliment one another for those who don't feel like they fit into the traditional 'Kawaii' or cute definition.

Is there anything you want U.S. audiences to know about you as a band?

Kana: We want you to see freedom when you see us.

Yuuki: We want you to see something you have never seen before.

Yuna: Something you never heard before.

Mana: Something you've never seen before. For us, we don't wanna just be just a band. We wanna be looked at as more than just a band.

Would you call your music empowering?

Yuuki: We're not really conscious about it when we're making the songs, as far as whether they are empowering or not. It's actually more so our personal experiences in Japan that we just write about, that just so happens to empower people. One of which is, because in Japan, everybody tends to be very uniform, everybody tends to do the same thing, dress the same way, and if you are that one person, the outsider, who does something a little bit different, you're automatically turned down or slapped down or told, "Hey, what are you doing, you're not supposed to be doing that," and we did not really like that. So for us it was more like, okay, what do we do to empower people who kinda feel like us who kinda feel like outsiders in this society where everyone is the same? I guess that's what translated into empowerment, naturally.

I loved your cover of ABBA's "Dancing Queen." What made you want to cover ABBA?

Yuna: We all love ABBA. That's particularly because it's like a very motherly type of vibe that ABBA gives, and we like that whole motherly type of vibe. We wanted to give that to everybody on the stage and make people feel wholesome, and we chose ABBA to cover for our last tour.

Is there a song on the album that you feel particularly close to?

Mana: For all of us, we really love the song "Curly Adventure." It was the first time that we worked with an outside engineer, not a Japanese engineer. We worked with an American engineer for that one, and also the sound was very different for us. That was the only one that was different. I think that's what we really like, that song particularly, it was totally different for us, as something very new for CHAI, something very fresh. 

What's been your greatest tool as artists?

Yuna: Food is number one. We love to eat, you know? Anything food-related. Particularly meat. Any type of meat is great with me.

What's your favorite part of American culture?

Yuuki: The friendliness. Everyone is super friendly. They talk to people they don't know. They embrace one another, they hug each other. People just naturally hold the door for one another. Just really simple things like that. It's totally different.

Kana: For me too, it's the same thing. I feel that people are just super loving and we just feel the love. America is totally different that way, people say goodnight to each other on the elevator.

You mentioned food... What do you think of Japanese food in the States? You can be honest.

Yuuki: I think ramen is the best thing here.

Mana: Yeah, ramen I think is really good here but everything else I don't know.

Kana: Yeah, I don't know of anything else besides ramen.

Yuna: California rolls and also salmon and avocado rolls are really good here. But everything else? Hmm. That's a question mark. 

Rico Nasty On Being Fearless & The Importance Of Highlighting Black Women's Emotions

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Dreezy

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Dreezy On Staying Hungry, New Music, Working With J. Cole & DM'ing With Rihanna

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The Recording Academy caught up with the Princess Of Chicago Rap at Pitchfork Fest, where she spoke about what fuels her ambition, the importance of music education, what we can expect to hear on her next album and more
Jennifer Velez
GRAMMYs
Jul 22, 2019 - 11:24 am

Dreezy's desire to master her artistry is one of her most defining characteristics. "You gotta get up, slay and  just work everyday," the Chicago rapper says. Staying hungry has been one of her greatest assets in an unpredictable industry, and though her set was unfortunately canceled due to weather, being booked at a major Chi-town festival like Pitchfork is still incredibly meaningful for her.

"I love coming back home. I feel like I got to a point where I got a little comfortable being in L.A.," she tells the Recording Academy. "Everything's just so luxurious that I felt like I wanted my hunger back, I think that's what keeps me going."

There's a reason she's called the Windy City's rap princess. Dreezy (born Seandrea Sledge) continues to be one of the town's most recognized female rappers since gaining attention for her "Chiraq" freestyle back in 2014. And when she dropped her 2016 album debut No Hard Feelings, her skittering hit single "Body" featuring Jeremih went platinum. 

Fast forward to 2019, the artist, who frequently shifts gears between singing and rapping, released her sophomore album Big Dreez earlier this year. While fans waited three years for another full-length project, Dreezy says that taking her time between records gave her the space to grow. "I'm coming into the artist I've always tried to be," she says of how she feels after the release. 

The Recording Academy caught up with the singer/rapper at Pitchfork Fest, where she spoke about her recent feature on J. Cole's latest album, what fuels her ambition, what we can expect to hear on her next album and more.

What does your nickname, the Princess of Chicago Rap, mean to you?

It's a big deal to me. I'm never the type to just claim myself as any queen or things like that. To hear it from the people of Chicago is just confirmation. I'm doing my thing. It just feels good.

There are so many reputable rappers who came out of this city: Kanye West, Vic Mensa. How does it feel to be included in such a prominent—but not exactly gender-balanced—list?

Yeah, because I remember it was a point of time where I was the only female on the bill. For me to just continuously, every year, to still be a part of these big names, especially like and Vic Mensa, 'cause these are all people that I worked with. It just feels like I'm right where I need to be. I'm right next to the G.O.A.T.S.

What was your first experience with music?

I grew up in Chicago my whole life. I used to have a teacher, her name was Ms. Ellis, and she was the music teacher, and she was teaching me how to scat, jazz, she taught me how to play the piano, the saxophone, the flute. That's when I first started getting into music. I joined the marching band. I joined the jazz band. I started singing at the House of Blues and doing talent shows, and next thing you know, I started messing with the rappers, the bigger rappers in my city. They just started hearing about me and I don't know, it just took off.

You obviously had a really positive experience going to school and having music education. But so much of the time, the arts and music education are the first programs to get cut in public schools. 

Yeah, I definitely think music education is very needed, very necessary because not everybody is the book-type or the doctor-type. Everybody doesn't want to be in that type of field. Some people that want to be in the entertainment field. I definitely think music class for me, depending on the teacher, it helped me, because my teacher was hands-on with me. It was more than just books. It was the feeling, the history of it, wanting to be a part, like being in a band, teamwork, you know what I'm saying? It's just so much more [than] music that the class can teach you. Just being around like-minded people. Music is a vibe. Being in a classroom with that in the air, it just feels good.

You're featured in "Got Me," off J. Cole's Revenge Of The Dreamers III. How was that and how'd you get involved?

I met J. Cole a long time ago and I was able to play one of his managers my music. One of his managers remembered the song and he was like, I seen him again, he was like, "Yo Dreez, where that song, 'Chicken Noodle Soup'? I thought you was supposed to drop it? I'm like, "Bro, I'm fittin' to put it out just 'cause you told me to put it out." So, I put it out. I just kept following up with them, and then when they had the Dreamville Camp, his manager hit me again like yo, Cole wants you to come through the camp.

I'm like, what? So, I'm like let's do it. I instantly flew to Atlanta. I only had a couple days in the studio, and it was just so many people in the studio, and J. Cole, so I was just like, look, you got to pull it together and make as many songs as you can, because one of these songs got to go on a project, and I just was rapping my ass off, and eventually my verse got on a project, and we actually fittin' to have an unreleased version of the dream deal compilation and it's four more tracks that's coming out. I'm on one of those tracks too, so be looking out.

Your sophomore album, Big Dreez, came out earlier this year. What was your mindset going into this album?

You know what? I just really wanted to get back in the studio by myself. I felt like I had so many people dictating what type of music I was making, and what to talk about, and who to work with. I just really wanted to zone out by myself and see what I could do by myself. No writers, just me and the music. So that's what inspired Big Dreez. Especially me feeling like I'm coming into the artist that I've always been trying to be. So I feel like I'm bigger now.

What got you to this point?

I think praying, staying prayed up, believing in yourself, staying consistent, and working just as hard as the guys. 'Cause it is a male-dominated industry when you're trying to rap as a female. It's hard and you gotta get up and slay and just work every day. 

What has been your greatest tool as an artist?

I think my greatest tool for me is to stay hungry. I love coming back home. I felt like I got to a point where I got a little comfortable being in L.A., and everything so luxurious that I felt like I wanted my hunger back, and I think that's what keeps me going, just wanting more. Even today my set got canceled and they was telling me like, oh well you still gonna get your money. But one of my things was like, I wanted to put on a show today. I flew out my dancers, I got the graphics together. It's important to me.

The biggest thing is to stay you. Stay true to yourself, because one thing about it is when you catch a wave or whatever you're doing, the fans love that wave. You can't get a wave and then as soon as you catch a wave, you just switch it all up. You can't change up on your fans. You gotta give them what they want. Stay true to yourself. Stay consistent and stay hungry. 

In "Chicken Noodle Soup," you have a verse that says, "Made a name but ain't chase the fame, bitches trade respect for a paid gimmick." Tell me more about that lyric.

Made a name but ain't chase the fame, bitches trade respect for a paid gimmick. They sent for me so I came with it. Competition feelin' like a game scrimmage. Basically, it's like I will never switch up for a check. You know what I'm saying? I know I made a name for myself and I changed the game. It's a lot of people that don't want to work with you unless you pay them or it's a lot of platforms, stages that you can't get on unless you pay them, you know?

And I just never paid for a slot. I never paid to open up for nobody. I never paid to work with somebody. I feel like it should be organic. Either you f**k with me and how real and raw I am or maybe it just don't work out for us, you know?

You're a singer and you rap. How do you decide what becomes a rap and what you sing?

That's actually hard. I feel like I just got to go in a booth and get a feel for the song and whatever like comes out. 'Cause usually when I sing I play the beat first and I'll just start like feeling it if it's like a R&B vibey beat. But a lot of times I can't make up my mind and I do both. So a lot of times I might say sing on the hook, rap on the verses, or sing on one verse and rap on the next verse. That's really my sound.

You've had a lot of awesome collabs: Jeremih, 6LACK. Is there anyone else you want to collab with?

I really want to work with Rihanna and we've been DM'n, so maybe it'll happen this year or next year. I really want to work with Meek Mill. I ran into him a couple of times. We just ran into each other in the studio again. Hopefully that's going to be coming, and just bigger female artists. I love all the females that's coming out right now. I like collabing with the girls. Just all the greats, you know?

I saw that you've been in the studio. What are you working on? Can you tell us anything?

I'm working on my second album, sis, it's coming soon. It's going to be a banger and I'm just praying at this is a number one. No, I'm not praying. I'm overly praying, but I know we're manifesting it's going to be our number one album. That's what we're working on and I don't want to stop working until I feel like it's that, you know?

You can expect the best of me [on the album]. In my rapping, my singing realm I'm finding my balance. I think for a long time I couldn't figure out if I was a rapper or singer. I think this next album is just letting the world know I do both and I do them both equally as good. I'm fittin' to have your favorite rappers on that and your favorite singers on there.

You've talked about how one of your biggest tools as an artist is to stay hungry. What keeps you going?

Really what keeps me going, girl, besides the bills, just I want to reach my ultimate happiness, happy space in life, and I feel like I have to grind to get there, to get everything that I want and I'm not satisfied. I'm from Chicago so we always had to learn how to survive to be able to be on top. So I think just being counted out, you know what I'm saying, not getting a credit, the recognition I deserve. I just want my music to be respected and seen on a bigger platform.

Lala Lala On Straightforward Songwriting: "I Definitely Was Born An Oversharer"

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LaLa LaLa 

Photo: Mathew James Wilson

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Lala Lala On Straightforward Songwriting: "I Definitely Was Born An Oversharer"

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The Chicago-based singer/songwriter opens up to the Recording Academy about playing Pitchfork Fest, getting sober between albums and more
Jennifer Velez
GRAMMYs
Jul 21, 2019 - 5:43 pm

Chicago indie-rock project Lala Lala was one of the local acts this year at Pitchfork Fest. Fronted by London-born singer/songwriter Lillie West, the band's 2018 sophomore album, The Lamb, is a sweet, spare moment of self-reflection written during an anxiety-ridden time where, as West notes in a press release, "I started to frequently and vividly imagine the end of the world, often becoming too frightened to leave my house. This led me to spend a lot of time examining my relationships and the choices I’d made, often wondering if they were correct and/or kind."

West's gentle songwriting has definitely caught the eye of her more established familiars: In January, West released a collaboration with WHY? singer Yoni Wolf titled "Siren 042." This past spring, she opened for Conor Oberst and Phoebe Bridgers' band, Better Oblivion Community Center, and most recently West has opened for GRAMMY nominees Death Cab For Cutie on their U.S. summer tour. 

The Recording Academy spoke with West at Pitchfork Fest about her personal evolution between albums, getting sober, opening for Death Cab and "being born an oversharer."

How does it feel to be performing at a major festival in the city where you live?

It feels really nice. I mean, it felt pretty monumental to me. I feel like Pitchfork is sort of a rite of passage for Chicago artists, and it was very special.

Hometown shows were always nerve wracking, because there's a lot of people you know, but it's also great because everyone's on your side, everyone's like eager for you to succeed and have fun, and yeah, it felt good.

You lived in London and were born in California... How did Chicago become your home?

I moved here for art school when I was 19, and then I dropped out and I stayed [in Chicago].

What did you listen to growing up?

When I was a teenager, I was really into Pavement. Was a band I really liked. Karen Dalton. I was into indie music, kind of. When I was a kid, I remember my mom listened to Kate Bush and Moby and Buena Vista Social Club. But that was like all we had in the house.

How did you get your start in music?

I've just always been a really big fan of music and it just slowly occurred to me that I could do it. And I started going to DIY shows in Chicago and just becoming friends with DIY musicians and sort of picked it up myself, as well.

I played piano on and off for awhile, but I started playing guitar, really, when I was 19. And now I've been branching into other instruments just for fun, and taking my knowledge and intuition from what I know from guitar to other things.

How has that experience been, learning an instrument as an adult? I tried learning guitar, and I couldn't as an adult.

You totally can. It just takes like so much longer than you think it does, or for most people I feel like. Some people pick it up really quickly, but I find it very challenging. But yeah, you just have to keep trying. You can learn anything as an adult. It just takes longer.

The Lamb is your second album. What was your state of mind going into the making of it?

I really wanted to make something that I cared about. I just wanted it to sound good, and I wanted to pay attention to guitar parts and melodies, and yeah, I just was trying to be really present for it.

Has it been hard in the past, to be present when making an album?

Well, just the first album we made, I didn't even really know we were making an album. I just was like, we've written some songs as record them. So I was very aware of the fact we were making an album.

In your song "F**k With Your Friends," you have a lyric about drinking to make someone seem more interesting. Your album touches on stuff like that, very personal things. Was it a cathartic experience being able to write about these part of your life?

Yeah, "F**k With Your Friends" is from the album Sleepyhead when I was drinking a lot, and now when I made The Lamb, I was sober and I don't drink anymore. But it's just more so that I write about what I'm experiencing always. And those are just things that I experienced and I'm just a pretty straightforward person.

Do you feel like you've grown?

Yeah. I mean hopefully. Yes. Yeah. Everything has changed, that's for sure.

In what ways do you feel like you've grown, artistically?

I just feel like I pay more attention in every way possible, and I want to go somewhere specific. Whereas in the past, I just let things happen.

Some of The Lamb touches on things like mental health. Does sharing this side of yourself come easily? 

To a certain extent, yes. I do disguise some things. Honestly, I think the longer that I do it, the harder it is to be open. I find myself becoming more and more closed off. It's hard to share your life with a lot of people, but I definitely was born an oversharer, and as I've gotten older, I've closed off a little more.

I've spoken to some artists who say that they forget they're being vulnerable in the studio, but once they're performing live, it's like they're showing the world who they are. Do you feel like that?

Yeah, totally. I think live, sometimes if there's lyrics that I wish were different. I might sing them in a certain way that they're less audible, for sure.

What's one thing creating music has taught you about yourself?

Honestly, that you can just do anything, because I don't have formal training, and I started so late, or not even that late, but I started later than most people who get into music, and it just really showed me that at any point you can just decide to do something and if you keep trying.

Even if it doesn't become [my] full-time job or something, I'm very lucky with that has happened, but doesn't mean that you can't just do it. You can just do whatever you want.

You recently opened up for Death Cab For Cutie on their summer tour. How was it opening for such an established act?

It was amazing. I have only good things to say about that band. They are so, so kind. They were so generous to us, and they're amazing musicians, and they made us feel so welcome. And it was an environment that we were not familiar with. It was really big shows, and they really made us feel at home and I can only rave about them. I was a huge fan. "Soul Meets Body" was my ringtone.

What's next for you after Pitchfork?

I'm going out of town. We have one show in L.A. this week, and then I'm going to Russia to visit my Dad. Then I'm going to go on tour with this band WHY? Just hanging out and singing with them, and then we go on tour with Whitney in October, November, and then we have a tour in December with Twin Peaks.

How do you take care of yourself on tour?

It's really hard. We don't party at all. We go to sleep right after the show. As soon as possible, we go to the hotel. We eat really healthy. We try and exercise when you can, if there's like a gym in the hotel, or just like going for walks in between soundcheck. But it's really tough. Those are the things I try to do. Stay hydrated.

Do you feel like being sober has changed your life, the way you write?

Yeah, I'm like the opposite now. I like won't eat dairy. I try not to eat sugar. Before, I just didn't care what happened to me and I just drank so much and did drugs and stuff, and now I'm like hyper, I need eight hours of sleep now. If I get less than eight hours of sleep, I'm exhausted.

Ric Wilson Wants His Debut Album To Sound Like "If Stevie Wonder Started Rapping"

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Rico Nasty 

Photo: Mario Kristian 

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Rico Nasty On Being Fearless & The Importance Of Highlighting Black Women's Emotions

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The Maryland rapper caught up with the Recording Academy after her set at Pitchfork Fest to talk about her forthcoming full-length, industry double standards and how "[it] should be okay for women to rap about whatever the f**k they want"
Jennifer Velez
GRAMMYs
Jul 20, 2019 - 11:49 am

If you know Rico Nasty, then you know her through EPs Tales Of Tacobella, Sugar Trap 2, Nasty and her latest, Anger Management, as well as singles like "Smack A Bitch." But that's only the beginning. 

Rico Nasty is an experience best felt live. The Maryland rapper had the crowd hyped, rapping and moshing along to her lyrics at Pitchfork Fest in Chicago through a set that showcased her sharp lyricism and hip-hop, punk-inspired music.

The emerging rapper is here to make it, and while she recently released Anger Management, she's been working on her fulll-length debut set to drop before the year is over.

The Recording Academy met up with the Maryland-based rapper after her Pitchfork set, where she opened up about growing up in the DMV (D.C., Maryland, Virginia), what we can expect on her forthcoming full-length, navigating industry double standards and more.

How did you get your start in music?

By going to the studio, randomly. I don't know, whenever someone was like, "Yeah, I'm going to the studio," I just went with them. And I started recording. When I was in high school, I was like the only girl making music. And so people heard my mixtape, it was kind of like, "Oh sh*t," like, "What the f**k." It was just new, it was refreshing. So they f***ed with it. So then I just kept dropping music, try to stay consistent. I eventually like stopped dropping music when I graduated high school and now I'm here. After I graduated I just wanted to... I don't know. I always had melodies and sh*t in my head. I never wanted to stop making music.

Did you grow up around a lot of music?

My dad made music, but he was in jail, and I guess, yeah, the group of people I was hanging around with, they were making music. But when I stopped hanging out with them, it was still something. 

You recently released your Anger Management EP with Kenny Beats. What was the inspiration behind that?

Well, Kenny's a crazy producer, and I had anger issues, so, I felt like it just came together off of the other sh*t that we've already done.

How was it working with Kenny?

It was cool, I mean we was in the studio day-in day-out everyday, one after the other. So it's cool. You really get to know a person. You really get to annoy a person, I was annoying the f**k out of him, I'm sure. He was annoying me but it was like in a good way, like, we were pushing each other because we wanted to make something, something different from anything else I had ever made. And that's what it is.

Speaking of anger issues. Pitchfork recently ran a feature about you and the importance of black women's anger in rap. How did that sit with you?

Well, I definitely agree and I think that it's really important to bring light to black women's emotions in general, whether it's anger or anything that's out of the ordinary. Because I feel like it's looked down on when we show any type of emotion, it's always looked like doing too much, being ratchet, or in some cases you're not even doing too much. Some cases you're acting white, you're acting this, you know like sh*t is, it's really f**ked up out here.

But to be a leader that means that I don't give a f**k about that stuff, and when I see my fans, we don't give a f**k about the stuff and you just keep that positivity going. Also while not giving a f**k, also while like, allowing them to get their sh*t off in a respectful way. You come to a show, you f**king mosh, you throw elbows, and then you go home and it's like you're hitting your boss in the mosh pit almost. You gotta let loose eventually. I mean, black women, all women, all people for real. But, I'm really happy that people look at me like a leader of that sh*t because it's super important to me. And I love it. Like today when I saw the mosh pit when it first started and it's just so many girls jumping in it like, fearless. Fearlessness.

People ask me all the time how the f**k do I do it. Fearlessness, bro. Just like how y'all never jump in mosh pits before. Y'all been to so many concerts, and you jumped in one today, for me. I love it, it's amazing, inspirational!

You've been really open about your growth as an artist. How do you feel you've grown in this latest EP?

I feel like I just didn't hold back. I wasn't afraid of looking for a hit, I wasn't afraid of looking for anything. I just wanted to go. But I'm ready for the next music I have coming out, I feel like you guys are going to like it.

How has it been for you, representing the state of Maryland in hip-hop?

It feels amazing. And because I'm from the DMV [D.C., Maryland, Virginia] I want to shout out some female rappers from the DMV: Chelly the MC, there's this girl I think her name is Pretty Savage, she's from Virginia. They are really f**king fire. I'm not the only girl coming out of the DMV right now. Shout out to Lundy, rest in peace Lundy. 

It's a lot of women that was before me, it's a lot of women that's gonna come after me! Like, don't doubt that sh*t. The DMV got some heat! Shout out to the Guy, shout out to the young guys, shout out to Young Man, shout out to ZanMan, shout out to Cutiful, everybody putting on Free Big Flock.

We're gonna keep this sh*t f**king going. I'm really happy to be a part of us wild-n-out! We're getting our credit, you know?

You were in this year's XXL Freshman Class, how does it feel being a part of that group?

Once again, it's like history. Legendary sh*t, because three girls on it. That's how I feel about it. Love, bro, I love it. It's never-before-seen, just like everything else that we doing.

Do you feel like you have any challenges as an emerging artist right now?

Oh yeah, I mean I hate the f**king— I don't want to say I hate men giving their opinion on it, but it's just like... if you don't listen to it, you don't listen to it. If you don't get it, you don't get it. Just like how, know what I'm saying, you guys rap about the same sh*t all the time, over and over. [It] should be okay for women to rap about whatever the f**k they want. Whatever they have, whatever they're working to get, it shouldn't f**king matter. If it crank, how it crank when you listen to a new song, then it crank.

Like, stop trying to pick apart our f**king music word for word. It's like, you guys don't do that with the guys. And I hate that they do that sh*t with us. It's like every lyric f**king counts. Just have a good time, bro. Just have a good time. Respect it. We are artists, whether or not we want to show our ass—it doesn't fucking matter, like, that's what we do.

And just like I empower women to go the f**k crazy, there's other female artists that empower women in ways that, you know, what if you don't feel sexy? You put a female artist on and she makes you feel that! That's empowering in a way that men will never understand because they're not us. So stop picking apart our f**king music! Just vibe to it, nigga. It's lit.

So your album is due later out this year. How has that process been making it?

It's been good. I'm getting pieces from my whole experience of music, I'm getting pieces from when I first started. Just ideas from all over the place. Ideas that I might have put in the corner and you know, might change a couple of things, but I'm really f**king excited. I'm really excited for my fans to hear it because once again it's not what you guys expect, and it's a step forward, in my opinion. 

You've also teased U.S. tour dates, when can we expect those to drop?

You guys can expect them to drop later in the year. Not like, super late, but like later in the year. And I can't wait to see you guys. I miss you guys so much. Like, I miss you guys, you guys coming to my shows and bringing me gifts and bringing me flowers and telling me stories and I'm so excited to see fans that I've like already seen. Because, trust me, I be f**king remembering y'all. Don't get mad if I don't remember you, but like I remember certain fans. And I'm excited to see them because, you know, they're going to be like growing up and sh*t. It's kind of weird, it's just being a part of them. Being a part of their journey in life because they cut me on and still coming to the shows. I'm excited.

Before we sign off, what can you tell me about your new clothing line?

The Rico Nasty sh*t. It's about to be super fine. I've been taking my time on it. I've been looking for a cool-ass design that I feel like is versatile for both genders and just versatile as f**k. Something that can go on all colors. I'm not going to say too much because I'm still going through designs. But this is merch but times three. This is the real deal, this is not a drill. Save your coins. [Laughs.]

Pitchfork Fest's Adam Krefman On Lineup Diversity, Reasonable Prices & More