Eric Nam

Eric Nam

Courtesy Photo: CJ ENM

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K-Pop Phenom Eric Nam Talks New Mini-Album 'The Other Side' And Life As One Of Korea's Biggest Stars

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The breakout Korean-American singer tells GRAMMY.com about the challenges he faced in writing and creating his newest project in the middle of a pandemic: "It was not easy"
Natasha Mulenga
GRAMMYs
Aug 13, 2020 - 11:40 am

Eric Nam's journey into K-pop stardom is a fairy-tale-like story that almost didn't happen.

Born and reared in Atlanta, Ga., the breakout Korean-American singer had hopes of being a performer. (His parents, on the other hand, did not share his vision.) As a kid, he took up several music-centric extracurricular activities as a means of getting into a good university: He trained as a member of the Atlanta Boy Choir and played in his high school orchestra.

After graduating from Boston College, where he majored in international studies and minored in Asian studies, in 2011, he began a career path that initially took him in the opposite direction of his dreams. He landed a consultant job at Deloitte, the multinational business advisory and accounting firm, which he ultimately deferred to follow nonprofit initiatives in India. Life as a world-class singer was put on pause.

Things began to change, however, while he was in India. His YouTube videos of him singing K-pop covers landed him a spot on "Star Audition: Birth Of A Great Star 2," South Korea's answer to "American Idol." He placed in the top five in the show's 2011 season, and his journey into music took flight.

Nam has since worked his way to become one of the most recognized names and faces in Korea's mammoth entertainment industry today. Over the course of nine years, he's released four EPs and one English-language album, 2019's Before We Begin. 

His latest mini-album, The Other Side, released in late July, is a melting pot of playful, upbeat sounds that combines elements of pop and house music. Largely written during the coronavirus pandemic, the album contains a message of freedom, as heard on the lead track, "Paradise."

"It was not easy," Nam tells GRAMMY.com about the making of The Other Side. "Luckily, two or three of the songs we had already written prior to the pandemic. We did a lot of Zoom calls. But I also found it challenging in terms of content, because the only thing that was on my mind is everybody being locked down and the realities that we're living in. So I was a little stressed about that, but then I realised this is something that everybody is feeling right now. The frustration, the heartbreak, the pent-up energy—whatever it may be, let's write to that. That's kind of how 'Paradise' and 'How You Been' came to life."

Outside of his music career, Nam has hosted multiple TV shows in South Korea, including "KCON:TACT" and "After School Club," as well as the podcast, "K-Pop Daebak w/ Eric Nam." As South Korea's go-to host for Hollywood stars, he's interviewed Lupita Nyong'o, Benedict Cumberbatch, Will Smith and many others. It's no wonder he was declared one of GQ Korea's Men Of The Year in 2016 and featured in Forbes' 30 Under 30 Asia list in 2017. 

GRAMMY.com spoke with Eric Nam about his new mini-album, The Other Side, his double life as a host to Hollywood's elite stars and the urgent need for dialogue and social change within the entertainment world and beyond.

You're a singer, songwriter, TV personality and host. Was this always your dream growing up?

Not really. I fell into it in many ways. It was a dream to be a singer/performer, but I never thought I had a chance or had a real shot; I never thought I was good enough. And I think a big part of it was [that] I never saw an Asian face on TV or doing music, particularly in the U.S. where I was born and raised. So it was never a realistic possibility for me, but I think it's fascinating that I am doing it, and I'm very thankful.

Did you have a backup plan? Did you say to yourself, "I'm going to give myself X amount of years in Korea"? Or was it success as a singer and nothing else?

I think it was the former. I said, "Let's give it two to three years. And within three years, if it's not going to work out, then let's not waste valuable time in my 20s." And for me, the backup plan [was] to go back to consulting or finding another job. 

Watch: Get To Know K-Pop Kings BTS | For The Record

What are the differences between your new mini-album, The Other Side, and your last album, Before We Begin?

I think Before We Begin may have been a little more understated and mature in the musicality. I think this one is a little more playful, a little more upbeat, a little brighter. And I think that draws more from the K-pop side.

Why did you pick "Paradise" as the lead single?

I really wanted to experiment with sounds in a way that I hadn't done before. I wanted something that hasn't often been heard, particularly in the K-pop world. A lot of my peers, be seniors or juniors, they'll text me or they'll call me and they'll say, "Thank you for doing the music that you do because it pushes the genre forward in different ways." It's a very rewarding thing to hear.

How was the process of making an album during the pandemic?

It was not easy. Luckily, two or three of the songs we had already written prior to the pandemic. We did a lot of Zoom calls. But I also found it challenging in terms of content, because the only thing that was on my mind is everybody being locked down and the realities that we're living in. So I was a little stressed about that, but then I realized this is something that everybody is feeling right now. The frustration, the heartbreak, the pent-up energy—whatever it may be, let's write to that. That's kind of how "Paradise" and "How You Been" came to life. 

Young K from DAY6 wrote four out of the five songs on the mini-album. How did that collaboration happen?

I'd worked with him in the past on some songs that haven't been released, but he's a great lyricist. I was in California and I texted him, "Hey, I have a bunch of songs. I need lyrics. Would you be down to work on these with me?" And he quickly responded "yes" on them all. And then we just started the process of collaborating. 

You've worked with some amazing producers in the past, including Timbaland. Are there any other producers you would like to work with in the future?

Oh man, so many. Ryan Tedder, Max Martin, Jack Antonoff. Lauv, [with whom] I've worked with, but not directly. I'd love to work with him again, and Michael Pollack.

2020 has seen some real shifts in social dynamics: racism against East Asians in the U.S., the killing of George Floyd, the Black Lives Matter movement. Do you think those social dynamics are going to impact the Korean music industry?

I really don't know how it's going to affect the Korean industry, because I feel like in Korea, people feel very far-removed from the realities that are going on outside of Korea. So I'm sure while people may be more sensitive to it, and maybe more cognizant to what's going on, I don't know exactly how that will change the industry itself. Does that make sense? 

It does.

The one thing that we strive for—not as a Korean artist or not as somebody working [or] living in Korea, just as humans, as a citizen of the world—is for more dialogue and for social change. I think it's something that's needed. I think it's something that's way overdue. I can't wait for somebody to say, "OK, let's open up dialogue and have public discourse in a healthy manner so that we can all learn from these experiences that we're having."

If there were any three songs in the entire history of music that you wish you could have written, what three songs would they be?

Adele's "Someone Like You". I think that was a song that truly captivated the entire world. And it was a song that anyone and everybody could relate to globally. "Blackbird" by The Beatles. And I'm going to go with a collaboration: Alicia Keys and Usher, "My Boo." I love that song: two of my most favorite artists growing up in one song together.

What was the moment in your career where you wanted to pick up the phone and say, "Mom, I made it"?

I feel like I have an imposter syndrome where I'm like, "Why am I here?" You think about it, like, I was this kid from Atlanta, Ga. I can barely speak Korean. I'm the one of the few active people from three seasons of that one TV show. But I think it's the tours. It's so wild to be able to say that I can do shows in front of thousands of people and have them sing my songs in Korean and in English—that is wild to me. 

How did you become the go-to person in South Korea for A-list Hollywood interviews?

I had to do all these different TV shows all the time. They were putting me on TV to become a reporter for international people coming in. That really kick-started my career, because for the first time in Korea, I was asking very straightforward questions. One of my first interviews was Robert Downey Jr. for Iron Man. Then the movie houses started calling: "Hey, we'll fly you out to London to meet with the cast of Justice League. We'll fly you out to Hong Kong to meet with Benedict Cumberbatch. And that's kind of how it happened. 

Is there anything else about The Other Side you'd like to share?

I think this is an album that is, hopefully, just going to continue to help progress my music. But my hope is that in the next year or two, I can really start to make bigger moves on a more international level, in the States and Europe [and] in Latin America, that are interesting. Fight for acceptance, fight for representation, but also at its core, great music and content. 

BTS Talk New Album 'Map Of The Soul: 7': "The Genre Is BTS"

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Dua Lipa

Dua Lipa

Photo: Hugo Comte

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Dua Lipa Talks 'Club Future Nostalgia,' Working With Madonna And How She's Navigating The Music Industry In The COVID-19 Era

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The GRAMMY-winning pop superstar tells GRAMMY.com about the creative process behind her newly released remix album, the project's high-profile collaborations and the challenges of releasing music during the coronavirus age
Lucas Villa
GRAMMYs
Aug 29, 2020 - 5:33 pm

Club Future Nostalgia is open for business. As clubs and bar spaces around the world remained closed during the COVID-19 era, British pop superstar Dua Lipa has created a virtual club experience with Club Future Nostalgia, her newly released remix album she developed and curated alongside Chicago DJ/producer The Blessed Madonna while in quarantine.

Released Friday (Aug. 28), Club Future Nostalgia remixes all the tracks off her latest album, Future Nostalgia, which Lipa dropped in late March just as the coronavirus pandemic began to spread widely around the world. The remix album, which features contributions from fellow Brits like Mark Ronson, Joe Goddard, Paul Woolford and Jacques Lu Cont as well as American and international electronic DJs/producers like Jayda G, Masters At Work, Yaeji and others, reimagines Future Nostalgia into a nearly hour-long set that spans '80s soul and '90s house music to today's Lipa-led disco-pop revival. 

Other artists featured on the album include the Queen Of Pop, Madonna, and hip-hop icon Missy Elliott, who both guest on The Blessed Madonna's funky "Levitating" remix, as well as Gwen Stefani and K-pop princesses BLACKPINK.

The album's unique creative setting was central to the creation of Club Future Nostalgia, Lipa says. 

"It was the perfect opportunity to create something like this," Lipa tells GRAMMY.com by phone. "I had what felt like all the time in the world, and everyone's at home. It doesn't really happen so often that you get the opportunity to collaborate with all these incredible producers and artists. I think it was of-the-moment that I was able to snap everyone up, especially The Blessed Madonna, who would've been on tour by [that] time. This album really came to be because of the current climate."

Five years ago this month, Lipa launched her career with the release of her debut single, "New Love." It would take more singles to build some buzz and nearly two years for her 2017 self-titled debut album to see the light of day. After a slow-burn success, she wowed the world with her 2017 breakthrough hit, "New Rules." Never limiting her musical horizons, she next delved into dance music via collaborations with Calvin Harris ("One Kiss") and Silk City ("Electricity"), Mark Ronson and Diplo's supergroup duo. The latter garnered her a GRAMMY win for Best Dance Recording in 2019. That same night, she also took home the coveted Best New Artist GRAMMY.

With the breakout success of Future Nostalgia further solidifying Lipa's name in the music industry, she's reached a point in her career where she can do as she pleases. She now has a Billboard Hot Latin Songs chart-topper under her belt with "Un Día (One Day)," a collaboration with J Balvin, Bad Bunny and Tainy. The sky's the limit for Lipa, but what she wants most is for her fans to find joy in Club Future Nostalgia. 

Dua Lipa chatted with GRAMMY.com about the creative process behind Club Future Nostalgia, the album's high-profile remixes and collaborations and the challenges of releasing music in the age of COVID-19.

How did you manage to get Madonna on the "Levitating" remix?

It was very much a manifestation thing. I was thinking out loud. I was just talking with my manager and I was like, "You know who would sound really good on this? Madonna." And he said, "You know, we could try. We could send it to her and see if she likes it." She responded and she was so down. I was over the moon. I couldn't believe that she wanted to do this record with me. I'm such a fan. It was really exciting.

How did Gwen Stefani get involved with the "Physical" remix?

Oh my God! She is my queen. She's just amazing. When I got to interview her for "Jimmy Kimmel [Live!]," she was such a ball of light and energy. It was one of those things that just happened by chance. We had the "Hollaback Girl" sample on the remix album and we were contacting her and her team to get it cleared. I was like, "While we're at it, we should just ask her if she wants to be on the record." She was so down. She loved the "Physical" remix that Mark Ronson did. She was totally up for jumping on it. When I was waiting for her vocal to come in, I was jumping around like a 5-year-old. I was so excited.

"Physical" sounds like it was made for Gwen. She sounds great on it.

Yeah, she snapped! [Laughs.]

What was the experience like to work with BLACKPINK on "Kiss And Make Up"?

On the original version, it was really cool and fun. I had written "Kiss And Make Up" probably a year and a bit before it came out. It didn't quite fit with my album at the time, and I wanted to put it out, but I wanted it to be really special. 

I did a show in Seoul. [BLACKPINK's] Jennie and Lisa came to the show to hang out. We had an absolute blast. Immediately after hanging out with them, I was like, "I have a crazy idea. I have this song and I would love for you guys to be on it." They were so up for it and they went in the studio and translated the lyrics. It worked out so perfectly. It's one of my favorite collaborations that I've done.

The album comes with an extensive animated visualizer. Where did the idea for that come from?

Being in quarantine and lockdown, I had to think outside the box. While I was preparing the "Hallucinate" video, which I ended up doing an animation for with the animator Lisha Tan, who is amazing; it was so exciting to do that with her. I thought, "What a perfect time to try to get as many incredible and fun animators to bring their own world with every song." That's what we did with the remix album, where every producer and DJ threw their flavor and take on it. I thought it was the perfect pairing to create an animated visual video. 

Again, during this time, when would I ever be able to have the opportunity to work with so many incredible animators and artists? It's been an amazing thing to see so many people come together to create this record. A lot of time, effort and love has been put into it. It's been a fun way to reimagine the album.

There's a disco-pop revival happening in music right now. Future Nostalgia is one of the albums leading the way. Why did you decide to take that direction?

Thank you. That's such a compliment for me, especially from my first album moving into my next. I wanted to do something that felt fresh and new, something that touched on a memory, something that always rings so true to me, especially in my childhood. To be able to recreate that in a modern way was an absolute dream for me. I'm so happy that I stood by and honed in on that sound that I love. It makes me feel so good. I'm really proud of this record because I feel like I found my [footing] as an artist and as a songwriter. I really wrote things that I absolutely love. It's definitely a milestone for me in my career.

Future Nostalgia was also one of the first major albums to be released at the beginning of the coronavirus pandemic. What was that experience like?

At times, especially a couple days before, it was scary. It was a time of uncertainty that I was like, "I don't even know if people need my music right now." I was scared that maybe it won't get received well or that it would come across as tone-deaf because there was so much suffering. 

In the preparation to put it out, I remembered that I created this record to get away from any pressures or anxieties from the outside world. The album made me feel happy and want to dance. That persuaded me, like maybe this would at least get people's minds off what's going on and make them want to dance and feel happy. 

I'm grateful for the way people responded and the messages and videos I was sent. All the love that was pouring in—I was so happy. It still makes me so excited when people are like, "Thank you, because it was like the soundtrack to all our workouts and motivated us to stay fit during this quarantine." [Laughs.]

What was the experience like to work with J Balvin, Bad Bunny and Tainy on "Un Día (One Day)"?

It was really fun. They have such great energies, such lovely boys. What I love to do with the collaborations I do is always something that people don't expect me to do, something that's a little bit outside of my comfort zone. I love to experiment. I love to surprise people and learn so much from my peers. It was such a great experience. I love the song. 

I feel like it's another one that when I listen to it, it immediately transports me somewhere really sunny and warm. I feel like I'm by the beach when I listen to it. It was exciting for me to write to a track that I wouldn't naturally do for my own project. I think that's the magic of music and collaborations at this time. Everything is so genre-bending.

It's been five years since you released your debut single, "New Love." What have you learned about yourself in that time?

I think from five years ago, I really did stick to everything I believed in the beginning. And that was sticking to my vision, talking about my stories and being open and standing by things that I believe in and never backing down and believing in my art. That's something that I told myself five years ago that I stuck by. I always want to grow and learn so much. I really stuck to those words so much, so I feel like it helped me and guided me so much during this process.

You won the GRAMMY for Best New Artist in 2019. How did you feel when that happened?

Oh my God! I literally think I blacked out in that moment because I had to go back and listen to my speech afterwards. I was so nervous that all I did was "umm" and "ahh" because I just couldn't believe it. Like my whole world just exploded right in front of my eyes. It was the most insane thing to have ever happened. To be recognized by my peers and to have the opportunity to be up there was absolutely incredible and surreal. It definitely pushed me to be better and do better and work harder and really stick by what I believe in. I'm really grateful. I wanted to prove that I deserved it. 

You have always used your platform to support the LGBTQ+ community. Do you have a message for your LGBTQ+ fans?

Absolutely. I always believed that everyone deserves to live their truth. Tomorrow isn't promised, so we have to be as loud as we can and be proud. There's so much love and support, and I'm right here for you. I'm here every step of the way, and I love you. Thank you for everything that the LGBTQ+ community has done for me. I couldn't have done it without them.

Dua Lipa Reflects On Her Journey To Pop Stardom: "Absolutely Mental"

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Courtesy Photo: Big Hit Entertainment

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BTS Talk Inspiration Behind "Dynamite," New 2020 Album, Gratitude For ARMY & More

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"Even in the midst of hardships, we must focus on what we can do," the South Korean superstars tell GRAMMY.com
Ana Monroy Yglesias
GRAMMYs
Aug 21, 2020 - 9:00 am

Today, Aug. 21, after several weeks of teasers, K-pop superstars BTS have released their first English language track, "Dynamite," a jubilant disco-tinged bop meant to inspire joy and hope during these difficult times.

"[The inspiration for] it all began from this: even in the midst of hardships, we must focus on what we can do. As for us, we found freedom and happiness in singing and dancing. This song goes to the ones who need encouragement. We hope people feel energized when listening to the song," the chart-topping band recently told GRAMMY.com.

BTS Perform "Dynamite" | Press Play

Even in such an unprecedented year of turmoil and slowdown for the entertainment industry (and virtually everyone), BTS have been able to maintain their stance at the top of the global pop landscape. After having to cancel their massive 2020 Map Of The Soul World Tour, the South Korean group, already having a super engaged online presence with their huge ARMY of dedicated fans, got creative and delivered a lively, colorful—and wildly successful—pay-to-view virtual concert, BANG BANG CON: THE LIVE, in June.

This year, the loveable pop stars also led by example of what it means to be a positive force in the world, using their platform for good in many ways. In June, along with their South Korean management company, Big Hit Entertainment, they donated $1 million to Crew Nation to support out-of-work concert crews and $1 million to the Black Lives Matter Foundation. (Just 24 hours later, the BTS ARMY matched the donation by raising more than $1 million.) They also stood in solidarity with the Black community with a simple yet powerful Tweet that made their stance against racism clear.

And, of course, they've also been busy working on new music, delivering "Stay Gold" and their fourth Japanese album, MAP OF THE SOUL: 7 ~The Journey~, in June and July, respectively. Now, with "Dynamite," we get the first taste of the forthcoming new album they've been focused on crafting.

To hear more about "Dynamite," the upcoming project, the ARMY and other BTS 2020 highlights, we checked in with the dynamic septet (consisting of RM, Jin, SUGA, j-hope, Jimin, V and Jung Kook) over email. Read on to hear more from BTS.

Get To Know K-Pop Kings BTS | For The Record

What was the inspiration behind your new song, "Dynamite"? What do you hope listeners feel when they hear it?

BTS: It all began from this: even in the midst of hardships, we must focus on what we can do. As for us, we found freedom and happiness in singing and dancing. This song goes to the ones who need encouragement. We hope people feel energized when listening to the song.

More: BTS Talk New Album 'Map Of The Soul: 7': "The Genre Is BTS"

"Dynamite" is your first song sung/rapped fully in English--how did you prepare for the recording and who wrote the lyrics?

BTS: It was a new challenge for us as well. The lyrics, which are exactly what we wanted to say to our listeners, were written by David Stewart and Jessica Agombar. At the first try, it sounded fresh and perfect as it is in English, and throughout the whole process of recording, we've strived to get the message delivered flawlessly in English. 

Can you tell us more about the new album you've said is coming later this year? What kind of sounds and themes are you exploring on this project?

BTS: We're currently working on a new album and sharing the process with our fans via livestream. Each member's input has been significant for this particular one, so we're kind of doing everything we've wanted to try. It's slated for later this year and more details are coming soon.

BTS Live!: iHeartRadio Fest 2020: BTS, Miley Cyrus, Usher, Migos, Coldplay & More To Play COVID-19 Adherent Concert

In February, Map Of The Soul: 7 became your fourth album to debut at No. 1 on the Billboard 200, with your highest first-week numbers yet. What does the success of this album mean to you?

BTS: We cannot be thankful enough to our fans. They made this possible.

Iconic Idols: K-Pop Phenoms BTS Keep Breaking Records: Here's Why

You've all released music as solo artists—what does it feel like working on your individual projects versus BTS? What's the biggest thing you've each learned from your solo projects?

RM: It feels like I have two completely different identities. Working as BTS, I have to be considerate of others, but at times it also means I just have to do my part well and the rest will roll. When working individually, I definitely have more freedom but less of the sense of comfort and belonging I can feel when working with the other BTS members.

Jin: I can do whatever I want when I work alone, whereas we all need to be on the same page on concepts, melodies and lyrics for a collective project.

SUGA: [For me,] there's not much of a difference in terms of process. It's just really encouraging to have my team by my side and work together on a BTS album.

j-hope: I get to know about my shortcomings from a solo project. We have many people participating in our team projects, including producers. But a solo project is a direct result of the planning and execution done by myself, which helps me better understand feedback from the public—those are valuable takeaways.

Jimin: I focus more on my personal thoughts when I work alone, whereas working together allows me to contemplate more on the things we experience as a team. I also believe that solo projects are additional activities enabled by BTS.

V: I'm currently working on my own mixtape and I must admit there's a lot of pressure. I think there's more to think about compared to group projects. 

Jung Kook: I don't think I can call myself a solo artist yet since I'm short of many things. I really need to improve. I'll keep listening and making music until I'm able to come up with something on my own. 

Your virtual BANG BANG CON show was a huge success—what did it feel like to all of you to connect to the ARMY in this way? Do you think you'll plan another one?

BTS: We were so happy to be performing for our fans. Yes, we did miss their loud cheers, but we gave it our all thanks to the love sent by our fans from near and far. We're actually holding another show in October called "BTS MAP OF THE SOUL ON:E" and this time it will be both virtual and offline. We're so excited and thrilled to finally meet our fans in person.

As a group, you've stood in solidarity with Black Lives Matter on Twitter and with a generous donation in partnership with Big Hit. As non-Black allies, why is it important for the group to speak out and join the Black community in solidarity?

BTS: We think our Twitter message speaks for itself. We stand against racial discrimination and condemn violence. We all have the right to be respected. It doesn't matter whether we are non-Black or not. 

Watch More: BTS On The Creative Process, Breaking Records, Their Responsibility As Artists & More

What's next on the horizon for BTS?

BTS: As we mentioned, we have a show in October and an album coming later this year. And we have lots of things prepared surrounding "Dynamite," so everyone better keep their eyes on the ball!

K-Pop Phenom Eric Nam Talks New Mini-Album 'The Other Side' And Life As One Of Korea's Biggest Stars

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Melody Thornton

Melody Thornton

Photo: Strangers In A Fire

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Melody Thornton On How Her Comeback EP 'Lioness Eyes' Reshaped Her Musical Identity

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The GRAMMY-nominated singer tells GRAMMY.com why she skipped out on the Pussycat Dolls reunion and how she carved her own artistic path after life in the "mega-huge pop group"
Bianca Gracie
GRAMMYs
Aug 16, 2020 - 1:19 pm

What does one do after surviving the whirlwind of being in one of the world's biggest pop groups? Some artists may try to hold onto that success. But in the case of Melody Thornton, she left it all behind.

After joining The Pussycat Dolls in 2003, Thornton left the group in 2010, the year the ensemble disbanded, to figure out who she was as a solo artist. The singer independently released her debut mixtape, P.O.Y.B.L, in 2012, and after a winding road of one-off singles, she's now returned with Lioness Eyes, her first project in eight years.

Released earlier this month (Aug. 7), the seven-track EP is more of an emotional release: With each song, Thornton slowly rediscovers herself. Taking notes from brooding singers like Nancy Sinatra and Eartha Kitt, cinematic scores such as Quentin Tarantino's Kill Bill and Thornton's own Arizona upbringing, Lioness Eyes is a self-reflective journey set to an Italian-Western-inspired soundtrack. 

"This crossroad that I met won't conquer me," Thornton croons on the haunting opener "Pray For Me." The song and lyrics embody the EP's concept, where she takes risks without the constraints of a major label. (She's remained an independent artist since her departure from The Pussycat Dolls).

"It's just really nice that somebody understands what I've been trying to say, because it's been a long road. It's nobody's fault when you are introduced a certain way," Thornton tells GRAMMY.com over Zoom. She gets emotional for a moment, and it's clear the EP's process was a weight lifted. "But I started realizing how every great female artist in the '90s was associated with a film: Whitney Houston, Celine Dion, Barbara Streisand, Bette Midler. That really resonated with me and how I wanted to have my own soundtrack."

GRAMMY.com spoke with Melody Thornton about the journey that led to the Lioness Eyes EP, how she drew inspiration from her Mexican and Southern Black heritage and how she regained her musical identity.

I'm going to get this out of the way now: Why did you decide to opt out of last year's Pussycat Dolls reunion?

My introduction to the industry just happened to be this mega-huge pop group, you know? It was really just a starting point [for my career]. I was 19 when I joined the group, but honestly, my maturity level was probably like 15 years old. I had no idea about the world and never left home before. 

I don't think the label ever considered that we were only going to release two albums. So all throughout [that time], I just needed people to know that I sang. It didn't seem like a situation that was going to last forever. But it did leave me in limbo with respect to who I am as a vocalist and developing myself artistically. I don't know whether or not there were plans to extend the group and record more music. I think life is meant to be abundant, and you've got to keep moving forward. 

So returning [to the group] wasn't the right thing for me. I do wish them all the best and hopefully they wish me the best because we come from the same place. It's recycled energy. But my focus is this music that I write. Look at this pandemic, you know? You just gotta live your life. You get to a certain point where you go where you are loved and where you can be successful. 

You were thrown into stardom because the group was immediately successful. Was it difficult to re-establish yourself after leaving?

Yeah, it was challenging. There were so many elements, like, "How am I going to pay my bills?" The more people involved, the more money is being divided. The type of music that we made is not the kind of singer that I am. So there were a lot of unraveling layers. I didn't want to create another rabbit hole that I could not get out of. I just tried to stick to my guns, and I released a mixtape in 2012 [P.O.Y.B.L] that took really popular instruments from the '60s.

The mixtape had retro elements, but with a modern twist.

Yes! I made it a free project to get people thinking of me in a different way. Then after that, I needed to find normalcy. The industry is just wacky. When you're just chugging along to something that is not the common man's day-to-day, it's a little bit scary because it's almost like you're becoming more and more accustomed to dysfunction. I did not want that. I still want to be able to go to the hardware store with my dad and be present. So I actually did take a step back to say, "This is Hollywood. Don't get lost in that thing." Now I've come back with a clear mind.

We've known you for having such a particular sound for years with PCD, and then you moved away from that radio-friendly pop. How did you figure out your musical identity? 

I love [The Pussycat Dolls' 2005 debut single] "Don't Cha." I didn't at first, but I understand why record labels liked it. Growing up in the '90s, Anita Baker didn't sound like Betty Wright. Paula Abdul didn't sound like Janet Jackson. Everybody had their own thing. It was a beautiful platter of all of these different vocalists who have a musical identity. 

Fast-forward to the '00s when I got into the game alongside Napster and labels being like, "I want my money back." I realized that a lot of songs sounded the same. You saw it in the pop game where Christina Aguilera was obviously talented vocally, but she was pushed to compete with Britney Spears. 

So to avoid that, it came down to me understanding that I have to fund myself if I want to carve my own path. It was really important for me to [ask myself], "Who are you? What do you want to say?" I'm giving up my house, my car. I'm putting everything in storage and going to live on tour. I'm gonna play Rachel Marron, Whitney Houston's character in The Bodyguard, for five months in mainland China. It took me years to do that, but it was a commitment that I was willing to make.

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You've become this one-woman show: co-producing your songs, producing photoshoots and even doing your own hair. Is that more you wanting to make sure the vision is executed properly without different voices tainting it?

I'm always open to collaboration as long as someone understands what I'm trying to say 'cause that's how a lot of the writing process is with me. But when it comes to fashion, my mom came from Mexico when she was 15 and she taught me how to sew. She was always really big on doing things your way, no matter what there is out there. If you don't have the money for it, you can make it. Don't get me wrong, I look forward to a day where I don't have to do it all. 

But I'm happy to put in that extra time for makeup. I come from a pop group. There was a long time where I was like, "Hi, I need a Black makeup artist. Don't make me look ashy please!" I remember one of my bandmates laughing with me when we were standing outside. I was like, "You see this gray pavement on the sidewalk? Look at my face. How's this any different?" I lost my hair at one point because [the label] was like, "Let's get her some Beyoncé-looking hair!" So they sent me to somebody and she bleached my head six times. All of that led to me being in a position to do all of these things for myself.

That explains why the Lioness Eyes rollout has been so consistent. The music, videos and promotional photos all have an Old Hollywood-inspired throughline. Were you inspired by any particular films?

I just love Kill Bill. I love the editing from the '70s with all the panning because they only had like two lenses. So they had to be more creative. There's actually this low-budget film called The Good Witch. The storyline is all over the place, but I loved the fashion. The lead actress really committed to this softer, Jackie O-inspired voice. I also love this documentary about Maria Callas. She was an opera singer in the '50s. She was not delicate at all—she was a real diva.

I'm actually glad you brought up Kill Bill. When I first heard "Love Will Return," it immediately reminded me of Quentin Tarantino's signature film scores. 

If you listen to this body of music, it's a combination of cowboys and natives. My mom's mom was a phenomenal vocalist. She just passed away in March, and she's from Mexico. So the kind of music that she listened to actually sounds like [Tarantino's scores]. 

It's the Native American flute that stands out.

If you listen to José José, or I know my mom used to love Eydie Gormé, it's just this really romantic music. A lot of Tarantino's films use that Western sound because it is so cinematic.

Well speaking of cinematic, the EP is just that. It's a love story where the main character is falling deep, but learns she doesn't need a relationship. But it also reveals your personal story.

Yes, exactly. By the time you get to the final track, it's a whole new person. I think a lot of people can relate, and that's why I describe [the EP] as going from innocence to experience. From a woman's perspective, you do turn a corner somewhere where you're like, "I don't care. I'm not doing that." It's not because you're a b*tch or you're jaded. I need to now be very clear about where I'm going. 

I do think it reflects in the eyes, hence the name. I know when I meet a woman, I can see it in her eyes that she's got it together. With "Phoenix Rise," it's about not hiding behind anyone and running towards your fear. You can bypass some of that pain, but experience builds character. 

You previously mentioned that Nancy Sinatra and Eartha Kitt inspired the EP, but I also hear a bit of Brenda Lee and even the Shangri-Las. 

Shirley Bassey is a big one, especially with Goldfinger and all the other James Bond film soundtracks. The thing about Eartha Kitt that I love so much is that she was not concerned about being in a box. I love how those Black women really pushed against [the norm]. We should be able to do anything and have it be Black music.

The idea of Black artists being multifaceted still isn't the norm.

And let's not box ourselves in. From our ancestors who have molded us through evolution, we're good at taking something and making a whole meal out of it. So with Black music, I feel the same way. You know, at one point, they were calling Whitney Houston "Whitey Whitney." We cannot do that to each other. We should all be able to try [all genres]. I'm Black, so I'm making Black music.

You brought up the concept of seeing the light in a woman's eyes earlier. But as I'm looking through your own eyes right now, how do you want to be seen? 

I spent a lot of time in my 20s getting past being concerned how anybody sees me. I trust myself. Even if others say, "Why would you do that?" I know what is best for me, and I'm committed to that. I'm not in any way a role model. But hopefully, people find strength and empowerment through the music.

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Hit-Boy attends the 2020 GRAMMY Awards

Hit-Boy attends the 2020 GRAMMY Awards

Photo: Frazer Harrison/Getty Images for The Recording Academy

 
News

Hit-Boy On Producing Big Sean's 'Detroit 2' And Nas' 'King's Disease,' Carving His Own Path As An Artist

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The two-time GRAMMY-winning superproducer tells GRAMMY.com about his creative process behind some of the biggest hip-hop albums of 2020 and how he's paving a path as a rapper in his own right
John Ochoa
GRAMMYs
Sep 5, 2020 - 5:19 pm

Hit-Boy might be music's busiest person in 2020. Across a four-month timespan, the two-time GRAMMY-winning superproducer quarterbacked four of the biggest projects in rap this year. In May, he dropped the fourth and final installment of his The Chauncey Hollis Project solo series, followed by Also Known As Courtesy Of Half-A-Mil, his collaborative album with Dom Kennedy, in July. He followed up with King's Disease, the 13th album from rap icon Nas, in August, and Big Sean's fresh-out-the-oven Detroit 2, released Friday (Sept. 4)—both of which he executive-produced. 

But for Hit-Boy, it's just another day in the office.

"It's too many artists trying to tap in for me to just work on one thing at a time, but I still am able to give my focus," he tells GRAMMY.com on the eve of the release of Detroit 2. "It's like quantity and quality. I don't know how to explain it right now."

With his mind on his music and his music on his mind, Hit-Boy is used to juggling a packed calendar in the studio. He's kept a 24/7-schedule since first breaking into the industry in the late 2000s. He's since become one of the go-to producers in the game, creating hits for everyone from Kanye West to Beyoncé to Mariah Carey. The versatile creative sees genre-hopping as a learning experience.

"I just get to learn more about different ways people make music," he says of his broad production style. "People in the pop world are totally different from people who make beats for Big Sean and JAY-Z … I honestly just like to learn, no matter what type of music it is."

Hit-Boy, who started off rapping before transitioning to making beats, is also busy carving his own lane as an artist. His new solo album, The Chauncey Hollis Project, and his team-up with Dom Kennedy, Also Known As, see him switching from behind the board as a producer to in front of the mic as a rapper. It's the latest progression in Hit-Boy's ever-evolving creative journey.

"I'm gonna just keep developing, just keep working, man," he says of his next steps. "It's a never-ending process for me."

GRAMMY.com caught up with Hit-Boy to talk about his creative process behind Big Sean's Detroit 2 and Nas' King's Disease, how the COVID-19 pandemic has impacted his artistic approach and how he's paving a path as a rapper in his own right.

You've worked with just about everyone in music, from Kanye West to Jennifer Lopez to Beyoncé. Do you ever get nervous or anxious when you work with a huge superstar?

Earlier in my career, yeah. I definitely used to get a little nervous, but I always just believed I had something, even if all of it wasn't great. I know I have something in the batch that was going to catch people's attention. That's the same method I take on now, but I've just advanced so much at just being a musician and locking in on making beats ... Now that I got that science figured out, I'm just on damn near autopilot right now. I'm just getting placement after placement.

It sounds like you're in high demand. How do you juggle it all? Are you working on multiple projects at once? Or do you stay exclusively focused on one album or one project from beginning to end?

It's too many artists trying to tap in for me to just work on one thing at a time, but I still am able to give my focus. Like with Nas' album, King's Disease, we made time for our sessions, made sure there wasn't too many people around and locked in. My relationship with [Big] Sean—I've got a bunch of stuff on Detroit 2. I was able to still be in the zone, working on his sh*t, then also do a Nas album in the middle of that, and then work on Polo G's album and work on all this other sh*t I got going.

I feel like my method is like: Get to the studio before people show up, make as many tight beats as I can, all type of styles. Then whoever comes through that day, I'm going to have at least one or two that's going to catch your ear ...

It comes from me having my label deal and more so trying to focus on, I feel like, what was too many things at one time, which was trying to be an artist myself, signing a bunch of artists, trying to be a hot producer, trying to produce for everybody at once. That was too much, but now ... I work with whoever comes in my realm and respects what I do ... It's like quantity and quality. I don't know how to explain it right now.

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You recently executive-produced Nas' latest album, King's Disease. Can you talk about the creative and production process behind that album?

I mean, obviously he's Nas. You know what I'm saying? Certain people know me—I'm Hit-Boy. But it's like, let's remove that and let's just try to make songs, let's just try to make records ... You could still pop your sh*t and talk about what you want to, but at the same time, let's just make this as enjoyable as possible. When we was going in, we just was letting the room lead the way and the energy was taking us to every next piece of the puzzle.

I just knew that it was a high standard with this project. People was going to really click play on this, and if it was whack, they was gonna let me know. So for so many people I respect, like younger producers like Metro [Boomin], like Pi'erre [Bourne], Tay Keith, and then I got people like Timbaland, Swizz [Beatz] and all these OGs also reaching out [and] just showing respect—that just shows me [that] this hit the core of music lovers. People who really listening, they understanding this is really quality sh*t.

You also executive-produced the new Big Sean album, Detroit 2. What sort of vibe or sound did you try to create on that album?

I just wanted everything to sound modern, even like some of the soulful [songs]. The song we dropped with [Nipsey Hussle], rest in peace, "Deep Reverence"—it's like a real throwback, Roc-A-Fella-ish sample vibe, but then the drums sound modern; they sound new. So I kinda kept that through the whole project. It's just remnants of music we enjoyed, but it's placed in a modern way, so definitely just trying to make sure it was just a fresh sound.

You mentioned a bunch of artists coming into your studio. Are you currently producing with artists in-person? Or are you working mostly virtually and remotely due to the COVID-19 pandemic?

We started the Nas album before the pandemic hit. That's what's crazy: We named it King's Disease before we even knew about the corona. Giving us that time during the pandemic when it was super shut down, we got to really sit and just really produce the record like how we wanted to. That was a good thing.

I'm kinda doing it both ways. People been hitting me [up] crazy. I've been emailing stuff out, but we always get the better connection when it's in-person. Me and [Big] Sean, we worked on all our stuff just face-to-face. I'm cooking beats from scratch. We really just building it from the ground up, so it's always good to do it that way. But if you do have to email, there's nothing wrong with that either.

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What do you lose and what do you gain from producing virtually and working remotely compared to working with someone in-person?

You just get more of a connection when you work in-person. You're able to get that instant feedback ... It just makes it easier to navigate. When you [send it], you're just kind of shooting blind and just hoping that the person connects with the beat you sent. It's just two different things. They both worked out for me, personally, I have to say. I feel like my best beats come when I'm just dolo, just vibing out, zoning out and just letting whatever come to me. But I also been tapping into just making a lot more beats with people, too. It's just all music at the end of the day.

Behind The Board: Hit-Boy 

Speaking of the pandemic, we've been in quarantine for a long time now. You're in and out of it in your studio. How has this pandemic and quarantine era impacted your creativity?

I honestly feel like I'm more creative than ever ... My son was born right when we went into quarantine, within a day or two. It's just been good for me to have his energy and be able to spend more time with him and not have to fly out [to] no places and doing even more than I'm already doing. I feel like it's just been a blessing for me, for real. It's just looking good, so I'm trying to keep the energy up.

In addition to your production work, you're also an artist. You're able to switch from behind the board as a producer to in front of the mic as a rapper. What kind of challenges come with that creative duality?

Man, it's kind of all just music to me ... Like sometimes, I might not even rap on my own beat; I get beats from other people. I'm able to just separate it that way. I'm not looking at it like, "Oh, I'm Hit-Boy. I'm about to make a song." I'm just like, "I'm about to say what needs to be said on [this beat]." Then when I make the beat, it kinda make me even more tapped in because I can get into the Hit-Boy bag and then just still give it that honest perspective.

What are you developing to carve a lane for yourself as Hit-Boy, the artist?

I'm just recording ... I put out The Chauncey Hollis Project. I did that in installments. I put out three songs at a time until it equaled 12 songs. That was just a moment for me, just being honest, just talking about my life, where I've been, where I'm going, what I'm on now. Just more of that, you know what I'm saying? More projects, more and more people featuring on my music now because I'm working with so many artists. They be hearing my sh*t. They like, "OK, I want to hop on this." I'm gonna just keep developing, just keep working, man. It's a never-ending process for me.

As a producer, you're switching from producing harder rappers like Travis Scott and Clipse to pop stars like Ariana Grande and Selena Gomez. Creatively, what do you gain from jumping around genres like that?

I just get to learn more about different ways people make music. People in the pop world are totally different from people who make beats for Big Sean and JAY-Z and stuff like that, for the most part. There are some people that can hop in multiple lanes, but not everybody can do that. I honestly just like to learn, no matter what type of music it is.

What are some other genres that you are curious to explore that you haven't explored yet?

Like some hardcore rock 'n' roll sh*t. Who knows, man? Country, I haven't done no serious country records. I'm down to just try whatever, as long as it makes sense and I could still really feel the music.

We're almost at the end of the year, which is crazy to think about. What do you have left in the pipeline for 2020?

We've got, obviously tonight, that Big Sean, Detroit 2. Then I got an album with Benny The Butcher that's dropping; we got some dope features on that, some dope, soulful production. I feel like that was the thing with the Nas album. People saw I was producing that, they was like, "He known for club records and 'N****s in Paris.' But what can he give Nas?" 

And then once people heard it, it was like, "OK, we get it now." I feel like with the Benny project, it's going to be [an] even deeper thing. He's a new artist, so it's just a blank canvas to be able to paint something that could be something crazy.

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How do you compare working with newer artists like Benny The Butcher and superstars like Beyoncé and Kanye West?

They both hungry for this sh*t. Beyoncé, she work like a new artist, too. But Benny, he got some crazy, hungry—just really coming from the streets and coming from his background. For him, coming to the studio, he be like, "Man, this sh*t fly that we in the studio together." I feel the same way. He really taking advantage of the moment. When we in there, when I'm playing some sh*t, he understands what's going on. He just attacking everything with the highest intensity.

So we should keep an eye on Benny The Butcher is what you're saying.

One-thousand percent.

You released the fourth and final installment of your The Chauncey Hollis Project solo series in May, followed by Also Known As Courtesy Of Half-A-Mil, your collab album with Dom Kennedy, in July. What do those two albums offer as separate entities?

The music I make with Dom has just got its own specific feeling. And I went for just soulful, just giving people an honest me on my project. That's what I always try to do on every song. But with [Also Known As], we always just kind of create a vibe, something that females can mess with, and then you can just ride to it ... We always just creating music. We always just recording ...

Those two albums put you directly in the artist seat. Where can we expect those two artist projects to go next?

Honestly, I can't even call it, bro, because I was just moving off instinct. When I decided to drop the first installment [of The Chauncey Hollis Project], the first three songs, it was the night before. I just had recorded the songs, started mixing them, and I was like, "Man, I want to drop this sh*t." I made the decision [to drop it] Wednesday, [then] dropped it Thursday ... 

I still got people hitting me, people DMing me daily, listening to The Chauncey Hollis Project, listening to [Also Known As], people in they ride playing it. It's like, "OK, we headed in the right direction." So I can't even call it, man. You never know how this thing is going to go. But I'm just going to continue to make the music that I feel, and hopefully people connect with it.

Go with the flow.

Yup. We one song, one project at a time.

Are you always thinking about music, 24/7?

I am, man. That goes back to when I said I had my artist [deal] and I was working with Kanye and I was working with Beyoncé and JAY-Z. I had a point where I was like, "Man, I'm definitely not even taking no sessions if it's not Kanye, JAY-Z or Beyoncé." That's a crazy thing to be able to say within your lifetime. I'm not going to say it hurt me, but I feel like I should have been spreading my sound out a little bit more, especially with not having a tag and not having my brand all the way up where I needed it to be.

Now I feel like I've been playing catch-up. That's why I was able to do a bunch of songs on [Big] Sean's sh*t, do a bunch of sh*t on [Nas'] King's Disease, because I'm seeing the field different now. Once I catch that connection with an artist, it's over—we just tapping in. It's something about the type of grooves and the type of beats I'm making right now that makes people want to make songs, so [I'm] really trying to take this sh*t to a different level.

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