It may only have been October, but the atmosphere in Nashville's Quonset Hut Studio on the 19th of that month, way back in 1958, was downright festive.

"We had a Christmas tree up and Christmas lights," recalls four-time GRAMMY nominee Brenda Lee 65 years later, of what would be a fortuitous recording session. "The lights were turned down low. It was wonderful."

Little did she know that one of three songs Lee would cut that day would go onto become an indelible Christmas classic. One of the most instantly-recognizable hits in the holiday music canon, "Rockin' Around the Christmas Tree" has only grown in popularity since its initial release.

Most recently, it vaulted to No. 1 status on the Billboard Hot 100 for the very first time, a record for the longest gap between a song's initial release and hitting No. 1. The milestone also minted Lee as the oldest recording artist to ever top the charts.

"It's honestly still surreal to me whenever I hear it on the radio," Lee told GRAMMY.com mere hours after the jolly news was announced. "It's hard to believe. Of all the songs, I could have never thought that I would have a Christmas standard. But I do, and I'm grateful."

Lee may have been only 13 years-old when she recorded the track, but she  was already a veteran singer by the time she hit her preteen years. After belting out songs weekly in church with a voice respectively husky and sweet, she quickly became a regional success and soon inked a deal with Decca Records.

"When it comes to my label, Decca, I don't have the words," Lee says. "They are the best. And the reason they are the best is that, to this day they don't forget who helped build the label. I'm a part of that, and I'm proud to be a part of that."

Along the way, she joined forces with Owen Bradley, a dynamo producer known for his stable of female singers.

"He was such a songman," says Lee of the country music legend who is considered a chief architect of the Nashville rockabilly sound. "I don't know how he did it, but on his roster he had Patsy Cline, Loretta Lynn, Kitty Wells and me; all the girls." Not that there was any competition: "I don't know how he traveled that road without us having a catfight," she adds, "but we didn't, and we all did well."

Another legendary force who took a liking to Lee was Johnny Marks, the songwriting giant behind classics like "Rudolph The Red Nosed Reindeer" and "A Holly Jolly Christmas." "One of the reasons I got 'Rockin'' was that Johnny said, "I want her to sing it. And if she won't do it, send it back to me.'"

Marks and Lee formed a friendship which would last for the rest of his life. "I used to talk to Johnny just about every day. He was precious. He'd get on the phone and here was his opening line from when I was 13 on was, 'Hi Brenda, it's Johnny! Just wanted to let you know there's not a lot of us older folks left!' I'm like, How old does he think I am?'"

For the "Rockin'" session, Bradley set up a session with a murderer's row of session players, also known as Nashville's A-Team. Among them was the seven-time GRAMMY nominee Floyd Cramer on piano (he'd later top the charts as a solo act with the melancholy piano tune "Last Date") and Hank Garland on the guitar (who can also be heard on the Bobby Helms classic "Jingle Bell Rock" as well as a bevy of Elvis records). Meanwhile, it was Boots Randolph, of "Yakety Sax" fame who ripped through on the song's iconic saxophone solo.

"They were the best of the best, and were like all my big brothers," remembers Lee. "With those guys, nothing was ever written. Whatever they played came from their heart, and that's what you hear in those records. We kept in touch and saw each other over the years, but most of them are not here with us anymore."

Bradley also recruited the Anita Kerr Singers for the back-up vocals which listeners hear right away crooning those carol-esque "Ahhs.". Headed by the three-time GRAMMY-winner Anita Kerr, the vocalists were staples on many of Bradley's productions including notable recordings for Patsy Cline, Willie Nelson and Perry Como.

"Rockin' Around the Christmas Tree" was recorded live, on the spot. "Back then that was the way you did it," Lee says of the method, which amounted to a high-wire act. "I recorded that way until I retired. I never wanted to come in and overdub afterwards. I wanted everybody there." Along with "Rockin'," Lee also recorded the southern Christmas classic "Papa Noel" which boasts mile-a-minute lyrics about a New Orleans-style holiday.

Released the Monday before Thanksgiving in 1958, "Rockin'" was by no means a smash during its initial release; in fact, it barely made a blip. The song  didn't gain popular recognition until the early '60s, as Lee's non-seasonal discography began to grow — including songs like "I'm Sorry" and "Break It To Me Gently" and "Sweet Nothin's."

Lee vividly remembers the moment when the song solidified itself as a Christmas classic. "Somebody called me on the phone: 'Brenda, have you seen that new movie Home Alone?' she said. "I said, 'No, I have not.' They said, 'Your song is all over it.' And I said, ''What song?' And they said 'Rockin!' Well, that was the start of it."

In recent years everyone from Kacey Musgraves and Camila Cabelo to Justin Bieber have released their own rollicking covers. But it's Lee's version that has lasted the test of time. 2023 has not only seen "Rockin'" finally hit No. 1, but this year also saw Lee shoot her first-ever music video for the track.

"What can I say? I want to thank everybody out there who's as big a part of that song as I am," Lee marvels. "It's a testament to good family, good fans, good DJs, good publicist and the list goes on and on. Whenever anybody thinks it's just them, they're gonna look around the corner one day and they're not gonna have a career. You can't get heard if you're not played."

Jessi Colter's New Album Edge Of Forever Is Timeless In Every Sense Of The Word

Brenda Lee keeps her golden gramophone where she can see it, but rest assured, "It's nothing to do with vanity," she told the Recording Academy in the latest edition of Where Do You Keep Your GRAMMY?

The "I'm Sorry" singer, who became a big pop star in the '60s, has been nominated for a GRAMMY four times, but it was her Lifetime Achievement Award that came as a surprise to her. The award "was far beyond anything I'd ever hoped for," she said.

Lee also reminisces about the period of time when she, Peggy Lee, Elvis Presley and Diana Ross were all over the charts. Though longtime producer Owen Bradley and songwriter Ronnie Self contributed to her success, it was country star Red Foley who ultimately helped her get her start in the music industry. "I was just lucky to be a part of that era, I don't think they'll be another one like it," she said. "I truly don't, so I am so proud to be a part of that and to be recognized as a part of that."

Where Do You Keep Your GRAMMY: Michael W. Smith

(Since its inception in 1973, the GRAMMY Hall Of Fame has enshrined nearly 1,000 recordings across all genres. The Making Of … series presents firsthand accounts of the creative process behind some of the essential recordings of the 20th century. You can read more Making Of … accounts, and in-depth insight into the recordings and artists represented in the Hall, in the GRAMMY Hall Of Fame 40th Anniversary Collector’s Edition book.)

I'm Sorry
Brenda Lee
Decca (1960)
Single
Inducted 1999

(As told to Tammy La Gorce)

["I'm Sorry"] was really the first big ballad we had done. Prior to that we had done "Sweet Nothin's" and I had a hit with that, and we had also done “Rockin' Around The Christmas Tree," and that became a hit, but it really hadn't done anything [on the charts] up to that point.

"I'm Sorry" was one of the first songs to come out of Nashville using strings. It was originally an eight-bar song, and we were trying to figure out how to get it to be a 16-bar song, because that's usually what songs are; at eight bars it would have been too short. In any event, I was a big fan [of the Ink Spots] because of my producer, Owen Bradley. And they used to recite words in their songs. So I said, "Why not do a recitation [to lengthen the song]?" And so that's where the recitation in "I'm Sorry" came from.

So when "I'm Sorry" came out and became such a huge hit, that made "Rockin' Around The Christmas Tree" start selling. Then that became a huge, huge hit.

I didn't write "I'm Sorry." The [writers were] Ronnie Self, who wrote "Sweet Nothin's," [and Dub Albritton]. We had no formal arrangements or anything. We all met at the studio, and we had the crème de la crème — the Anita Kerr Singers, [saxophonist] Boots Randolph and [pianist] Floyd Cramer. We all sat down and decided, "I think this should go here [and] this would sound pretty there." It was all just us thinking together because back then we didn't have any arrangements.

We did it in two takes. I was going on 16 years old. I look back on that now, and it seems pretty amazing. But you know, I had been singing since I was 3 years old, so my love of singing was always there. But I never expected to have a big old record like that. I didn't really have an agenda for my talent. I just wanted to be able to sing. That I had those hits was the icing on the cake.

I knew the song was great when I first heard it. We all did. We all felt there was something very, very special about the song.

Now, oh my Lord, every show I do I include "I'm Sorry." If I didn't my audience would be upset. Because it's just like with anybody — they come to hear the songs that got them acquainted with the artist in the first place. And that song has withstood the test of time. But you know, with Owen Bradley, who was just a genius with the team, and Anita Kerr and all the rest, all you needed was the song and the singer. Everything else was there for you, ready to go.

(Tammy La Gorce is a freelance writer whose work appears regularly in The New York Times.)

Grief is 360°, and so are the best albums written about it.

Sorrow-weighted breakthroughs of the past decade, like Sun Kil Moon's Benji and Mount Eerie's A Crow Looked at Me, both grabbed you by the collar and read between the lines. Retro-tinted rockers Shannon and the Clams' new album, The Moon is in the Wrong Place, is no exception.

Out May 10, the band's seventh LP deals with a tragedy in leader Shannon Shaw's life: the loss of her fiancé, Joe Haener, in a freak car accident outside his Aurora, Oregon, family farm. As Shaw picked up the pieces, the songs poured forth — and as bruised as they are, that loss opened vistas of clarity and range in their gritty, mid-century-rock sound.

Take the ascendant highlight "Bean Fields," where Shaw maps Haener's spirit onto the soil he loved. "Gather up, sisters, cousins, and brothers/ Friends, Nan, and Delbert too/ Let's go be where the bugs sing/ And where the pole beans bloom/ We love this land 'cause it's you."

Shaw was concerned about "Bean Fields" being a single. "It's so peppy and joyous and celebratory," she tells GRAMMY.com, with Clams guitarist and vocalist Cody Blanchard in an adjacent Zoom window. "I was afraid of that being a confusing message for people without knowing the rest of the album."

In the end, they made the right call; sometimes harrowing losses, and their attendant life changes, can carry exhilarating headwinds. In short, it's not all doldrums.

And that's why that song — as well as other lush, blooming highlights like "Real or Magic" and "Life is Unfair" — feel right at home on an album borne of sorrow. Read on for an interview with Shaw and Blanchard about the making of the Dan Auerbach-produced album.

This interview has been edited for clarity.

How's the press cycle been, dealing with something this intensely personal?

Shannon Shaw: It's been good. I feel like everyone I've spoken to has been really super respectful and prepared. I think [PR firm] The Oriel did a good job at making sure people that have no idea what this album's about aren't interviewing me. So, that's been a good thing.

It would be weird to talk about anything that doesn't involve grief and loss really, because that's what the album is about. But it's been good. Definitely hard for me, but good.

For a long time after I lost a parent, I resented when people would drag me back into suffering. People would be like, "I'm so sorry," and I'd be like, "I'm chillin', but thank you."

Shaw: Oh, yeah. People have some really bad timing. I think most people are coming from a good place, but yeah, that is weird when fans will try to engage with me about it at really bad times. 

When I'm working and trying to be on, that's when I do not want to go deep. It's hard for me to not go deep, so to just be really surface and thank people for their condolences — I don't want to be surface with it at all. I also do appreciate people trying to be kind, but yeah, there's timing.

What really annoys me is when people want to pretend like it didn't happen. That doesn't happen with any press. More like people purposefully skirting talking about Joe or this experience, or trying to get me to not go there or something. And I know that's also because none of us are trained to talk about grief. It's just so not a part of our culture.

I'm a lot more comfortable really talking about it than pretending my life has been just really f—ing great for the last year and a half. And I love talking about Joe.

Obviously, this traumatic loss was an impetus to make The Moon is in the Wrong Place. But it's not a one-dimensional record, as you're not a one-dimensional person. How did this music start flowing, in any regard?

Shaw: I mean, music started coming to me right away, very soon after [Joe] passed away. And the way that looks is: I'll have either a phrase repeating in my head or a melody, and so I just start singing those little pieces into the recorder on my phone. So I'll have a ton of weird little vocal chunks to sort through later. "Bean Fields" came to me really soon after. Lots of them, really.

"The Vow" is the only one that I had written a lot of before the album. That's the only one, at least on my end, that I'd done before. Because I was going to perform that at our wedding, just that first part.

And I wrote that on guitar, which is unusual for me. I wrote "The Vow" on guitar from chords that Joe taught me, so it was significant in that way.

That song wouldn't exist if it wasn't for Joe, in two ways. If we hadn't had a relationship, that song would never have been written, and if he hadn't taught me a few chords on guitar. He forced me to learn some chords. I was really resistant. But if he hadn't taught me those, I wouldn't have ever written a song on a guitar using chords, probably.

So, that one was just haunting me after I'd already started writing for the album. It was just pissing me off that no one was going to get to hear this semi-collaborative effort from me and Joe, even though Joe never knew it. He never got to hear it.

But yeah, so it happened right away, and I knew that it was going to be all about Joe. I don't know how it couldn't have been.

If someone were to tell me, "I don't think you should write an album like this. That's too sad," or something, I don't think that I could make music ever again. If someone was trying to stop that creative process, I wouldn't even have any interest in writing music, because music is how I process everything.

I'm sure Joe was a kind of co-pilot through this process, even though he's not here anymore.

Shaw: Oh, totally. I feel like I use Joe, and I make a lot of decisions now based on WWJD: what would Joe do? How would Joe feel about this? And I feel like Joe would love anything creative that we're doing to get through this or to learn to live with this.

Blanchard: He also was always pushing people. I mean, not pushing, but quietly encouraging people to make more stuff.

Shaw: Yeah, he was such a good fan. He had so many ideas, always, and was always trying to inspire me about more merch ideas, or, "Why don't you guys do more live karaoke?" Or just always encouraging us to put out more content, because he knew what the people loved. He was very conscious of that stuff.

Was bringing this incredibly raw music to market a strange experience?

Shaw: I was really stressed out about choosing singles because I always think of singles as teasers to represent the whole album, but I believe that in the industry, the way you use singles is different now. They're looking more for things that are going to sell and have a lot of plays because they're really catchy or whatever.

And us musicians, we have to try to keep up with those things because we need to keep this as our job. So, I understand being flexible, but there was this toddler in me that was like, No, I don't want to do it that way. I want songs that are going to be my favorite, most important songs that I feel like represents Joe and this tragedy the most.

But at the same time, I was too scared to use songs that are too intimate. To me, "Real or Magic" — I was really, really resistant to using that song as a single because it's so sad and tender. That's maybe one of the most tender, vulnerable songs I've ever written, and it's about the realest moment I've ever had.

It was the last song I showed the boys because I was so nervous about it, and they really saw a lot of beauty and potential in the song and wanted to make it soar. And then when everyone wanted it as a single, I was just like, "No, it's too sad. It's too intimate. People are going to know everything."

Blanchard: That's what people want, man.

Shaw: Now I'm used to it because I'm building some armor before a tour, but the idea of doing that one every night [was daunting].

People want to hear your singles when you're playing live, and playing that, I was like, "Am I going to be able to play this all the time? How is it going to feel to have people singing that song with us?"

And it turns out it feels good. It's not like people are singing "Real or Magic" and have no idea what it's about. I mean, I'm sure there's lots of people that don't know, but the overall feeling is that people are with us.

Blanchard: I'm conscious of it a lot, because you're playing these songs over and over and you become a little bit numb to them, but they were so intense when we first wrote them. And they're still intense.

We've been doing these weird or silly cover versions of these songs that we're going to start releasing on social media. And we did a version of "Real or Magic" that's ... I don't know, it's not silly, I guess, but it's a totally different vibe.

Humor is a powerful tool amid grief.

Shaw: It's definitely a powerful tool. You're taking a break from the misery, and just letting yourself go, and [allowing yourself] to be free and enjoy [yourself] for a while.

Can you talk about the point where it started to feel like a full-fledged record? Because that's what it is; it's lush and multifaceted. It doesn't feel like a hastily scrawled diary entry.

Shaw: I am glad we were able to get that across. I'm really glad that it doesn't just sound depressed and low all the time. I think it really has an overall positive feeling.

I really feel like the album is kind of like an adventure. I think about Frodo Baggins and Samwise Gamgee going on their adventure, and the album really does a beautiful job at representing the variety or the spectrum of emotions.

I feel really, really proud of that. It's hard to put into words, and I felt it was much easier to put into music.

Marcus King Is Spilling His Guts On Mood Swings — But He's Always Serving The Song

If you were online during the summer of 2022, chances are you’ve heard Pheelz’s viral hit single "Finesse." The swanky Afro-fusion track (featuring fellow Nigerian artist Bnxn) ushered in a world of crossover success for Pheelz, who began his career as a producer for the likes of Omah Lay, Davido, and Fireboy DML.

Born Phillip Kayode Moses, Pheelz’s religious upbringing in Lagos state contributed to his development as a musician. He manned the choir at his father’s church while actively working on his solo music. Those solo efforts garnered praise from his peers and music executives, culminating in Pheelz's debut EP in 2021. Hear Me Out saw Pheelz fully embrace his talent as a vocalist, songwriter, and producer. 

"I feel important, like I’m just molding clay, and I have control over each decision," Pheelz tells GRAMMY.com about creating his own music. 

2022 saw the release of the first two tapes in his Pheelz Good trilogy: Pheelz Good I and Pheelz Good (Triibe Tape), which was almost entirely self-produced. The 29-year-old's consistency has paid off: he produced and sang on Usher’s "Ruin," the lead single from his latest album Coming Home, and also produced the album's title track featuring Burna Boy. But Pheelz isn't only about racking up big-name collaborators; the self-proclaimed African rockstar's forthcoming projects will center on profound vulnerability and interpersonal honesty. First up: Pheelz Good II EP, out May 10, followed by a studio album in late summer.

Both releases will see the multi-hyphenate "being unapologetically myself," Pheelz tells GRAMMY.com. "It will also be me being as vulnerable as I can be. And it’s going to be me embracing my "crayge" [crazy rage]...being myself, and allowing my people to gravitate towards me."

Ahead of his new project, Pheelz spoke with GRAMMY.com about his transition from producer artist, designing all his own 3D cover art, his rockstar aesthetic, and what listeners can expect from Pheelz Good II.

This interview has been edited for clarity.

What sparked your transition from singing in church to realizing your passion for creating music?

For me, it wasn’t really a transition. I just always loved making music so for me I felt like it was just wherever I go to make music, that’s where I wanna be. I would be in church and I was the choirmaster at some point in my life, so I would write songs for Sunday service as well. And then I would go to school as well and write in school, and people heard me and they would love it. And I would want to do more of that as well. 

A friend of my dad played some of my records for the biggest producers in Nigeria back then and took me on as an intern in his studio. I guess that’s the transition from church music into the industry. My brothers and sisters were in the choir, but that came with the job of being the children of the pastor, I guess. None of them really did music like me; I’m the only one who took music as a career and pursued it.

You made a name for yourself as a producer before ever releasing your music, earning Producer Of The Year at Nigeria’s Headies Awards numerous times. What finally pushed you to get into the booth?

I’ve always wanted to get into the booth. The reason why I actually started producing was to produce beats for songs that I had written. I’ve always been in the booth, but always had something holding me back. Like a kind of subconscious feeling over what my childhood has been. I wasn’t really outspoken as a child growing up, so I wouldn’t want people to really hear me and would shy away from the camera in a sense. I think that stuck with me and held me back. 

But then COVID happened and then I caught COVID and I’m like Oh my god and like that [snaps fingers] What I am doing? Why am I not going full steam? Like why do I have all this amazing awesomeness inside of me and no one gets to it because I’m scared of this or that?

There was this phrase that kept ringing in my head: You have to die empty. You can’t leave this earth with all of this gift that God has given you; you have to make sure you empty yourself. And since then, it’s just been back-to-back, which just gave me the courage.  

How did you react to " Finesse" in former President Barack Obama’s annual summer playlist in 2022?

Bro, I reacted crazy but my dad went bananas. [Laughs.] I was really grateful for that moment, but just watching my dad react like that to that experience was the highlight of that moment for me. He's such a fan of Barack Obama and to see that his son’s music is on the playlist, it just made his whole month. Literally. He still talks about it to this day. 

Experiences like that just make me feel very grateful to be here. Life has really been a movie, just watching a movie and just watching God work and being grateful for everything.

At first he [my dad] [didn’t support my career] because every parent wants their child to be a doctor, a lawyer, or an engineer. But when he saw the hunger [I have], and I was stubborn with [wanting] to do music, he just had to let me do it. And now he’s my number one fan. 

Your latest single, "Go Low" arrived just in time for festival season. What was it like exploring the live elements of your art at SXSW and your headlining show in London at the end of April?

I have always wanted to perform live. I’ve always loved performing; Pheelz on stage is the best Pheelz. Coming from church every Sunday, I would perform, lead prayers and worship, so I’ve always wanted to experience that again.

Having to perform live with my band around the world is incredible man. And I’ll forever raise the flag of amazing Afro live music because there’s a difference, you know? [Laughs.] There are so many elements and so many rhythms and so many grooves

I’ve noticed that much of your recent cover art for your singles and EPs is animated or digitally crafted. What’s the significance, if any, of this stylistic choice?

It still goes back to my childhood because I wasn’t expressive as a child; I wouldn’t really talk or say how I felt. I’d rather write about it, write a song about it, write a poem about it, or draw about it. I’d draw this mask and then put how I’m feeling into that character, so if I was angry, the mask would be raging and just angry.

The angry ones were the best ones, so that stuck with me even after I started coming out of my shell and talking and being expressive; that act of drawing a mask still stuck with me. And then I got into 3D, and I made a 3D version of the mask and I made a 3D character of the mask. So I made that the main character, and then I just started making my lyric videos, again post-COVID, and making them [lyric videos] to the characters and making the actual video mine as well.

In the future, I’m gonna get into fashion with the characters, I’m gonna get into animation and cartoons and video games, but I just wanna take it one step at a time with the music first. So, in all of my lyric videos, you get to experience the characters. There’s a fight [scene] among them in one of the lyric videos called "Ewele"; there is the lover boy in the lyric video for "Stand by You"; there are the bad boys in the lyric video for "Balling." They all have their own different characters so hopefully in the near future, I will get to make a feature film with them and just tell their story [and] build a world with them. I make sure I put extra energy into that, make most of them myself so the imprint of my energy is gonna be on it as well because it’s very important to me.

You and Usher have a lengthy working relationship. You first performed together in 2022 at the Global Citizen Festival, then produced/co-wrote "Coming Home" and "Ruin." Take us through the journey of how you two began collaborating.

It started through a meeting with [Epic Records CEO] L.A. Reid; he was telling me about the album that they were working on for Usher and I’m like, "Get me into the studio and lemme see what I can cook up." And they got me into the studio, [with Warner Records A&R] Marc Byers, and I wrote and produced "Coming Home." I already had "Ruin" a year before that. 

["Ruin"] was inspired by a breakup I just went through. Some of the greatest art comes from pain, I guess. That record was gonna be for my album but after I came home I saw how L.A. Reid and Usher reacted and how they loved it. I told them, "I have this other song, and I think you guys would like it for this album." And I played "Ruin," and the rest was history.

Before your upcoming EP, you’ve worked with Pharrell Williams, Kail Uchis, and the Chainsmokers in the studio. What do you consider when selecting potential collaborators?

To be honest, I did not look for these collabs. It was like life just brought them my way, because for me I’m open to any experience. I’m open to life; I do it the best I can at any moment, you understand? 

Having worked with Pharrell now, Dr. Dre, Timbaland, and the Chainsmokers, I’m still shocked at the fact that this is happening. But ultimately, I am grateful for the fact that this is happening. I am proud of myself as well for how far I’ve come. Someone like Timbaland — they are literally the reason why I started producing music; I would literally copy their beats, and try to sound like them growing up. 

[Now] I have them in the same room talking, and we’re teaching and learning, making music and feeding off of each others’ energy. It’s a dream come true, literally.

What's it like working with am electro-pop group like the Chainsmokers? How’d you keep your musical authenticity on "PTSD"?

That experiment ["PTSD"] was actually something I would play with back home. But the crazy thing is, it’s gonna be on the album now, not the EP. I would play it back home, like just trying to get the EDM and Afrohouse world to connect, cause I get in my Albert Einstein bag sometimes and just try and experiment. So when I met the Chainsmokers and like. "Okay, this is an opportunity to actually do it now," and we had a very lengthy conversation. 

We bonded first as friends before we went into the studio. We had an amazing conversation talking about music, [them] talking about pop and electronic music, and me talking about African music. So it was just a bunch of producers geeking out on what they love to do. And then we just talk through how we think the sound would be like really technical terms. Then we get into the studio and just bang it out. Hopefully, we get to make some more music because I think we can create something for the world together.

I’ve noticed you dress a bit eccentrically. Have you always had this aesthetic?

I’ve always dabbled in fashion. Even growing up, I would sketch for my sister and make this little clothing, so like I would kick up my uniform as well, make it baggy, make it flare pants, make it fly. 

I think that stuck with me until now, trying different things with fashion. And now I have like stylists I can talk to and throw ideas off of and create something together. So yeah, I want to get into the fashion space and see what the world has in store for me. 

What can fans expect as you’re putting the finishing touches on your upcoming EP Pheelz Good II and your album?

Pheelz Good II, [will be] a close to the Pheelz Good trilogy of Pheelz Good I, Pheelz Good Triibe Tape and Pheelz Good II. The album is going to be me being unapologetically myself still. But it will also be me being as vulnerable as I can be. 

It’s going to be me embracing my crayge [crazy rage]. Like just embracing me unapologetically and being me, being myself, and allowing my people to gravitate towards me, you get me. But I’m working on some really amazing music that I am so proud of. I’m so proud of the EP and the album.

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