Photo: Devyn Galindo
Channel Tres Talks Honoring Isaac Hayes On EP 'Black Moses,' Healing With Music & Being A "Ghetto Savior"
The rising Compton-born singer/rapper/producer sits down with the Recording Academy to talk about his forthcoming second EP, growing up in Compton, his dream collabs (such as recent tourmate Childish Gambino) and more
Meet Channel Tres. The Compton-born singer/rapper/producer and all-around artistic visionary is just getting started living his dream of making an impact with music. He released his swaggy self-titled debut EP last year on Los Angeles indie label GODMODE and in less than a year has become in demand on stages around the world, performing at Detroit's Movement, Barcelona's Primavera Sound and Australia's Splendor In The Grass, to name just a few.
Now he's preparing to share his second EP with the world, Black Moses, which drops on Aug. 16 and is dedicated to the late, great soul legend Isaac Hayes, whose 1971 GRAMMY-winning album shared the same name. To date, Tres has already given the world a taste of its magic with "Brilliant Nigga" and "Sexy Black Timberlake." Next week, on Aug. 2, he'll share the EP's title track and third single featuring politically minded rapper JPEGMAFIA.
We sat down with Tres at the sunny GODMODE studios in East L.A. while he was in town to learn more about Black Moses, how Compton influences his music and his advice to aspiring artists.
You're dropping your second EP, Black Moses, soon; can you speak to the message behind it and the sounds that you explore on it?
First off, it's paying homage to Isaac Hayes. Soundscape-wise, I'm not really in an Isaac Hayes vibe. But the name—I was watching this old festival they threw in Watts [Wattstax 1972]. This is when Shaft and the theme song was really big. He came out and had on a hat and some shades and a coat. They took his coat off and Jesse Jackson was announcing him.
He looked so godly and it was just so black and so powerful for me. So, that's why I just dove into that, which inspired the name and the sounds on it. It's further in what I started with, the Channel Tres EP. I got some cool songs on there and the production got better; it's just a step up. And Moses, in the Bible, is the savior of the people of the promised land. I feel like sometimes I want to be a ghetto savior.
You've already gave us the gift of "Sexy Black Timberlake" from the EP, with groovy G-funk vibes and an amazing video. What was your vision for that song and video?
Thank you. The vision for that song is just people are starting to pay attention more to me and the music, and also I'm growing up to a man and understanding myself more and just being more confident.
How old are you?
I'm 28. So, I'm just crossing over to that mature place. It was funny because when I was younger, depending on what I was wearing—even now—I'm either vilified or objectified. As I started to get more successful, I see how sometimes people objectify me, and women start to objectify men. Because now they see that I'm something. That's what I'm saying that in that song. And it's me just being irritated.
And I love Justin Timberlake. We were just playing around because I wrote a song and I was saying, "Bringing sexy back, making sexy black." We were fing around, it was like, "Let's just name it that, f it." It just makes sense. Also with Compton, just showing a different side.
The video was filmed in Compton, right?
Yeah, I shoot all my stuff there because I've got family everywhere. My little brother's in prison, and it just makes people happy to see the city in stuff like that. Just different places that I grew up. I'm going to make so much music and I like watching my sh*t because I don't get to go there that often.
So you've left, but you grew up here in L.A., in Compton. What does Compton mean to you and how do you think it shaped your artistic journey and identity?
It's a huge community of people out there, so it's home. It will always have a special place in my heart. I'm just happy that I'm street smart. A lot of people don't have common sense. I know how to survive. If there was an apocalypse or something and everything was taken away, I would know how to survive. I grew up in kind of a grimy way, in a grimy area, so your survival tactics are just different. I will always appreciate that. And I love G-funk and just West Coast music, so I'm so happy I got to grow up around that, and actually feel that. To be around that and see things.
Who were your favorite artists growing up, and who remains as your influences today?
Nate Dogg, Tupac, Ice Cube. I love [Dr.] Dre. I grew up on a lot of gospel; Sam Cooke, Fred Hammond, Marvin Gaye. Motown, everything pretty much. Miles Davis. A lot of jazz, a lot of gospel, a lot of rap.
Was there a moment when you knew or decided that you wanted to make music? What called you into that space?
I've always wanted to make music, since I was born. My dad was a musician, I think you're what your parents are. I think it got passed down, the love. I always had a thing for it, but I didn't understand the discipline of it until later on, and that's when I started getting better and things started happening.
What's your biggest goal as an artist?
Just to be around, be in culture. I'd like to do things; work on films, have great songs that just stand the test of time. We still listen to the old funk records and all that, I just want songs that are timeless. I love music, I just want to be in it, I always want to be in it.
You're doing it. In terms of your music, you do a lot. You produce, you sing, you rap, you can dance, it's all there. What's your favorite part of the creative process?
I like it all. Every part of performing, dancing, producing. It's just so many different sides of music so I appreciate it all. You get to connect with the music in a different way, when you've been in all those areas.
Do you have any rituals or places that foster creativity?
I pray. I talk to God. I talk to myself. I lived through a lot and I'm still going through sh*t. So there's enough trauma in there and this all started happening, so I have a lot to talk about. I don't really go anywhere. I'm a Gemini too, I'm kind of crazy in my head. I don't know, I go a lot of places in my head. Music is real cathartic for me, that's how I deal with it, and that's how I'm getting healing from a lot of the things I've been through, so I don't really go nowhere I just do it. I'm just always ready to go. Like, "Let's get it."
Between Movement, Primavera Sound, a Boiler Room set and a bunch of other big shows, you've had a pretty stacked year. What has been a favorite moment from these events so far?
It's all my favorite. A year and a half ago I wasn't playing all these shows and this is something I fantasized about. I was in Spain at Primavera playing by the beach. My set was at 9 pm, it was a great time, the sun was setting. And so many people, and I knew all my words, I knew all my choreo. I was like, "Oh sh*t, I'm doing it." It's fun, I love playing, I like traveling for music.
When you are performing in front of people, do you feel like that's a different sort of therapeutic or cathartic experience as to when you're making the music?
Yeah, I mean I don't have to fight nobody. I got my energy out; all my aggression, all my anger. It's like my form of destruction. I'm pretty easygoing, but on stage you can't tell me sh*t. And if you don't want to be there you don't have to be there.
Have you been able to connect with other people through your music?
Like other artists? Hell yeah. It's been cool. I was making music the other day, and I'm in the room with my idols like, "Oh sh*t!" It's crazy, it's so fun and so cool because I'm still a fan too.
Do you have any dream collaborations that you want to speak out and manifest?
Kendrick [Lamar]. I definitely want to do something with Kendrick one day. I want to do something with Stevie Wonder. I want to work with Jon Brion. There's a lot of people I want to work with, I got a list. I want to work with Childish Gambino, I think we could make some tight sh*t.
Speaking of working with people, you're going to be touring with Toro Y Moi soon, and you recently did a rad remix of one of his tracks from his last album. How did you guys meet and would you ever collab on some tracks?
I'm a big fan of Chaz [Bear, a.k.a. Toro Y Moi] for a long time. We met on my birthday three years ago. Every year we got closer as friends and he started listening to my sh*t I guess. He hit me up and was like, "Yo, we should go on tour." And a year later we go on tour.
so excited to announce that I’m opening for Childish Gambino in Australia. I been grindin my whole life and this one means a lot to me. I’m grateful to be making music, performing, and traveling. Thank you @donaldglover you are brilliant. shout out to my team! God bless pic.twitter.com/pl9D4vwPf7— channel tres (@channel_tres) July 11, 2019
That's so cool. Planting the seeds.
Yeah, I'm about to go on tour with Childish Gambino too. It's not announced yet, but we are playing two shows together in Australia. I'm opening up for him like next week.
Oh sick! I saw him at The Forum.
It was crazy?
Yeah. He has an energy on stage where you're like, "Damn, I want to go wherever you are going."
Yeah, fire. I can't wait to meet him.
Do you have a message for young kids in Compton, or wherever else, who want to get into music?
Persistence always wins and hard work beats talent any day. I'm not the most talented, I mean there's people better than me. But what makes my sh*t cool is just me, I'm not trying to be nobody else. I pay homage to the OGs, I have respect for the people that came before me. I don't think nothing is bad unless musically it doesn't go together. So, I'm not really judgey, I'm not heavily critical of everything. I just try to understand and try to take it day by day.
Just trust God and the universe, and be persistent and really find out if it's what you're supposed to be doing. Because if it's what you are supposed to do, you'll have provision, things will be happening. Even though it might take a long time, you'll know. Just do it for the right reasons. And when you get it, do something good with it.
Westside Gunn On How Virgil Abloh & "Coming To The End" Of His Rap Career Inspired 'And Then You Pray For Me'
A self-proclaimed "super-vet" of the rap world, Westside Gunn knows his time as a rapper is nearing its finale — but first, he wants to "give you a journey" with his new album, 'And Then You Pray For Me.'
When Westside Gunn refers to himself as "the king of the underground," it's not hyperbole. The veteran rapper has spent the last decade-plus providing hip-hop with a streetwise, neo-boom-bap style that echoes heavily in the music of today. And as the founder of independent hip-hop label Griselda (and its related rap collective), Gunn's influence is felt through stars like his brother, Conway the Machine, his cousin, Benny the Butcher, and the enigmatic Mach-Hommy.
But Gunn considers himself more a curator than a musician. He is obsessed with fashion and high art, more prone to mention going to see opera or buying a painting than jumping into a rhyme cipher.
All of Westside Gunn's obsessions come together on his new album And Then You Pray For Me. The rapper is positioning the project as a sequel to his 2020 LP Pray For Paris, which was inspired by Gunn attending a Paris Fashion Week runway show as a guest of the late Virgil Abloh. Abloh was the art director for both albums, which feature figures from iconic artworks laden with Gunn's signature chains; And Then You Pray For Me uses both the Mona Lisa and Caravaggio's The Entombment of Christ.
While the 21-track album features plenty of Gunn's trademark neo-boom-bap sounds, he updates things a bit by including some songs that have a trap music influence. It contains stellar guest turns from old friends like Conway, Benny, Stove God Cooks, Rome Streetz, and Boldy James. But there are also surprising appearances from artists you might not normally associate with Griselda — Jeezy, Rick Ross, Denzel Curry, and Ty Dolla $ign.
Gunn has recently referred to And Then You Pray For Me as his last album, but don't expect him to slow down. He's making movies, planning big moves in the fashion world, and continuing to guide the careers of other artists.
GRAMMY.com caught up with Gunn as he was, naturally, shopping in New York City's SoHo neighborhood ("I'm over here on Mercer [Street], so it's Lanvin, Balenciaga, Marni, Bape — it's all right here," he boasts). We discussed his creative pairing with Abloh, why he's really a curator at heart, and his views on underground rap's evolution over the past decade.
The conversation has been edited for length and clarity.
Not to start on a super serious note, but as I was preparing for this conversation, I realized that we just passed the 17-year anniversary of the murder of your cousin, rapper Machine Gun Blak. If he could see you now, and if he could hear the new album, what do you think he might say?
First of all, he'd be all on [the album]. But he'd be super proud, man. Even when he's not here, he's one of my biggest fans, I feel like. His energy is Westside Gunn. Westside Gunn is a perfect example of Machine Gun Blak — just the raw, the grittiness. The grimy part of Westside Gunn, that's Machine Gun Blak. That's his spirit.
But I think he would love this album. It's a great piece of work. It's my favorite that I ever worked on. Out of all my projects ever, this is the most fun I ever had making one.
Does it feel like it's been 17 years since he died?
Nah. It doesn't seem like 17 years, honestly. And it's crazy because I just went to his grave site. I remember [the day he died] like it was yesterday. I vividly remember that day — what was going on, what I was doing, where I was going, everything.
Where were you when you found out?
See, back in those days, that's when we were still in the streets. So I was just about to go make a move. I was talking to him on the phone, and I was like, "I'll hit you when I get over to Atlanta." Because at that time, I was making moves. That's before all of this. It's the things I rap about now. When you hear the lyrics, these are those days.
He called me, and it was a situation. He was talking about it, and I was like, "Sorry to cut you off, but I gotta go handle this. When I get there, I'll hit you back so we can finish talking about it."
At that time I was still catching the Greyhound from Alabama to Atlanta. But it was crazy because I missed the bus, and I never miss the bus. So I was on my way back to the house in Alabama, and my grandma called me.
This era of your career, which this album is a cap to, began in 2012 when you realized you had to step up and be an artist because Conway The Machine had gotten shot and you weren't sure he'd be able to rap anymore. I've always been curious about your state of mind at that moment.
Even then I was still in-the-streets Gunn. We was working so hard, man. I was acting as his manager and investing my bread, my time. I really wanted Conway to be the biggest artist in the world. Unfortunately, when he got shot, it was a devastating blow.
Of course, that's my brother. That's the number one thing. And it was also like, the streets is crazy. I thought, I'm a smart guy. If I just put in my effort, I could really make this happen. At that time, I was really in the streets, and I felt like the [other] rappers weren't. It was like, you're really rapping about us.
It was that kind of mentality — that if I come in this game, can't nobody touch me, because I'm as real as it comes. I just put my hustle skills from the streets into this, and it all worked out.
During the heyday of that era of Griselda, you guys released a flood of projects — dozens and dozens of mixtapes and albums.
It was a flood. It was the craziest flood since No Limit [Records].
What was a typical day like for you when all that was going on, circa the mid-2010s?
Just being at [producer] Daringer's house. Getting high, eating f—in' Franco's pizza, drinking Loganberry, and Daringer cooking the craziest beats you ever heard in your life. The rest is history. Just having fun, man. Everybody had they hustles. Believe it or not, even Daringer was hustling! We from Buffalo, man.
You've always been someone who understood the importance of branding. Even on early Griselda projects, you'd promote GxFR [Griselda by Fashion Rebels, Gunn's clothing line at the time].
Yeah, because that's the thing: Griselda Records comes from Griselda by Fashion Rebels. I had the clothing brand first. I was already doing a clothing line and it was just like, What am I going to name this record company?
I've always been into fashion. I actually do more fashion-related things than hip-hop-related things. I'm a true designer. I've been designing since I was a kid, and that's the thing that I want to get into more.
I've been rhyming since '12. That's over a decade. If we're looking at NBA years, NFL years, I'm already a super-vet. I'm not trying to be one of them dudes that went from averaging 40 a game to now I'm averaging five, looking crazy and old.
I know when to gracefully bow out. And I know I'm coming to the end. I don't want to keep rapping forever about the same things, because in my life I'm maturing. I'm doing other things. I'm collecting art. I'm going to see operas.
But it's not the end right now. Right now, I just want to give people the best music. And I also want to let people in. I've been doing these [YouTube] episodes for this album where I've been letting people into my life for the first time in my career. Everybody has been loving it.
For the first time, people are actually getting to see the inside of Westside Gunn's life. I think that's one of the things that I lacked on, was letting people in. If I would have let people in a long time ago, I'd be way bigger. But everything is about time, and I'm not tripping.
Before I hang up the mic, I still want to kind of give you a journey with the music. This new project, it's a super different vibe. I've never made an album sound like this. It's the perfect art piece that I could have possibly created.
It's just the space I'm in in life. It comes with maturity — traveling the world, kids getting older, things like that. You can hear the music has matured. It's still raw though. That's the thing about me. I'm still gonna give you that Griselda Westside Gunn. That's never gonna change. I'm not going too far out of context.
For this album, you've introduced the alter ego "Super Flygod." What does that name mean?
Listen, man, Super Flygod right now is talking to you with a ponytail. I'm on another level. Super Flygod is what I've always been, but times 10. I'm super bougie. I love five-star meals. I love five-star hotels. I love wearing $10,000 outfits. I love getting massages. I love smelling good. I love just looking good. That's Super Flygod.
It's just a different energy. It's something the game never seen before. I did the unthinkable at least 100 times already. I'm still doing it.
What was it like for you to see Conductor Williams — a producer who has worked with Gunn and Griselda for many years — land a single on a Drake album?
Beautiful. That's what we do it for. He did exactly what he was supposed to do, and that's be on the No. 1 album in the world. He deserves all of that. That's what we're in this game for — to be able to leave a legacy and take care of our babies. So for him to be on the No. 1 album, that's a super blessing.
That's the thing about Conductor — it's just gonna be the beginning. He's on my new album a few times. So he's gonna have a hell of a month. It's the biggest month of his life. Business is booming for Conductor.
You've used the word "curation" a lot over the course of your career, and especially in regards to this album. What does that word mean to Westside Gunn?
First of all, that's my favorite thing to do on an album. Curation from me is me. I can curate for you, I can curate for MC Hammer. It's you, but it's me.
When I curate a project, that's me naming every song, that's me picking every beat, that's me doing the sequence, that's me making the art cover, that's me doing the merch. You see what I'm saying? It's you, but it's me. All you're doing is showing up and rapping. That's all you gotta do.
Virgil Abloh is credited with art directing this album's cover. What did that mean, specifically?
When I went out to Paris [for Paris Fashion Week in 2020], I really wasn't going to make music. I just felt the energy from Virgil having me out there. When I hit him and told him it was done, it was just like, "There's only one person that can do this cover." It had to be him.
Virgil was an icon. So to have Virgil cooking up for you is already legendary. This don't happen to nobody from Buffalo, man. But when he was cooking, he was making me multiple pieces. At first, the idea was, I'm gonna do a trilogy [of Pray albums]. I was gonna have the Mona Lisa be the picture that represents all three of them together. I was thinking [of a] box set, with a Mona Lisa front and three different covers inside.
Once he passed, it changed what I wanted to do with it. But we were already talking about dropping [a second Pray album]. We were already going to re-release the first shirts we did, and I was going to do new ones. But when [his death] happened, I put everything on a standstill and I didn't really know how I wanted to approach it again.
It was like, Damn, should I do the trilogy, or should I just make it a part two? I had different options. At the end of the day, it was just like, I think I'm just going to finish it up. I really want to give the people the work we created together before I throw in the towel. I felt it was only right. That's something that I want the world to always see and remember — what me and him cooked up together.
You say in your new YouTube documentary series that this new album will probably go over people's heads. What aspects of it do you think people might not get initially, or take a few years to catch up to?
The same reason why they're catching up now to the s— that I was doing five years ago, and everybody acts like it's new. I've always been ahead of my time. Always. I probably get copied off of the most in the industry. But you see that I've always gotten respect from everybody: from the Drakes, from the Tylers, the Rockys, Kendricks, Coles, anybody. I'm a one-of-one. It's never been seen before.
The respect I get, it could be on a mainstream level, but then I could still be on an underground level. I can do something with an Estee Nack, but then turn around and do a song with Mary J. Blige. That's who Westside Gunn is. I got songs with everybody you can possibly think of, rhyming-wise or production-wise. All the legends, even our fallen legends. I can't even think of no other emcee that got a record with Sean Price, Prodigy, DMX, and MF DOOM. It's impossible to name another one.
Westside Gunn is so cultured, people don't even understand. That's what I mean about [being] over people's heads. People still don't even get it. They're scratching their head, like, "How is this guy on [Kanye West's] Donda? How is this guy on [Travis Scott's] Utopia?"
There's a big part of underground rap now that can be traced directly to what Roc Marciano began doing in 2010, and what you guys started doing just a few years later. What do you think when you see a lot of your aesthetic from that time in the current underground scene?
The current underground scene, I'm loving it. Because you gotta think — at that time, like you said, it was only really Roc Marci, Action Bronson — a couple heads. That's in the space that we come from. Of course, we still had the J. Coles and Big Seans and all that, but that was another lane. We're in the same neighborhood, two different streets.
But on our street, people on the block was Roc Marci and Action Bronson. Danny Brown, he lived on the block. People like that. When I came on the scene, that's all it was. But I took the bull by the horns. Like I said, I'm a hustler. I was still hustling in the street. I had a hustler mentality, and once I told myself I had to quit cold turkey, I never looked back. I just went extra hard.
With the new heads, I'm proud of them. At the end of the day, I'm happy that I was able to be somebody that they could study. That they could see these vinyl deals or how this merch is played — I'm kind of like the blueprint. I'm not going to say I'm the king of the underground, but I'm the king of the underground.
Even though I'm the king of the underground, I'm still on Donda. I'm still on Utopia. I'm still making all these big songs and these big records. And even yesterday, we put up the Post Malone clip saying if he could work with anybody, it'd be me.
I'm the one that put the most points on the board, in every way possible. But this is also showing the new heads, If I could work hard, I'm gonna be the next Roc Marci, I'm gonna be the next Action Bronson in that space.
What is the possibility of getting the original Griselda trio of you, your brother and your cousin back together for a project?
That's coming in '24. You don't even you got to ask twice. That's already done, my brother.
Photo: Jeff Kravitz/FilmMagic
GRAMMY Rewind: Kendrick Lamar Honors Hip-Hop's Greats While Accepting Best Rap Album GRAMMY For 'To Pimp a Butterfly' In 2016
Upon winning the GRAMMY for Best Rap Album for 'To Pimp a Butterfly,' Kendrick Lamar thanked those that helped him get to the stage, and the artists that blazed the trail for him.
Updated Friday Oct. 13, 2023 to include info about Kendrick Lamar's most recent GRAMMY wins, as of the 2023 GRAMMYs.
A GRAMMY veteran these days, Kendrick Lamar has won 17 GRAMMYs and has received 47 GRAMMY nominations overall. A sizable chunk of his trophies came from the 58th annual GRAMMY Awards in 2016, when he walked away with five — including his first-ever win in the Best Rap Album category.
This installment of GRAMMY Rewind turns back the clock to 2016, revisiting Lamar's acceptance speech upon winning Best Rap Album for To Pimp A Butterfly. Though Lamar was alone on stage, he made it clear that he wouldn't be at the top of his game without the help of a broad support system.
"First off, all glory to God, that's for sure," he said, kicking off a speech that went on to thank his parents, who he described as his "those who gave me the responsibility of knowing, of accepting the good with the bad."
He also extended his love and gratitude to his fiancée, Whitney Alford, and shouted out his Top Dawg Entertainment labelmates. Lamar specifically praised Top Dawg's CEO, Anthony Tiffith, for finding and developing raw talent that might not otherwise get the chance to pursue their musical dreams.
"We'd never forget that: Taking these kids out of the projects, out of Compton, and putting them right here on this stage, to be the best that they can be," Lamar — a Compton native himself — continued, leading into an impassioned conclusion spotlighting some of the cornerstone rap albums that came before To Pimp a Butterfly.
To Pimp a Butterfly singles "Alright" and "These Walls" earned Lamar three more GRAMMYs that night, the former winning Best Rap Performance and Best Rap Song and the latter taking Best Rap/Sung Collaboration (the song features Bilal, Anna Wise and Thundercat). He also won Best Music Video for the remix of Taylor Swift's "Bad Blood."
Watch Lamar's full acceptance speech above, and check back at GRAMMY.com every Friday for more GRAMMY Rewind episodes.
Photo: Jason Koerner/Getty Images
Lil Yachty Wants You To Be "Ready For Everything" At The Field Trip Tour
As Lil Yachty hits the road for his 42-date global tour, the rapper details how he'll be bringing his trippy album 'Let's Start Here' to life — and why he feels like his seven-year career is only just getting started.
Fans first got to know Lil Yachty for his catchy, sing-songy tunes like "One Night" and "Minnesota," rap songs that sound like the rapper's once-signature red braids: bright and attention-getting. But as the man who once dubbed himself the "king of the teens" has now become a father in his (gasp!) mid-20s, his musical horizons have expanded.
While Lil Boat is still making catchy tracks (see his minute-and-a-half long earworm "Poland," released last fall), his latest album is something else entirely. Inspired by big statement LPs like Pink Floyd's 1973 classic Dark Side of the Moon, Lil Yachty's Let's Start Here is a psychedelic record created with members of Chairlift and MGMT, as well as Mac DeMarco, Alex G and a handful of other out-of-the-norm collaborators. While the style change may have been unexpected for many, it came out exactly as Yachty envisioned it.
"It felt future-forward, it felt different, it felt original, it felt fresh, it felt strong," he says. "I'm grateful for the response. It's nice to have people resonate with a body of work that you've worked so hard on and you care so deeply about."
Yachty's most recent release, a four-song single pack featuring the swirling "TESLA," brings him back to a more traditional hip-hop style — by Lil Boat standards, anyway. But even with the four new tracks sprinkled throughout the set list, he's still determined to share the sound and vibe of Let's Start Here with his listeners.
The Field Trip Tour, which Lil Yachty kicked off in Washington, D.C. on Sept. 21, brings the album's trippy vision to the stage. The rapper recruited an all-women band for his latest trek, which includes Lea Grace Swinson and Romana R. Saintil on vocals, Monica Carter on drums, Téja Veal on bass, Quenequia Graves on guitar, and Kennedy Avery Smith on keys.
"My life is surrounded by women," Yachty explains. "I feel like they are the most important aspect to this world and that they don't get enough credit or shine — especially Black women."
GRAMMY.com caught up with Yachty as he was on his way to rehearsal to chat about the tour, the album, and what he learned from four old British guys.
You made your band auditions public by announcing them on social media, which is not the usual way of going about these things. When you had the auditions, what was it like? How many people showed up?
Hundreds of women came from all over. People sent in auditions online. It was so fun to hear so much music and see talent and meet so many different personalities. I felt like Simon Cowell.
Other than musical ability, what were you looking for?
It was nothing more than talent. There would be multiple people with extreme talent, so then it became your own creative spunk: what did you do that made me say, "Oh, okay. I like this. I like this"? I wanted a badass group.
What was behind the decision to put the call out for women only?
My life is surrounded by women — my two assistants, my mother as a manager, a lot of my friends are women. Women really help me throughout my day.
I just think that women are so powerful. I feel like they rule the world. They are the most important aspect to this world and they don't get enough credit or shine, especially black women. So that was my aura behind it. I just wanted to showcase that women can shred just as good as men.
Is the band going to be performing on your older rap material as well, in addition to the album cuts?
No. I'm not a big fan of rendition rap songs. I think the feeling is in the beat, the feeling is in the instrumentation. When you have to reconstruct it, the bounce gets lost a bit.
Tell me about the rehearsal process once you selected the band members. What was that like?
They're all so talented, so they all learned it very quick. I gave [the music] to them early, and gave them the stems. When it was day one, they all knew the songs. Even my new guitarist that came in later than everyone, she came in knowing the music.
The rehearsal project for this tour was a little different, because I'm reconstructing the whole album. I'm moving everything around and changing all the transitions and trying to make it trippy. So it's a process of me figuring out how I want to do things. But they're so talented and so smart, all I have to do is tell them what I want, and they'll do it instantly.
Like yesterday, I wanted a solo on the end of a song called "The Alchemist." Because at the end of [the album version] is this [singer Brittany] Fousheé breakdown and she's singing in a falsetto. But I took her vocals off and I wanted a solo. And [a band member] was working through it yesterday and it wasn't quite there. But I'm on the way to rehearsal now, and I know when I walk in this room, it'll be done. It'll be crazy. So they all take it very serious and they care, and I love them so much.
The festival shows you've done so far have had everyone in Bantu knot hairstyles, sometimes with face paint. Is that going to be the look for this tour?
No, I don't think so.
What was the thinking behind that look?
I was getting really deep into the world of '70s bands, '60s bands. Just unison: moving as one, looking like one, feeling like one. A family, a group, a team. You see us, we're all together.
When you play rap shows, so much of what you're doing is keeping a high-energy mood—getting the crowd going, starting mosh pits. With the new songs, it's about a diversity of feelings. What was that like for you as a band leader?
I'll tell you, it was not easy. I've been in this industry for seven years, and my shows have been high-energy for seven years. So the first time I went on a stage and performed Let's Start Here, I felt like, "Oh wow, they hate me. Do they hate this?" Plus I have in-ears, so I can't hear the crowd cheering. I don't perform with in-ears when I do rap shows.
It took me some time to get used to the switch. Tyler, the Creator once had a talk with me and explained to me that, it's not that they don't f— with you, it's that they're taking it in. They're comprehending you. They're processing and enjoying it. That clicked in me and I got a better understanding of what's going on.
What is it like in the same show to go from the Let's Start Here material to the rap stuff?
It's a relief, because that's going to my world. It's super easy for me. It's like flipping the switch and taking it to the moon.
Now that it's been the better part of a year since Let's Start Here came out, how are you feeling about it? What sense do you have of the reaction to it?
Since before it came out, when I was making it, I always felt so strongly because it was something that I felt inside. It felt future-forward, it felt different, it felt original, it felt fresh, it felt strong.
I'm grateful for the response. It's nice. It's not what you do it for, but it is extra credit. It's nice to get that love and to have people resonate with a body of work that you've worked so hard on and you care so deeply about.
Have you felt peoples' reactions change over the past few months?
Well, this is the first time when people are like, "Man, that album changed my life" or "It took me to a different place." People love my music — always have — but this reaction is, "Man, this album, man, it really took me there."
It did what it was supposed to do, which was transcend people. If you are on that side of the world and you're into that type of stuff, it did its job, its course — the same course as Dark Side of the Moon, which is to take you on a journey, an experience.
What was it about Dark Side that grabbed you?
Everything. The cover, the sounds, the transitions, the vocals, the lyrics, the age of Pink Floyd when they made it. I could go on. I got into deep fascination. It was so many things. It's just pure talent.
I've read that you studied Pink Floyd quite a bit, watching interviews and documentaries. What were some of the things you learned from that process and brought to Let's Start Here?
So many things. The most important element was that I wanted to create a body of work that felt cohesive and that transcended people, and that was a fun experience that could take you away from life.
I was curious about the song ":(failure:(," where you give a speech about failing. What were your inspirations for that?
At first I wanted [":(failure:("] to be a poem, and I wanted my friend to say it. We tried it out, but his voice was so f—ing deep. And his poem was so dark — it was about death and s—. I was like, Damn, n—, lighten up. But then I was just like, you know what, I'll do it, and I'll speak about something very near and dear to me, which was failure. I felt like it would resonate with people more.
Sometimes I feel like I'm growing so fast and getting so old, and maturing and evolving so quickly, and so many opportunities come into my life. You go on tour, and then you start working on an album, and you run out of time to do certain things. It's like, "Are we going to be together? If not, I have other things to do."
I think that's where it comes from. I don't have all day to play around. Too many things to do. Then it transpires to feel like I'm running out of time.
I love "drive ME crazy!" I was wondering if there are any particular male/female duets that you looked at as a model when designing that song.
Fleetwood Mac. Again, with all the inspirations for these songs, I still did my twist on them. So I don't want people to go and be like, "Oh, that sounds nothing like a Fleetwood Mac song." I wasn't trying to copy a Fleetwood Mac song. It just inspired me to make a song in that feeling, in that world.
When you began your career, you were the "king of the teens." Now you're a father in your mid-twenties. Who's your audience these days? Is it the people who were teens when you started your career, who are now in their 20s like you, or is it a new crop of teenagers?
I think now it's from the 12-year-olds to the 40-year-olds. My last festival, I had 50-year-olds in my show. That was so amazing. In the front row, there was an 11-year-old asking for my sneakers, and then in the back, it was 50- and 60-year-olds. It was crazy. The age demographic is insane.
Whenever I'm leaving somewhere, I like to have the window down and see people. [At my last festival] these 60-year-olds were leaving. They're like, "Man, your album, we love it. That show was so great." And that's awesome, because I love [that my music can] touch everyone.
You've been opening your recent shows with "the BLACK seminole." What does that phrase mean to you? How does it relate to the sound of the song and the rest of the lyrics?
It's saying, "I'm a warrior, I am a king, I am a sex symbol, I am everything good and bad with man, and I'm Black, unapologetically." That's what it's about.
Any final thoughts about the tour?
Just that it's an experience. You're not walking into a rinky-dink [show with] some DJ. This is going to be a show.
I feel like it's the start of my career. I just want people to come in with an open mindset. Not expecting anything, ready for everything.
Image courtesy of the GRAMMY Museum
GRAMMY Museum To Celebrate 50 Years Of Hip-Hop With 'Hip-Hop America: The Mixtape Exhibit' Opening Oct. 7
The new exhibit honors the 50th anniversary of hip-hop through an expansive and interactive exploration that features artifacts from legendary artists including the Notorious B.I.G., Tupac Shakur, LL Cool J, and more.
The GRAMMY Museum is celebrating the 50th anniversary of hip-hop this fall with the newly announced Hip-Hop America: The Mixtape Exhibit, an immersive, interactive, 5,000-square foot experience celebrating the multifaceted world of hip-hop and the global impact and influence of the genre and culture. Launching Saturday, Oct. 7, and running through Wednesday, Sept. 4, 2024, the exhibit will feature expansive exhibits exploring hip-hop music, dance, graffiti, fashion, business, activism, and history as well as artifacts from hip-hop pioneers like Tupac Shakur, the Notorious B.I.G., LL Cool J, and many more.
Additionally, the exhibit features a one-of-a-kind Sonic Playground, featuring five interactive stations that invite visitors of all ages to partake in DJing, rapping and sampling, all essential elements comprising hip-hop culture. Additional virtual and in-person education and community engagement programs will be announced at a later date.
Exploring the countless ways hip-hop music and culture has dominated popular culture over the last 50 years, Hip-Hop America: The Mixtape Exhibit was curated by a team of four co-curators who bring a deep knowledge of hip-hop, academic rigor and creativity to the project. They include:
Felicia Angeja Viator, associate professor of history, San Francisco State University, author of ‘To Live And Defy In LA: How Gangsta Rap Changed America,’ and one of the first women DJs in the Bay Area hip-hop scene
Adam Bradley, Professor of English and founding director of the Laboratory for Race and Popular Culture (the RAP Lab) at UCLA, and co-editor of ‘The Anthology of Rap’
Jason King, Dean, USC Thornton School of Music and former chair of the Clive Davis Institute of Recorded Music at NYU
Dan Charnas, Associate Arts Professor, NYU Clive Davis Institute of Music, and author of ‘Dilla Time: The Life And Afterlife Of The Hip-Hop Producer Who Reinvented Rhythm’
The co-curators worked in conjunction with GRAMMY Museum Chief Curator and Vice President of Curatorial Affairs Jasen Emmons as well as a 20-member Advisory Board.
Hip-Hop America: The Mixtape Exhibit is an educational journey through several key themes:
Innovation: Explore how hip-hop artists have innovatively used technology, from transforming turntables into musical instruments to pioneering sampling techniques.
Sounds of Hip-Hop: Experience the diverse sounds of hip-hop in four themed studios, showcasing the evolution of production, the intersection of hip-hop and car culture, the craft of hip-hop lyrics, and the influence of R&B.
Fashion: Dive into the world of hip-hop fashion, featuring iconic clothing, jewelry and style.
Regionalism: Discover 14 hip-hop scenes across the United States, showcasing the importance of local and regional contributions.
Entrepreneurialism: Learn about the transformation of hip-hop from a back-to-school party in the Bronx to a multi-billion-dollar global industry.
Media: Discover the role of media in shaping hip-hop's development, from radio stations to pioneering shows like "Yo! MTV Raps."
Community: Explore how hip-hop has brought people together over the last 50 years, with an interactive ‘Hip-Hop America’ playlist featuring 200 songs that trace the genre's evolution.
Highlights from Hip-Hop America: The Mixtape Exhibit include:
The Notorious B.I.G.'s iconic 5001 Flavors custom red leather peacoat he wore in Junior M.A.F.I.A.'s music video "Players Anthem"
Kurtis Blow's original handwritten lyrics for his 1980 hit single, "The Breaks," the first gold-certified rap song
Tupac Shakur's handwritten essay "Give Me Liberty or Give Me Death," circa 1992
Two outfits designed by Dapper Dan, Harlem fashion icon: 1) a half-length black leather jacket worn by Melle Mel (Melvin Glover, b. 1961) in performance at the 1985 GRAMMY Awards; and a black-and-yellow leather bucket hat and jacket worn by New York hip-hop artist Busy Bee (David James Parker)
Egyptian Lover's gold Roland 808, the beat-making tool
LL Cool J's red Kangol bucket hat
Hip-Hop America: The Mixtape Exhibit is a key event taking place as the world is celebrating 50 years of hip-hop this year. The origins of hip-hop can be traced back to Aug. 11, 1973, when DJ Kool Herc DJed a birthday party inside the recreation room of an apartment building located on 1520 Sedgwick Avenue in the South Bronx, New York City. This history-making date marks the birth of hip-hop and is the reason why we're celebrating hip-hop's 50th anniversary this year. The 50th anniversary of hip-hop means artists, fans, and the music industry at-large are celebrating the momentous milestone via hip-hop concerts, exhibits, tours, documentaries, podcasts, and more around the globe across 2023.
Visit the GRAMMY Museum website for more information regarding advanced ticket reservations for Hip-Hop America: The Mixtape Exhibit.