GOOD Music and Def Jam Records · October 25, 2019

Since 2016, every Kanye West interview has left fans and skeptics in disarray. His controversies and outbursts aren’t new, but this era of Kanye’s twists and turns — declaring unwavering support for Donald Trump, taking a step back for his mental health, and devoting himself to God — has been increasingly publicized. In an

 with Zane Lowe, leading up to the delayed release of 

 West spilled all about a sex addiction and his new relationship with God, even going so far as to ask that all of his collaborators fast and abstain from premarital sex.

But behind this devotion, it’s clear that West’s infamous ego hasn’t taken a backseat. In the Zane Lowe interview, he called himself “the greatest human artist of all time” and declared “God is using me to show off.” This selfish sense of holiness is present throughout the record, as it becomes more of a platform for West to defend and praise himself rather than preach gospel.

begins with a gospel track, “Every Hour,” performed only by West’s Sunday Service Choir. Beautifully layered vocals and passionate piano create a powerful ode to God that sets the religious tone for the rest of the record. The track is complemented by closer “Jesus is Lord,” West’s interpretation of biblical scripture. The bookends of the album are the only songs that truly feel devoted to religion.

“Selah,” the second track named after a Hebrew word commonly found in the Hebrew Bible, begins West’s quest for public redemption. Accompanied by pounding drums, he declares that he has now achieved salvation, rapping “Ye should be made free,” and comparing himself and the criticism he’s faced to biblical savior Noah. The evolution from his aggressive tone into the powerhouse of “Hallelujah” is entrancing. It also marks the real tone for the album, as he cites Bible scripture to build himself up as a now holy being. The track is less about religion and more about West defending himself from criticism.

He continues to praise himself and his ability to save others throughout the album, once again calling himself “the greatest artist restin’ or alive” on the song “On God.” He thanks God for getting him where he is today, but it comes off as another excuse to brag about his accomplishments.

Though West comes off as conceited, it’s hard not to appreciate his incredible talent as a producer. 

 is full of multilayered soundscapes reminiscent of his highly-praised earlier work. “Water,” which highlights rising star Ant Clemons’ vocals, stands out with its entrancing synth. West’s signature vocoder helps make “Use This Gospel” another standout track with the addition of a saxophone solo from Kenny G and guest verses from former collaborators Pusha T and Malice.

References to older works are also prevalent, a major example being the reuse of the sample from “Father Stretch My Hands Pt. 1” off 

on “Follow God.” The lyrics here are incredibly different, addressing God rather than bleached assholes on the former song, but the homage to West’s earlier work is nonetheless refreshing to hear. The sonic references to 

 also help remind listeners why West is so successful in the first place.

It’s impossible to end a discussion about 

without addressing “Closed on Sunday,” a song that compares God to a Number 1 order from Chick-Fil-A. Within less than an hour of the album’s release, Chick-Fil-A trended on Twitter. The track is the most dramatic example of West’s lyrical weakness on the album. The guitar and backing vocals create a dreamy soundscape that is shattered by “Closed on Sunday/You my Chick-Fil-A,” and a final yelp of “Chick-Fil-A” that abruptly ends the song. It’s an unintentional and distracting sort of slapstick comedy.

fits well sonically within the context of West’s discography. The record doesn’t bring anything new to the table, but it’s a successful continuation of West’s sound. Unfortunately, the great production is combated by the lyrics. There’s nothing wrong with religious themes or gospel music, as proven by the Christian influence present within 

, but West’s selfish preaching comes across as too insincere. At its core, 

 is not about religion, but rather about Kanye West trying to prove he’s the best.

Kanye West’s ‘Jesus is King’ is not about religion, but rather about himself

Help us support the American Cancer Society and
Northeastern’s Relay For Life this month.

Join us in remembering and acknowledging some of our favorite artists that have been affected by cancer.

Few artists have reached or will ever reach the status and influence of legendary icon David Bowie. His entire existence was one full of innovation and boundary-pushing. He never chained himself to one music style, instead constantly reinventing his music and fashion style to keep audiences guessing, even recording a soundtrack for Labyrinth and going on to star in the film. Bowie smashed traditional gender roles and redefined what it means to be a star. Two days after the release of his final album 

, Bowie passed away after a battle with an aggressive liver cancer. He was diagnosed 18 months prior, but kept the illness secret and continued work on the album that would become his final parting gift. The news of his death shook the world, but the magic surrounding him never faded. It was almost as if he’d predicted his own death with the release of the ‘Lazarus’ music video three days prior to his passing. The beauty in the haunting ‘Lazarus’ video is in Bowie’s ability to humanize an idol and portray weakness through art. Keeping the facade of health up for a year and a half requires strength, but portraying the reality of what it’s like to face death is even harder. We’ll always remember Bowie for his art and genius, but we can’t forget that in the end he’s human. He’s gone on to show the world that while no one lives forever, art and legacies do.

As one of Northeastern’s largest philanthropic events, we are helping raise funds and awareness for the American Cancer Society at Northeastern’s Relay for Life on March 22, 2019. Our team of staff, DJs, writers, and music lovers, will be relaying and hosting a live radiothon over the air to remember and acknowledge those who have been affected by cancer. Help us reach our goal for this year and please consider donating. Your donation is hard at work funding cancer research to helping someone with their medical fees—every penny counts and means the world to people affected by cancer.

David Bowie’s Fight

Soccer Mommy’s music doesn’t stray far from the current trend of lo-fi indie music, but her presence on countless album of the year lists proves she’s doing something right. She seems to have captured the hearts of music critics through her charisma and relatability. She tells stories of unrequited infatuation and a desire to be cool, touching on the worries of young people. Even in front of a sold-out crowd at Brighton Music Hall, Sophie Allison seemed like a casual friend to everyone.

On stage, Allison surrounded herself with fake animal skeletons she lovingly called her pets. The skeleton in the back looked a little worse for wear – its head fell off not too long into the set. She brushed it off, commenting that it “doesn’t have any skin to hold it up.” Her pets had the same level of stage presence as her band. Allison was humble and quiet, but she still stole the show since her bandmates seemed to fade into the background with their lack of charisma.

She shined when the rest of her band members left the stage and she played a solo cover of Bruce Springsteen’s ‘I’m on Fire.’ The cover switched up the crowd’s energy, as all her die-hard fans didn’t know what to do and the older crowd in the back had fun with the ’80s jam.

‘Your Dog’ was a clear highlight of the set. The song’s energy and pungent lyrics create an anthem for anyone who has ever been emotionally manipulated, and that anthem felt so much stronger in a live setting. She transitioned from aggressively singing “I don’t wanna be your fucking dog,” to a goosebump-inducing bridge that revealed her vulnerability as she sang, “Forehead kisses break my knees, leave me crawling back to you.” Allison perfectly encapsulated the rollercoaster of emotions that come along with being treated like shit by someone you’re infatuated with and her performance served as a reminder of resiliency.

‘Cool’ also stood out from the rest. Allison sings about wanting to be as cool as “Mary,” a girl with a heart of stone. It was a departure from the vulnerability of ‘Your Dog,’ acting as a perfect companion as she showed her desire to be unbothered by others’ actions. The song is nowhere near musically perfect, but it sounded infinitely better live. The song’s out-of-tune conclusion sounded awful on the recording, but it finally made sense as the band jammed out. It requires context to sound OK, and the performance finally improved ‘Cool.’

Allison told stories to break up the monotony of her set. She joked about being mistaken for Snarky Puppy at Ritual Arts before the show and told the crowd about a rude man she’d dealt with earlier in the tour who told her he didn’t like her music. She played along with the crowd – someone yelled about being depressed as she asked how everyone was doing, to which she responded, “We all are.” It had the potential to come across as snarky, but the crowd loved it and laughed along with her.

Allison ended the show with the last song on 

, ‘Wildflowers.’ The conclusion made the show feel complete, there was no need to beg for a second song in the encore. Her performance made me realize why critics love Soccer Mommy. She’s not a performer, she’s just a person who wants to share her feelings with the world in the hope that someone understands.

Soccer Mommy embraces vulnerabilities in electrifying set at Brighton Music Hall

The band was wholly aware of their nostalgia factor and played it to their advantage

Picture this: it’s 2010. Your wrists are covered in rubber bracelets and you just got back from a Hot Topic shopping spree. You pick up your iPod Touch and play All Time Low radio on Pandora and ‘Miserable at Best’ by Mayday Parade comes on. The intense emotions that only a 14-year-old can feel overwhelm you as a tear falls down your face. You’ve never experienced real heartbreak before, but you’re lip-syncing along with such fervor that you feel like you completely understand the experience.

The House of Blues was filled to the brim with people who either shared that 2010 experience or just had it yesterday. Mayday Parade knew the strong feelings they evoked, selling a horrendously dip-dyed t-shirt with the phrase “Mayday Parade is an emotion” hastily pasted on. Girls surrounding me talked about how this was the seventh time they’d seen the band, reminiscing over the days of Warped Tour and rubber bracelets.

Mayday Parade encompasses every feeling of a lost, emo teenager. They felt like a parody of pop-punk (summed up best by 

), but there’s no way to be a pop-punk band without feeling like a parody. Lead singer Derek Sanders yelled, “Is everyone taking care of each other out there?” and talked about how he loved being surrounded by his “best friends in the whole world.” He jumped around barefoot, talking about how he just wanted everyone to have fun.

The band was wholly aware of their nostalgia factor and played it to their advantage. Toward the back end of the set after a performance of oldie ‘I Swear This Time I Mean It,’ Sanders brought out an acoustic guitar and asked the crowd, “We have some fans of emo music here?” They responded with a chorus of cheers as he shouted that he’ll always be an emo kid. He then jumped into an acoustic medley of ‘My Friends Over You’ by New Found Glory, ‘I’m Not Okay’ by My Chemical Romance and ‘Cute Without The ‘E’’ by Taking Back Sunday. The idea of the cover was clever, but its execution was disappointingly half-assed. Its only purpose was to get the crowd excited about their 11-year-old hit ‘Jamie All Over’ and prepare for ten minutes of pure nostalgia that continued with their 

 cover of Gotye’s ‘Somebody That I Used to Know’ and 2009 hit ‘Anywhere But Here.’

For the last few songs, Sanders sat at a piano with drummer Jake Bundrick, who sang backup vocals for the band’s quieter songs. He prefaced ‘Three Cheers for Five Years’ with a heartfelt story about how it was the first song they’d ever written as a band. But the highlight of the acoustic songs, and quite possibly the whole show, was a heartbreaking performance of ‘Miserable at Best.’ Phone flashlights swayed and the crowd was nearly brought to tears as Sanders and Bundrick harmonized. Hearing them sing the iconic phrase “I can live without you, but without you I’ll be miserable at best” was incredibly cheesy and cliché, but brought me right back to the days of staring at the ceiling with my earbuds in after a hard day at school.

The glory days of pop-punk seem to be over. It was hard to shake the feeling that everyone in the venue was just a bit too old for this. Derek Sanders is 32 years old and still jumping around on stage with no shoes, guitarist Brooks Betts’ hair looks like it’s about to fall out after being dyed so many times, and everyone just looked exhausted. But even as I get older and grow more jaded, there’s still a soft spot in my heart for the music I loved when I was 14. The whole reason I attended the show in the first place was to relive the simplicity of the days where the heartbreak and loss they sang about was nothing but a far-away concept to me. Objectively, Mayday Parade is cheesy and ridden with clichés, yet there’s still something special about seeing one of your favorite bands from middle school.

Mayday Parade evokes a sense of nostalgia at the House of Blues

Yaeji’s music has been described as house music for introverts. Her tracks blare with loud bass, but her soft voice adds an introspective flair. Though 

, her shyness was nowhere to be found as she commanded a sold-out crowd at the Paradise Rock Club on November 3.

After a forgettable DJ set from NK Badtz Maru, Yaeji took the stage with ‘Feel it Out.’ Her performance was the only one that felt like a real performance that night. As the track played, she sang and danced at the front of the stage instead of hiding behind her turntables like the DJs before her. The crowd sang every word right back to Yaeji as they danced and cheered her on. The music consumed the room and the combination of sound and lights made the venue feel like a night club. But the night club vibe didn’t take away from the fact that this was a real performance, rather than a DJ set. Her set reached a climax with ‘raingurl,’ which has an astounding 13 million plays on Spotify. The lights flashed and everyone jumped as they chanted, “Make it rain girl, make it rain.” Everyone became a single unit at that moment and Yaeji could not hide her excitement. The audience was obsessed with her, chanting her name in every moment of silence and grasping for her hand every time she came close to the barricade.

As she performed ‘drink i’m sippin on,’ fans belted gibberish in unison as they attempted to sing along to Yaeji’s Korean lyrics. It was kind of hilarious to hear everyone’s interpretation of a language they had no understanding of. Yaeji only sold one style of merchandise that night – a face mask inspired by her Korean heritage. It’s something hardly worn in American culture but immensely popular in Asia, and her choice to sell nothing but a face mask was bold. Her refusal to let go of her culture to appease a wider audience was admirable. Intentional or not, it was a statement that western music doesn’t need to be pigeonholed and all cultures have a place in pop culture.

Yaeji ended her set with her remix of ‘Focus’ by Charli XCX. It was the first song of the night that wasn’t an original one as she’d exhausted her entire discography by the time the set was over. The reception from the crowd was incredible – Yaeji even said that she wished Charli XCX could see this performance because she was so stunned by the energy. She couldn’t hold back a smile as she finished her final song and took time to extend a heartfelt thank you to the crowd. Yaeji blushed as she told the crowd that she never expected to have people care so much about her performance and give her the love they did. Her genuine sentiment was a great display of her character and peeled back the layer of coolness that so many DJs hide behind.

The way her personality shone through the night set Yaeji apart from other DJs. She was clearly incredibly proud of her own work and wasn’t afraid to unapologetically be herself on stage. Her performance was captivating and she proved that her originality is something that deserves recognition.

Yaeji embraces Korean culture with beautiful set at Paradise Rock Club

Barnett’s ability to capture an audience and remind them of their own humanity is unparalleled.

Many concerts seem to have uniform crowds. A group of dedicated fans with common interests tends to dress in a similar style and be from a similar demographic. A prime example of this is AM-era Arctic Monkeys concerts, where everyone wore leather, ripped denim, chokers and whatever else was on Tumblr at the time. But Courtney Barnett’s fan base transcended stereotypes. The House of Blues was filled with a diverse crowd of all ages, proving how universally likable Barnett’s music is.

Barnett opened with ‘Hopefulessness’ while doused in red light. The song began softly and transformed into a loud, feedback-heavy explosion by the end. Its slow build was the perfect way to start the show. Barnett was surrounded by her band members and a long string of Christmas lights. The low-effort yet homey vibe of the stage fit her effortless style perfectly. Besides some great guitar solos, Barnett’s music is quite simple, but it isn’t boring at all. The simplicity allows her strong personality to shine through and her excitement on stage, made clear by her headbanging, exemplified it perfectly. The red lights flashed back on stage for ‘I’m Not Your Mother, I’m Not Your Bitch,’ reflecting her rage towards those who get a kick out of putting others down. Her building yell of “I try my best to be patient, but I can only put up with so much shit,” felt therapeutic to yell along with for anyone who’s ever desperately wanted to tell someone off, which is just about everyone.

As Barnett’s performance continued, fans cheered especially loud for hits ‘Elevator Operator,’ ‘Depreston’ and ‘Avant Gardener,’ as her words were matched with a crowd eager to sing every lyric back to her. ‘Nameless, Faceless’ was met with a similar reaction, but was especially poignant. The song attacks violent masculinity and misogyny, addressing the fear every woman is met with when walking alone in the dark.

Seeing older men sing along passionately was special, serving as a reminder that not everyone is awful, and that these toxic behaviors can change if we talk about them enough. The show hit a lull of energy when she brought opener Waxahatchee back on to perform a cover of ‘Houses’ by Elyse Weinberg. The slower song let the two singers showcase their vocal talent and versatility in a sentimental moment.

I think what attracts so many people to Barnett’s music is her slice-of-life lyrical style. Her songs tell stories about loneliness, love, depression, and the weirdness of life through the lens of her own experiences. They’re feelings that everyone can relate to, told through anecdotes about house shopping, parties and everything in between. Hearing hundreds of people singing along with Barnett as she sings the story of how she tried to go outside to make herself happier but ended up in the hospital with an allergic reaction on ‘Avant Gardener’ is a bit strange, since it’s unlikely they had the same thing happen. What they’re really singing about, though, is the hopelessness of trying to do better for yourself and ending up in a rut again. It’s a comedic story of resilience, and that’s what her music conveys.

Barnett’s ability to capture an audience and remind them of their own humanity is unparalleled. Her strong personality needs no gimmicks, and the attentive, diverse crowd at the House of Blues proved just how charismatic she is.

Courtney Barnett instills a sense of hopefulness at House of Blues

Having seen Australian psychedelic rock band Pond live several times prior to their show at the Royale, I was not expecting to be as blown away as I was. I have realized their live performances never disappoint and will always exceed my high expectations.

No one in the audience knew the opener Juan Wauters, a humble musician originally from Uruguay. As he came on stage in a purple velvet turtleneck and embroidered jeans, the crowd wasn’t sure what to expect. With no band and only his acoustic guitar in hand, I was a little worried. He began strumming his guitar and singing “Born in Augusta, Georgia, James Brown / he was a poor little shoeshine boy / now he’s the king, the king of soul / hey hey hey” and the confused crowd fell silent.

Suddenly, Wauters darted across the stage and immediately lifted the spirit as people began laughing. Wauters then began twirling, sprinting, and stomping with his strap-on sneakers all while continuously singing the same song. Halfway through the 17-minute song, the crowd was completely riled up with clapping, shouting, and howling to encourage Wauters. Just when everyone thought the song would end, he immediately dove back into “Born in Augusta, Georgia…” After making his way through the balcony of the venue and throughout the crowd, all while singing the same verse, he finally ended the song.

Toward the middle of his set, Wauters decided to race various audience members on the floor of the Royale. His horrible singing voice was ultimately compensated by the sheer hilarity he brought to the concert. He seemed more like a comedian than a musician and was easily the most entertaining opening act I have ever seen. Wauters set the tone for an enthusiastic and engaged crowd.

As Pond came on stage, everyone went absolutely wild. Nick Allbrook, covered in leftover fake blood from Halloween, slyly strutted on stage with what looked like a bullet wound to the face. Starting off with ‘30,000 Megatons,’ Allbrook’s heavenly voice perfectly matched his signature crucified-Jesus-Christ-esque pose — balancing on one leg with arms extended while fake blood dripped down his face. He then shredded on his guitar with the ability of a god. Launching into another hit off 

Pond swept the crowd off their feet with tight drumming, flowing keyboards, and more sexy dance moves for ‘Sweep Me Off My Feet.’ Immediately after, the band announced they would be playing a new song and proceeded to perform ‘Sixteen Days,’ which the crowd went just as nuts for, dancing as if it were a song they had been listening to for years.

‘Waiting Around for Grace’ started slowly and romantically. Allbrook sat down on the stage, took my hand, and looked me in the eyes as he sang the intro to the song. I was starstruck as he made one of Pond’s most popular songs feel like a personal ballad. As the harsher rock song of ‘Whatever Happened to the Million Head Collide’ broke down, the energy of the crowd reached a climax as people began thrashing in a small mosh pit. The momentum continued as Pond spiced up the ending of the song by blending in the rhythm of Air’s 2004 hit ‘Alpha Beta Gaga.’

Between songs, a fan gifted Allbrook with an alpaca fur poncho, for which he was incredibly grateful and reciprocated with a bouquet of fake flowers. Allbrook then whipped out a shining silver flute for ‘Zen Automaton,’ charming the audience yet again with his perfected multi-instrumental talent. Afterward, with a change in lighting that looked as if the sun was rising, the band propelled into ‘Don’t Look at the Sun or You’ll Go Blind,’ the oldest song within their discography on that night’s setlist. During the instrumental portion of the song, Allbrook stage dove and proceeded to crowd surf until he hopped back on the platform just in time for his guitar solo.

Ending the encore with ‘Man It Feels Like Space Again,’ both the band and the crowd had just as much energy as the start. Pond made it truly feel like space again and reminded me for the fifth time that this is what modern rock stars look like.

Pond and Juan Wauters capture a perfect Friday night at the Royale

Anna Moon has two sides — a Frank Sinatra-obsessed jazz one and a modern pop star one.

The 24-year-old up-and-coming pop star is set to release her debut album soon. She has released three songs off the album so far, all playing with conventions of different genres.

“I’m a Gemini, so I definitely have my dueling personalities. Like many Geminis, that’s something that you can’t hide. That shows through in every aspect of my life, especially my music,” Moon said.

In anticipation of the new release, she spoke to WRBB’s Ingrid Angulo about her influences and what she has in store.

Can you tell me a bit about your background and how you got into music?

I got into music through musical theatre when I was probably eight years old. I had a local theater in town that would host theatre camp, and I begged my mom every year until my age group was allowed to go, and the moment that I stepped on stage and was able to be in this performance and in front of an audience, I knew that that was where I wanted to be. Over the next few years, I figured out that maybe just the music part was probably better suited for me than the acting. Nonetheless, it still instilled this love for theatrics and performance. It’s interesting because I feel myself being so drawn back to musical theatre and the whole production of a theatre now that I’m working on my live performances. It’s funny how it all comes full circle in the end.

Do you try to incorporate a lot of that performance aspect and everything you learned in theatre when you’re doing your live shows?

Yeah, exactly. I love that old Hollywood thought of really putting on a performance and giving the audience something to really remember. I try so hard to make [my music] very visual when you listen to it, and when I am working on my live show, I really want to bring those visuals that you have when you’re listening to life.

What made you decide that now was a good time to start producing your own music and releasing it on a label?

I’ve always been pursuing a career in music. From musical theatre, when I decided that writing music was better suited to me, I always knew that this is what I wanted to do. It’s interesting you ask about being on a label, because I feel like right now is such a time of ‘you’re either on a label or you’re independent’, and I think every artist has to make that decision for themselves. I’ve been extremely lucky working with Monument Records. They were a great team for me and it’s super collaborative, and I think in that circumstance, if you can find a team that really values your opinion and your views and inspiration, then it makes total sense. I think for every artist it’s different.

Do you think it’s harder for artists to get their start if they’re more independent?

It’s definitely harder in some aspects. We’re in such an exciting time where social media plays such a big part in that grassroots beginning. It’s really cool to see my peers taking advantage of [social media]. Whether it’s music or if you’re an influencer or whatever you’re doing, just seeing people take advantage of these platforms that we have and using it to their advantage is so amazing. For me, I see the benefit of the label as well, because it’s very expensive to be an up-and-coming artist, and that’s something that people forget about. It takes a lot of resources and money and connections and time. For me, I see the value in having a team and a label. I totally respect and think it’s so admirable of people who can do it independently, and I think it’s such a great message for young artists to listen to, that you have more options and you just have to see what’s right for you and what makes sense for you.

Do you think you can use social media to become closer to your fans, or do you find it another way to market yourself?

I think it depends on how you use it. I handle all of my social media. Everything that you see from a post to a story to everything, that’s all me personally posting and me personally responding to messages. But not every artist is that way, and that’s their decision to how hands-on they want to be with it. I’m 24, and I grew up with social media my entire life, so it’s super natural for me to be that involved. I don’t even think about social media, it’s just so natural at this point.

The singles you’ve released so far have all been pretty different, can we expect that same diversity on your album?

I really tried to create a spectrum, a rainbow if you will. Because this is my first album that I’m putting out, I really wanted to give these new listeners a full spectrum of who I am. As any person, we have a lot of different colors in our rainbow. I think it was really important from my end to show all of that. You can totally expect to see everything from pop to jazz. I have everything in the middle to represent my inspirations and who I am as an artist.

You seem to be quite inspired by older artists, is there anyone making music today that inspires you?

It’s funny you ask that because I just saw 

 and Lady Gaga is life. I think she is the coolest, most inspirational female artist out right now. She just goes to show that you can really do it all and have it all if you put in the hard work and really take your art seriously. I have so much respect for her.

Lady Gaga has changed her sound so much throughout her career. Can expect the same from you?

Yeah, that’s kind of what I was saying, that’s why my album is the way it is. I have songs that are more classic, I have songs that are more pop. That way, in the future, if I do want to do something that’s more straight up Frank Sinatra style jazz, it’s not weird. You can expect me to grow and expand. I’m a young person and I’m going to go through many changes in life. You get exposed to different things in life; different things happen. You see different inspirations, travel, all these things will influence you and what you think is cool. I write all of my music, so everything that you see from me is based on something that I’ve experienced.

If you could collaborate with anyone, dead or alive, who would it be?

Dead, for sure Frank Sinatra. I have a tattoo of him on my arm. Needless to say, I’m a fan. Alive, I think it’d be really cool to do work with Tony Bennett. Frank Sinatra said he was his favorite singer in the entire world, so as a huge Frank Sinatra fan, I think that would be a huge honor to work with someone like Tony Bennett. Obviously, I love Gaga and I love Bruno Mars and a lot of these newer acts like Khalid.

Do you find the saturation of the pop scene to be a problem for you?

My album is so uniquely itself, I don’t feel like I’m too often compared to other artists. I feel like my album is such a pure representation of myself, I don’t feel any competition in that way. As a listener and as a fan, no I don’t think so. More is better. It’s incredible that, through social media, we’re able to see so many acts that we wouldn’t see many years ago because they weren’t empowered in that way. I think more art is better, to have more inspiration out there in the world, more beautiful things that we can listen to.

How do you feel about the way streaming is affecting the music industry, and how can fans help counteract the negative effects?

I think it’s a double edged sword. You are able to be exposed to so many more artists that you wouldn’t traditionally be exposed to, but from an artist perspective, it definitely hurts us financially. I think with the different bills and acts being passed right now, we’ll hopefully be able to find the perfect medium. I think that’s eventually going to be the best bet. I think there are so many positives, we just have to figure it out form a legal standpoint and also just make sure that these artists whose music you’re listening to and loving are getting fairly paid.

Live shows are the best way a fan can support their favorite artists. Just coming to see your favorite artists and really being involved in things they’re putting out and working on, I think that’s the best way that you can do it.

I am actually planning a string of residency shows that will be in Nashville, Louisville and Atlanta. We will be releasing those dates very soon. I have a lot of live stuff planned, and that’s going to be my focus through the end of the year and also the top of next year, just really getting out and meeting everybody who’s enjoying the music and gettng to know them and playing my music around the country.

Q&A with Anna Moon

Last year, BROCKHAMPTON proclaimed itself the “biggest boy band since One Direction.” Now, following the dramatic loss of a member and the growth of an overwhelmingly young cult following, the comparisons ring truer than ever. But BROCKHAMPTON’s recovery after kicking out Ameer Vann proves the young band is more resilient than its boyband predecessors. A dynamic, high-emotion performance at Agganis Arena cemented one thing – BROCKHAMPTON is here to stay, and so are the fans.

The cult of BROCKHAMPTON was evident everywhere within the arena. Fans decked out in face paint and orange jumpsuits braved the cold to wait in line for eight hours, hoping to be as close to their idols as possible. The line for the merchandise table spanned the length of the arena, sending roadies up and down the stairs to keep restocking yellow sweatshirts.

As soon as Kevin Abstract took the microphone, his voice was accompanied with jumping and screaming from the GA pit. As the energy of opener ‘WEIGHT’ picked up, so did the liveliness of the crowd. ‘NEW ORLEANS’ turned the floor into a giant mosh pit prompted by Abstract. The real peaks of hype didn’t come until the band played songs from last year’s 

 series, though. ‘BLEACH’ concluded with a minute and a half of just the crowd singing the chorus on repeat and the infectious hooks of songs like ‘ZIPPER,’ ‘QUEER,’ and ‘GOLD’ commanded fans.

 was initially underwhelming, the sheer passion of the band breathed new life into it as the setlist shifted its focus to newer songs. The switched-up order and pounding instrumentals let each new song shine, with ‘FABRIC’ coming out on top as a new personal favorite.

The eight offstage members embellished the show with live visuals and pre-recorded interviews about life, death, adulthood and everything in between. The production created the feeling of a live documentary, complete with confessionals and live shots of the crowd. Its most effective moment was when the band lay down on the floor and stared at the ceiling during a moving performance of ‘SAN MARCOS.’ They were filmed from above, creating a beautiful visual of the members laying down on an oversaturated red and blue beach for a moment of reflection. Combined with a chorus of fans belting “I want more out of life than this,” positivity radiated and created a sense of hope throughout the whole arena.

This performance was the polar opposite of their last show in Boston. The band was visibly upset performing at Boston Calling without Vann and would officially kick him out later that night. They were unprepared to deal with Vann’s absence, creating uncomfortable silences during his verses and ultimately leading to a group hug between members as they cried together and walked off stage early.

This time, BROCKHAMPTON was polished and ready for redemption. Vann’s verses disappeared without a trace, but his presence was still felt in the sentimentality of the performance. Watching the band move on was cathartic, serving as a reminder that it’s hard to cut toxic people out of your life, but in the end you will move on and be OK again. BROCKHAMPTON is often disregarded because of its young fan base, but intrinsic messages about abuse and growth stand out as healthy guidelines and sources of hope in a world full of bad news.

BROCKHAMPTON makes a strong comeback at Agganis Arena

SALES and Hana Vu translated their chilled out music to a captivating performance that outmatched any studio recording.

SALES and Hana Vu felt like equals, something uncommon at a performance filled with obvious die-hard fans of the headliner. Their music complemented each other with moments of energizing indie rock and romantic slow jams. The sentimentality and genuinity both artists displayed made the Sinclair feel like home for a night.

Hana Vu stole the show with a confidently low-key performance that demanded attention. When she stepped out on stage with a modest attitude and an unassuming all-black ensemble, it was unclear how her bedroom pop would translate to a live setting with a sold-out crowd. The minute she and her band started playing, the modesty turned into pure excitement. Hana Vu and crew couldn’t wipe the smiles off their faces as they swung their hips in sync to dreamy melodies. The bedroom pop vibe present in studio recordings transformed into something much bigger. Her music itself didn’t change much, but the way the energy and sound filled the room was completely unlike playing songs on a speaker. She exemplified why it’s so important to see an artist live. A good artist will sound just like a recording, while a great one will bring something more to the table.

A highlight of the set was her cover of ‘Dancing in the Moonlight.’ The cover has been done countless times and it wasn’t the most original thing in the world, but the band breathed new life and energy into the 70s classic. Vu also cracked jokes to the audience that landed surprisingly well, somehow understanding what it’s like to be in a Boston crowd without having ever performed here before.

“I drank Mucinex straight out of the bottle outside CVS, so I’m a little dizzy,” she said to the crowd, half-jokingly between songs. She was surprised to see the crowd laugh so much at that statement, but as someone who has been in the same situation at that Harvard Square CVS (thanks Boston winter), I’m not sure she realized how unfortunately relatable that statement was. Vu also asked the crowd if Malia Obama was around and to the disappointment of us all, she wasn’t. But if you’re reading this Malia, Hana Vu says hey.

SALES’ minimal setup created a hazy, romantic ambiance. The guitar-playing duo was joined by a drummer who only plays with them on tours. The lack of a bass seemed wrong at first, but once they started playing it all began to make sense. Lauren Morgan and Jordan Shih’s atmospheric guitars complemented one another well and never got lost in each other. The rhythm was held together by the drummer and the melodies felt perfectly balanced. Shih played the role of a bassist when necessary and the minimalism generally worked well. Some songs blended together, but the monotony was broken by banter and a dedicated group of fans who sang their hearts out to nearly every song.

The stripped-down setup was perfect for a duo who calls themselves “just buddies who make music.” They took a moment to reminisce over ‘Renee,’ the first song Morgan and Shih ever wrote together, saying it was the reason they were there.

Morgan was left hanging in an awkward moment when she asked Hana Vu and her band to come on stage to dance with her and they didn’t show up, but she managed to gracefully recover with a solo interpretive dance to ‘White Jeans.’ She danced without a care in the world as the soundscape engulfed the room and transported everyone to a world of ease. It was a magical moment, a perfect transition into the last song of the night.

Bedroom pop shows run the risk of being boring, yet both acts overcame that issue easily. Hana Vu’s energy definitely surpassed SALES’ but never overpowered them. The lineup brought the energy down slowly throughout the night, leaving the crowd relaxed and ready to end their Thursday night feeling refreshed. Not every show has to leave you exhausted and sweaty. Sometimes it’s best to feel like you’ve just meditated and found clarity, and that’s exactly what this show did.

SALES and Hana Vu captivate intimate crowd at the Sinclair

September 7th sent a wave of shock through the music community. The untimely death of Pittsburgh rapper Mac Miller left musicians and fans alike in a state of confusion and grief. But the beautiful thing about tragedy is its ability to bring a group of people closer together. Heightened emotions made for a Block Party unlike any other as the performers and audience channeled their grief into a beautiful experience all about living in the present.

Before the performance started, half the crowd mumbled about how they’d never heard of MIKE. By the time he took the stage though, it was impossible to tell that most of the audience didn’t know who he was. He started the show by introducing himself sincerely and shaking hands with everyone in the front row, making the show feel like more of a friendly gathering than anything else. A group of students, all different ages and interests, started to become one as MIKE pulled them in and tried to create a family for the night.

Raveena’s signature silky voice captivated the group, but what really stood out was the emotion in her performance. Towards the end, Raveena took a moment to address what was really going through her mind. With tears in her eyes, she talked about how weird it was knowing that she’d just hung out with Mac Miller a week earlier, and now he was gone. It was hard for her to keep herself together as she reflected on the beautiful soul she’d known and missed dearly. Her emotional rendition of ‘I Won’t Mind’ was dedicated to Miller and ended with a moment of silence. The beauty of the moment helped start the healing process — something everyone desperately needed that night.

Raveena receives a gift from a fan at Block Party.

The sold-out crowd could not handle their excitement when Saba hopped on stage. He brought the same amount of energy as he did for the thousands of people he performed for at Pitchfork Festival. The crowd played right back into the energy, jumping and making Afterhours genuinely shake, something unprecedented in previous shows in the tiny Starbucks-turned-concert-venue. Afterhours no longer felt like Northeastern’s half-assed attempt of a music space — it felt like an actual venue. Die-hard fans clung onto every word and shouted lyrics right back at Saba.

Saba headlines WRBB’s Block Party on September 7, 2018.

Clearly shaken by Mac Miller’s passing, Saba took a pause from the excitement to speak about his friend and fellow rapper, holding a moment of silence in his honor. Much like Raveena, his sincerity helped everyone move forward. As the show returned to its normal energy, he seemed happy to be in the moment with a group of people who cared about him and his music. He didn’t forget about Miller in the excitement of the performance, but he seemed to take in the happiness to forget about the grief he was dealing with at the moment.

The unity the show created was incredible. Between the show reaching capacity almost instantly, an audience who deeply cared about the performance, and a tragedy that brought everyone closer together, Block Party was truly unlike any other Afterhours performance I’ve ever seen.

Amid tragedy, Block Party fosters a sense of unity

There are two ways I could go with this review. For one, I could say it was my own personal hell. Screaming 14-year-olds packed like sardines into my least favorite venue in Boston is a recipe for disaster. On the other hand, I could address the fact that the young artists and subsequently young crowd created a sense of hopefulness and excitement I haven’t seen at a show in a very long time.

Calpurnia’s skyrocket to fame is a direct result of lead singer Finn Wolfhard. The 15-year-old actor has quickly captured the attention of the world with his roles in 

. He’s also captured the heart of many with his sincere love for music, starring in a music video for fellow Canadians PUP and posting covers on YouTube. Despite Wolfhard’s big name, he doesn’t want to steal the spotlight from the rest of the members. He even recently tweeted about Calpurnia not being his band but rather an equal four piece.

 shirts, it seemed like most of the fans were just there to see their young idol. Before the set even started, fans were chanting for Wolfhard and screaming at the top of their lungs any time he may have been visible. Others started yelling at those that were screaming to shut up and those that couldn’t see added to the noise with another layer of complaints. The girl in front of me even Airdropped the crowd a screenshot of her complaints.

Past all the screaming, pushing and complaining, Calpurnia’s performance genuinely surprised me. I’d heard a bit of their music before the show, and while it left a bit to be desired, it was truly impressive to see a young group create a cohesive and mature sound. It felt like something I might hear at a house show with more positivity and less college-age existentialism. As the band performed, they seemed like complete naturals on stage and interacted with the crowd as much as possible. They acted like they just were performing in front of a large group of friends instead of a sold-out venue.

The star of the show had to be 17-year-old guitarist and singer Ayla Tesler-Made. Besides the fact that she’s everything young me wanted to be, her talent and confidence was outstanding. She commanded the stage and when it became time for her to take the reins on lead vocals, she delivered with high energy and an impressive voice. I couldn’t wipe the smile off my face as I watched her perform.

Watching fans get so excited about music and hang onto every word was incredible. So many shows I’ve been to are full of people just standing around and nodding their heads while sipping on a drink. I’ve got no problem with a crowd like that, in fact the older I get, the more I seem to appreciate it. But there’s something so special about seeing people enthusiastic about music and act like they’re having the best day of their entire lives. I remembered the days of being 13 and making every concert a special occasion, feeling like I was on Cloud Nine and there was no way my idols were actually right there standing in front of me. I don’t know when that feeling started to fade, but seeing a glimpse into the young excitement I used to have made me hyper aware of how I’ve changed as I’ve grown older. Past all the initial annoyance I had with the crowd, I felt a sense of nostalgia and ultimately walked away from the show with a refreshed perspective on concert-going.

If you’ve got a good set of earplugs, I’d recommend checking out a Calpurnia show for a dose of what the next generation of musicians has to offer. It’s not perfect by any means, but sometimes it’s nice to get away from all the cynicism the world has to offer and just immerse yourself in an environment of youthful excitement and positivity.

Calpurnia exudes youthful excitement and nostalgia at Paradise Rock Club

You ever go to a show that just feels… awkward? Sometimes it’s just a visibly uncomfortable or inexperienced performer, an overall disengaged crowd, or an annoying heckler. Alex Cameron’s show at the Sinclair unfortunately contained all three, making for an interesting show that was downright cringe-worthy at moments.

Alex Cameron’s music is meant to be uncomfortable. A friend of mine described the sound of his newest album 

 as “music for 40-year-old women,” thanks to its 80s synth-pop sound and heavy saxophone. On the other hand, his lyrics are anything but docile. 

 forces the listener to bear witness to the “baroque clusterfuckery of the world” by telling stories from the perspective of misfits, assholes, and total creeps. The result is happy sounding music with vulgar lyrics – a weird disparity that lies somewhere between funny and off-putting.

, the show felt off-putting. Opener Jackie Cohen began with an honest admission of her inexperience, stating that she’d just learned how to tune her guitar and use a pick. The rawness and honesty was somewhat refreshing and helped her connect with the crowd, but it ended up feeling overly apologetic. Women are taught too often to apologize for their behavior and it stung seeing another young woman feel the need to keep saying sorry and justifying her actions. It’s okay to be nervous, but an industry as cutthroat as the entertainment can easily eat up artists who don’t exude self-assurance. I’d love to see where she goes from here and watch her become more comfortable. She has potential, and her recorded music is great, but this show didn’t display it well.

Alex Cameron and cult-favorite saxophonist Roy Molloy both had a bit of a tough time on stage as well. Molloy looked bored sitting on his stool for most of the performance, only coming alive for some bangin’ saxophone solos and to review the aforementioned stool. He gave it a 3 out of 5, by the way. Cameron juxtaposed Molloy’s silence with very high energy – the man danced his heart out. I’ve never seen a performer so into their dance moves, and it was incredibly fun to watch. But when it came time to talk to the crowd, he still couldn’t stand still. Next to Molloy’s deadpan expression and stillness, the nervous pacing was even more pronounced and made Cameron look super uncomfortable.

The highlight of the awkwardness came when a heckler shouted a homophobic comment at the top of his lungs. No one knew how to react to the situation. Cameron tried to laugh it off, saying something along the lines of “If you see someone digging a hole near a water pipe, you should probably just take the shovel out of their hands.”

In a weird way, the heckler felt a bit fitting. As Cameron transitioned to his last song, ‘Marlon Brando’, he introduced it as an examination of the mind of a straight white male. The song is a satire about toxic masculinity written from the perspective of an overly confident asshole, much like Mr. Homophobic Heckler, and Cameron’s little speech seemed to directly call him out.

Even when certain crowd members weren’t being rude, the rest of the audience seemed a bit uncomfortable from the beginning. Some fans were excited, others seemed like they were just accompanying a friend and really didn’t want to be there. Thankfully Cameron & Co. won them over as the show progressed. The most satisfying part of the show was the last 15-20 minutes. People finally started dancing and more were actually singing along.

The awkwardness of the show wasn’t one party’s fault. It was a combination of bad luck and a group of artists having an off day. Hopefully their future performances are met with a warmer audience and feel more confident. Once again, the potential for a great show was there and it’ll just take a little more time to get there.

Alex Cameron: Bad Luck and Bangin’ Sax Solos

Pitchfork cemented its place as a unique experience in today’s commercialized festival circuit.

As a music publication, Pitchfork has been extremely critical of the current state of the music industry and the growing music festival bubble. When the publication who calls out every other festival’s problems continues to put on its own, there is a heightened expectation for them to create a truly unique and unproblematic experience.

Most festivals in today’s circuit are owned by the same companies and offer the same acts and experiences in slightly different locations. My expectations were high for this festival to change my mind on what a music festival really is in 2018.

Thanks to great planning and creativity, Pitchfork Music Festival 2018 left a positive impression on me. Along with the fact that I’m now itching to go back to Chicago ASAP, I left with three major takeaways from the fest.

As ticket prices skyrocket and the festival scene gets oversaturated with the same industry giants pulling in as much cash as possible, Pitchfork made a point to remind everyone that festivals should be accessible to all music lovers.

The festival promotes its commitment to keeping ticket prices low. There is no way to put on a festival that large without a bit of money, but the choice to use the money for the music and art instead of a giant Ferris wheel or Instagram playgrounds made a world of a difference. More affordable tickets made it possible for fans from all over of all ages to come see their favorite artists and discover new ones. And for those that still couldn’t afford to go, Pitchfork live-streamed many of its sets.

A lineup as eclectic but harmonious as this year’s festival is a hard feat to achieve, but they succeeded in blowing away expectations. A combination of hip hop, R&B, alternative rock, folk, funk, electronic, and more pulled in a diverse crowd. There’s value in having a diverse crowd instead of one of all people from the same social class and city. It created a sense of comfort and acceptance instead of one of judgement against those who are slightly different.

Quite possibly my favorite thing Pitchfork did this year was its promotion of creating safe spaces for fans. It teamed up with RAINN, the largest anti-sexual violence organization in the US, to support the fight against sexual violence. There was also an on-site resource and response center with trained counselors and security for those who experienced or witnessed harassment over the weekend. The strictly anti-harassment code of conduct felt extremely necessary and comforting in an environment that can easily spark fear among victims.

A fan flipping through records at the CHIRP Record Fair.

The festival’s location is central to its ethos. The Chicago-based publication uses its clout to promote the city’s local art and music scene and does a great job of making locals and visitors alike feel at home.

The parts of Union Park that weren’t stages were transformed into a playground for independent artists and authors. The record fair (sponsored by Chicago radio station CHIRP) brought together independent labels and record stores from all other the nation. The vendors appeared just as excited to be there as the attendees. Their enthusiasm was made clear with customer interactions that went far beyond just transactions. While perusing through the fair, I had a lengthy conversation with the owner of a local record shop and walked away with a first pressing of one of my favorite albums and a sizable list of new artists to check out. I wasn’t the only one — every vendor seemed to create relationships with festival attendees as they bonded over a mutual love for music and art.

Chicago’s music scene dominated the festival . Artists like Saba, Open Mike Eagle, Noname, and Nnamdi Ogbonnaya spoke about their upbringing and praising the Chicago hip hop scene during their sets. Evanston-based Kweku Collins even saw some people he went to high school with in the crowd, reminding us all how big of a moment it is for him to be playing in his hometown. They all had a sense of comfort being on their home turf that translated well to the crowd.

Add this to the fact that the festival was within the city instead of on the outskirts or in the middle of the desert, and it really felt like a great snapshot of what Chicago is.

No one’s ever perfect, but that’s okay.

Twelve years into running a festival, you’d think that Pitchfork would run like a well-oiled machine. But a live event that’s been years in the works is still a live event, so anything can go wrong.

Noname’s voice disappeared in a bad sound mix on the red stage, prompting an unrequited chant of “turn up the mic!” from the crowd. Julien Baker’s bare bones set was also unfortunately overshadowed by Saba’s explosion of sound.

Sound engineers can work around technical difficulties like Noname’s, but at a point I wondered if the scheduling created a whole new issue. It makes sense to pit high energy artists against more low-key ones to give attendees the choice between a set that leaves their ears ringing and one that lets them relax. On the other hand, it can lead to the quiet set getting drowned out by its louder counterpart in a park as small as Union Park. The minor flaws hardly took away from the experience. I’d rather experience a few technical issues in a unique festival than see a technically flawless one without an ounce of genuinity.

My biggest qualm with the festival ended up being a uniquely out-of-towner one. With so many talented poster artists and limited space in my duffel bag, I had to pass on far too many beautiful prints from the poster fair. I’m forever indebted to Reverb for offering a free record shipping service, though. Maybe next year someone will start a poster shipping service? A girl can dream.

Despite the very minor issues, when they got things right, 

. The soundscapes artists like Moses Sumney, Tame Impala, and Ms. Lauryn Hill were able to create were nothing short of other-worldly.

In summary: the lineup was the die for, the environment was comfortable and welcoming, the experience felt like a true celebration of Chicago art, and WRBB can’t wait to see what Pitchfork 2019 has in store.

WRBB at Pitchfork 2018: Post4k Coverage

Leon Bridges’ new release shines in its nostalgia and funk in some parts, but manages to fall flat and sound more like a knock-off John Mayer in others.

Bridges is a soul singer-songwriter who gained fame after his 2015 project 

. The record was praised for its 50’s and 60’s soul music inspiration, with 

 calling him “comfortably living in the past.” Within the past year, his fame has exploded into touring with ex-boy-band-superstar Harry Styles.

 isn’t as straightforwardly from the past, but that’s not a bad thing. The influences are very present, but they aren’t the forefront of the music. It’s less of a period piece and more of a vaguely nostalgic one that manages to blend modern and old versions of similar genres to create a unique mix.

Opening track ‘Bet Ain’t Worth the Hand’ embodies this mix quite well, setting listeners up for the album they’re about to experience. Within less than a minute, it’s obvious how great Bridges’ control over his voice is. His riffing and belting is hard to ignore — the vocals steal the show. His nostalgic style is evident in the mix of ‘Bad Bad News,’ a chronicle of him pushing past being told he wouldn’t amount to anything.

The funky taste that ‘Bad Bad News’ gives listeners a taste of manifests itself in a few more fun tracks like ‘If It Feels Good (Then It Must Be)’ and 80’s influenced ‘You Don’t Know.’ These two tracks seem to come just in time for warmer weather and feel like a warm ray of sunlight, for lack of a less cliche analogy.

‘Beyond,’ incidentally his most popular song on Spotify as of the album’s release, is the weakest. While his voice shines as usual, that’s the only high point. It’s boring and sounds like every singer-songwriter track that’s already been played on every easy listening radio station. That’s not to say it’s a bad song; it just lacks originality and re-listening value. The song’s existence shows that his nostalgia factor isn’t the main influence driving his sound. Being modern is great, but creating boring modern music instead of something interesting and genre-blending like some of his other tracks doesn’t satisfy that successfully.

The second half of the album is more interesting than the first. The poppier tracks aren’t so nostalgia-fueled, but just enough to feel different. It’s here that Bridges proves he’s not a static artist. He can play around with influences and genres without straying too far from the track he initially set out on. Variation gives it a lot of re-listen value. The more single-ready tracks break up the monotony of the slower songs and show his ability to experiment and create something more. They feel like they’re almost reaching something really great, but just missing the point of greatness though.

Leon Bridges is a talented artist. His voice is incredible and he’s got a clear grasp of what he’s doing. That being said, his new album is not groundbreaking. It’s a pleasant listen with some standout tracks, but as a cohesive piece, it falls into that category of pleasant background music at Starbucks. There’s nothing wrong with a good album that isn’t pushing boundaries; sometimes, in fact, it’s just what you need to listen to.

 is just that — it’s a good thing. It’s not a bad thing, not a great thing, but a good thing.

Leon Bridges releases full-length ‘Good Thing’

“I could easily go make a record with the hottest rap group on the internet and go do something like that, but that’s not who I am. It would make my life that much more difficult if I was out here doing that and people would see that it’s not authentic.”

Hip hop artist Nick Grant has spent the last year gaining traction via consistent releases, a big tour, and some advice from Jay-Z.

Nick Grant released his debut album Sunday Dinner last year and just put out a new mixtape titled ‘Dreamin’ Out Loud.’ His style blends modern hip hop sounds with 90s influences, making him a perfect contender to tour with legends Nas and Ms. Lauryn Hill last year.

Grant spoke with WRBB about his upbringing, why 90s hip hop culture was so great, and how to use lyrics to make a real impact in the world.

WRBB: Congratulations on the new mixtape, it’s great!

NG: Thank you so much, I appreciate that.

Let’s just jump right in and talk about the mixtape. So first off, I really liked your song “Black Woman”. I think it’s exactly the kind of thing we need right now, talking about strong women of color instead of objectifying them. Are there any specific influences in your life that contributed to you writing that song, and how have they influenced your life?

I was just raised by a village of strong black women, my mother, my sisters, my aunts, cousins. The main people in my life. I had one male figure, which was my grandfather. I would go to his house on the weekends, Saturday and Sunday. But Monday through Friday was my mom and all these women that raised me. I felt like it would be an injustice if I didn’t create a song for them. This is like my appreciation in a sense, you know, these infinite favors that they did did for me, this is my way of trying to pay them back, which I could never do.

Do you think growing up with a lot of strong female figures in your life gives you a different perspective in the scene?

Absolutely. My mother always tells me, “well you have no excuse for how to treat women because you had all the right examples in front of you. You have no excuse because you know how we want to be treated.” And that’s not just black women, that’s every woman in the world. That’s just my thought process. It’s different, definitely.

Your song “Father Figure” is also a very powerful song. It talks about the negative impacts of growing up without a father figure. Do you think that having a lot of stronger people of color in the media, with big movies like 

, shows more people who look like them can sort of combat this?

Yeah, for sure. If I can see someone who resembles me, comes from where I come from, doing beautiful things in the world and showing productivity, of course. It doesn’t reach everybody immediately, but those examples and seeing those examples on a consistent basis can change somebody’s mindset and make them believe that they can do the same thing. That’s very important to have these different people that look like us just doing different things and setting examples. It’s very important, it starts there. It also starts with every day treating people differently in general. But that’s very important. 

, things like that, things of that nature, those accomplishments are very much so needed.

Do you want to go a bit into the “everyday” stuff you briefly mentioned? About how you think that people can start making a change with little things everyday?

Just living in your truth. Little things, like my grandfather would always tell me “pull your pants up, look people in the eyes when you speak to them, smile,” and different things that take you and make your life that much better because you put in the effort on a day-to-day basis treating people better, being honest, being righteous, all these things. If you practice those on a day to day basis, nobody’s perfect and we’re all going to slip and fall, but the thing is to get up and keep pushing and pushing and pushing towards a direction of positivity.

I see you definitely talk about that kind of stuff with your lyrics. I love the importance you put on lyrics, with your website having a whole section just talking about [lyrics], and I know that you, according to some interviews, have called out some other rappers for not focusing enough on lyrics in their sound. In today’s hot political environment, do you think it’s important for a genre that’s so focused so much on lyrics, for everything to stay inherently political or is it okay to sometimes rap without a message?

It depends on what you value. Balance is very important in the culture, but I feel like it’s very one-sided. With the exception of J. Cole, Kendrick Lamar, who are at the top of the chain as far as lyrical rappers. That’s how the genre started – us talking about things that went on in the neighborhood and those types of things. It’s definitely one-sided. The people that get to push their stuff and the stuff that’s constantly poured on us, there’s a lot of ignorance. And you know, I’m cool with it, I’m guilty of it. I won’t lie, I love it too, but I feel like it could be more intentional. Those people that actually put the effort into their lyricism, this is just my contribution every day. Like I could easily go make a record with the hottest rap group on the internet and go do something like that, but that’s not who I am. It would make my life that much more difficult if I was out here doing that and people would see that it’s not authentic. There are definitely more people and a bigger spotlight being put on people that actually put the time in and tell their stories and share their experiences with the world because that’s not an easy thing to do.

So if rapping without a message sends its own message of not really caring, do you think there’s an impact that people have seen?

Absolutely. If that’s your life and your life is just having fun and partying, I can agree with it and I can respect it because that’s your truth. But if you’re out here just doing it for the dollar and you’re not really pushing the culture forward, you’re just doing it as a means to be popular and be famous, then I can’t accept that. I know how I came up and I know what I studied and I know all the people that I admired, like really cared about the craft, and made me care for the craft a little more. Definitely, I wouldn’t be here without those people.