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Good to talk to you again, sir. I talked to you about a year ago before you came to Cleveland the last time.

Good to hear again from you too, brother. How you doing?

I’m pretty good. How about you?

I’m doing good, brother. I’m excited. man. The new project came out yesterday, called It’s Better This Way and the response has been amazing. I’m getting ready for the tour, so it’s a lot to be excited about.

The timing on that was crazy for me. I was revisiting Cadillactica and getting ready for this interview and then I go to Twitter and I see that this new project dropped and I’m like “Wow, really? And I’m talking to this brother tomorrow.”

[Laughs]

So I had to re-adjust some stuff here and there, but it’s all good. The first thing I wanted to mention was that when I went to see Straight Outta Compton I heard your song “Saturdays=Celebration” in the trailer of ‘Sicario’ and I thought that was a dope look.

No doubt

Now with Cadillactica, I personally like there was a tremendous amount of growth for you as an artist. For both being vulnerable enough to let other producers come in and also some of the content of the album. What would be some of the lessons you would say you’ve learned through the release of that album?

Definitely trying to get out of my comfort zone as an artist. I’m so used to producing for myself, pretty much and kind of really sticking to what I enjoy as far as drum packages and samples and the things that I use. So when I started working on Cadillactica, it was more about me trying to get out of that by working with other producers and using more obscure instruments and just challenging myself even where I was recording. I recorded went to Miami and recorded with Jim Jonsin, I went to LA and recorded a little bit. I was just trying to not be in my house and working so much. Even being able to get in the studio with the producers that I was working with — like being able to work with DJ Dahi and let him create from scratch or being able to get in with Terrace Martin or Raphael Saadiq — by doing that, it freed me up to write a little bit differently. I could dive deeper into Cadillactica. I wanted the album to sound sonically different than anything I had done before that and I tried not to sample so much too. It was only two samples throughout all of Cadillactica, which for me is a remarkable feat because normally I sample so heavy.

I was going to ask you if getting out of your comfort zones was one of your goals coming into that album. It seems like you were able to achieve that.

Definitely. Even with the It’s Better This Way project, it’s really all about becoming comfortable in my space. I’m not really chasing the sound that everybody is on or chasing what people are familiar with on radio, but just kind of finding my own pocket or my own niche and building on it as much as possible. Not doing it all by myself but rather while working with musicians who can bring certain parts to life and make sure that the music moves. When I say that, I mean that normally when you sample, you’re stuck to the grid of the sample because you might use a four to eight bar loop…but when you create original content, you have so much freedom when it comes to the instrumentation — to change things, to make breakdowns. Even the key I sing in and how I write music. It was just easier elaborating the things I come up with in my head or things I sing acapella in a voice note and then you get in with these amazing musicians and you bring these songs to life, they sound more cohesive. There was just a confidence. It may not be your favorite record on the radio or take off like that but over time, people will gravitate to my content and my sound because they know they can’t get it anywhere else.

Would you say that we’ll continue to hear the more polished sound from you as you keep moving forward or was it more of an experimental thing that you wanted to try out and get back to that comfort zone?

I’m going to stick with this. I’m definitely going to stick with where I’m going creatively. Even with the records where we get crunk and we turn up in the club that come from me, I feel that I’m able to put a message in there someway or somehow. For the most part, I really like where I’m going with the music. I like the amount of singing that’s happening and the positive platform and the things that I say in the content. I’ve done so much music throughout my career, it’s been over 270-something songs and records like “Soul Food” and “Hometown Hero” still stand out. I still perform these songs…along with a record like “Mt. Olympus.” I’m just excited to keep this feel and this vibe going musically. It’s just a brighter aspect, because I’m happy with where I am in life and it definitely shows in the music. At the same time, the person I was during ‘Krit Wuz Here‘ isn’t the person I am now as far as experiencing life and I really want to take people on this journey musically so the next album is even going to be crazier, I promise.

I saw that you went to Australia and had a string of shows over there. How was that experience?

It was beautiful. It was amazing. It’s definitely one of those places that make you say “I could vacation here, for real.” We went to Perth, Brisbane, Melbourne and Sydney. Just the response for the music — being able to do songs like “Country Shit” and the people turn up and the people being so aware of my catalog, was mind blowing. It’s exciting to see how far the music has traveled.

I love the project, I listened to it four times the night that it dropped. Great album art as always. There was  a quote from “King Pt. 4” that I wanted to bring up: “Art is art, no matter how you sculpt it, mold it, grow it…only to go unnoticed.” It seems like you’re still carrying a chip on your shoulder, can it get any heavier or has it reached capacity?

I think it can probably get heavier. I’m one of those people where I feel that musically, I still have to prove myself lyrically. It might just be the pressure that I’m putting on myself and I’m always going to go as hard as I can to make sure that quality music is noted and understood and paid attention to. That bar wasn’t just for me. It’s a lot of other artists that I know who are lyrical giants and musicians and those OGs I grew up listening to that didn’t get the respect they deserved or weren’t noticed. That’s why I put that in there, when it comes to art nowadays shock value gets more attention than a really great body of work or great art and that’s sad. When there’s bright lights and shine, people pay attention to that but they aren’t getting anything from it perhaps versus someone digging deep and listening to something you can actually get some substance and some content from.

The “King” series is just me venting about whatever is going on, not only about the state of hip-hop but how I feel as an artist personally. If I can’t tell the world how I feel, then there’s something wrong. Musically, I’ve always been an open book and put out my emotions right there on wax and that’s what “King Pt. 4” was all about. Even with that song, I’m starting to get to a place where I’m understanding that my path is my path and it’s gonna be what it’s gonna be but that’s not going to stop me from always pushing the envelope. I’m always going to go the distance with my music no matter what, even if people aren’t paying attention or giving me a certain kind of shine like they might do with other artists. I’m still going to go as hard as I can musically and give the people that actually do listen to my music quality over quantity.

I like that you can have the balance with songs like “Shakem Off” and “86” and then still come back with a song like “Got Me Thru.” It was a nice surprise to hear the old Ludacris sample and then to have him actually be on the song.

Shoutout to the OG, because the thing is Luda’s super busy and he was able to get me that verse back in the most timely fashion — and he killed it, which made it even better. It was an amazing experience, because the song I sampled (“Catch Up” from Incognegro) was one of my favorite crunk songs growing up. So to be able to sample that and THEN put him on the song was amazing.

You have this thing to your music where you can work with someone like the late, great B.B. King or Raphael Saddiq and then still do a cut with Trinidad James — who I feel is underrated, by the way. But it covers both ends of the spectrum. What do you think it is about your music that allows you to do that?

I think because the art form is music and it’s a painting. You paint what you want on your canvas and as artists when we collaborate on a record, it’s like collaborating on a mural. Trinidad had a really great idea as far as the song he did for the people (“Black Man Pt. 1”) and I appreciate him knowing that I’m the kind of person who likes to paint those kinds of paintings as well and we can collaborate on a song and it turns into what it is. Like you said, Trinidad is not only for the people, but he’s also a very intelligent cat. The music he makes is something that he believes in and he goes off on his own route and in his own lane. I’m actually excited to see the homie get so much shine from doing a song, having it blow up and then it becoming another record that the homie Bruno Mars ended up sampling it and turning it into something else. I think it’s camaraderie at the end of the day. I never told people that I was perfect. In my projects, I’ve always dropped different kinds of vibes on records because I feel as a person I’m like that, I’m human.

Sometimes I wanna grind and get money, sometimes I wanna hit the club, sometimes I just wanna ride around in my car and sometimes I don’t feel like doing any of that and I just want to have a drink and kick it. I feel like I have to put those vibes in my music because us as humans, we all go through those different emotions. I think that’s what my music become — it’s gotten to the point where it’s so relatable, that people understand how I can do certain records because I haven’t pretended to be anything. I’m just myself. When I do these interviews, they see it. They see I’m human and there’s nothing wrong with that. Sometimes there’s this superhuman aspect about being an artist and then get caught up in trying to uphold a persona that you couldn’t possibly uphold because you’re only human. I just never fell into that persona. I was always being myself and always told people about what I dealt with and how I felt about certain situations. I’ve exposed them to what my family was like and what my upbringing was like without feeling like I should have to hide anything. So I feel like when it was time to do a particular record, people just let me do me — and that’s a beautiful thing.

The easiest thing to be is yourself.

Exactly

You really wanted to work with Bobby Womack before he passed. Were there any other legends that are still here with us that you could probably picture yourself collaborating with?

Man, definitely. Al Green. Off the rip. Al Green would definitely be one of these people that I would love to do a song with. And yeah, Bobby Womack was the one and it hurt me when he passed because that was definitely something that I had looked forward to just because of the songs that I had sampled from him. Frankie Beverly & Maze, I would love to do a song with them. Bootsy Collins. I actually tried to get Bootsy Collins on “Mind Control” on Cadillactica but we just ran out of time and it didn’t go through, but I still plan and would love to work with him. George Clinton, it would be amazing to do a song with him. Those are the people off the top right now that I could name. You know the people that are old school that my dad and them played. Ron Isley. I would love to do a project or at least a song with the Isley Brothers. That would be lovely.

And all the people you named, they’re still out here making music. So it’s definitely possible.

I know. Bill Withers. I have to say Bill Withers too. I would love to do a song with Bill Withers.

One of the songs on It’s Better This Way sounds like it might have a Bill Withers sample on it.

Yeah, definitely. I ain’t gonna say which one, but you’re right.

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It’s been over two years since Meridian, Mississippi’s own, Big K.R.I.T. released his major label debut album, Live From The Underground, but that doesn’t mean he hasn’t been busy. Last year he dropped the well-received mixtape, King Remembered In Time and he’s been hitting the road with the likes of Macklemore and Talib Kweli. The fourth installment of his See Me On Top series just hit the internet last week and his new album, Cadillactica is slated for release this November. Although he’s currently gearing up for his Pay Attention tour with Two-9, Young Krizzle to the time to talk with us about life in Meridian, musical influences and artistic growth, among other things.

You are a very soulful artist. It comes out in your music. Who were some of your early influences and who introduced you to that kind of music?

I would say that my father was the first person to play Geto Boys and NWA around me. He had tapes and I remember he was really into electronics. He had a lot of old cassette players and things of that nature and he was the first to really introduce me to that. I didn’t find out about Outkast until I was riding around with one of my first cousins. I would attribute my grandmother to putting me onto the blues and soul music. Like James Brown, B.B. King and people of that nature. So growing up, I had a wide range of things I could pick from. When I got to an age where I could start buying my own CDs and turn the radio onto what I wanted to hear, that’s when I started discovering Willie Hutch, Bobby Womack, Curtis Mayfield, UGK, Three 6 Mafia and Eightball & MJG. That was the beginning of me listening to music in a way where not only was I entertained by it and influenced as a person, but I wanted to know how it was created in that manner.

That’s kind of how I was. When I was 15 or so, I started listening to the oldies station on AM radio and hearing songs that had been sampled for the rap I was listening to on the FM stations. I’ve been hooked ever since.

It’s so many jewels and things you just pick up on a random radio station. A lot of obscure samples came from only having one vinyl record pressed up, maybe one single. The songs that never really, really blew up…sometimes have some of the most amazing melodies and backgrounds and riffs.

I have family in West Alabama, right on the border and anytime I’m there, we go the Bonita Lakes Mall in Meridian. I’m familiar with the area and years ago when someone told me that a cat from Meridian was spitting rhymes, I had to check it out.

Most people have to ride through Meridian to get to Jackson or Biloxi, so they probably have rode through Meridian and didn’t even know it.

What was life like in Meridian coming up?

It was very humbling. I had the opportunity to be raised by a lot of elders. It was the “It takes a village to raise a child” mentality. Both of my parents were very active in my life, even though they weren’t together. They always wanted me to follow my dreams. My grandmother was very passionate about me following my dreams and doing what I wanted to do. Ultimately, she was scared about me venturing into the music industry just because of stories she had heard growing up, but she played a big part in how I am as an individual and a man. She was born in 1923 and she instilled a lot of morals in me that carried over into how I am now. Not only as a musician, but as a human being. I think people can hear that in my music and in the music I actually like to sample. Meridian is one of those places that reminds you how the small and simple things in life can be enough. To me, the days go by slower than in some major cities and I had the opportunity to kinda enjoy my childhood in a certain way. There was a lot of time to sit back and reflect on what you wanted and how you planned on getting it and I’m blessed to have been in a situation to actually have that kind of upbringing.

The video for “I Got This” was shot entirely in Meridian?

That was definitely Meridian. For me it was important to show people that my city was a city and that it wasn’t horseback and dirt roads. I know people hear that I’m from Mississippi and they have some sort of idea of what kind of city it is and that’s not even really the case. I just wanted to show that I’m from a city and we’re thriving.

I know one of your biggest musical influences was Bobby Womack. Did you ever have the chance to meet him before he passed?

Man I didn’t, brother. And I was so sad about it. It was mind blowing. With me wanting to work with him so bad and being so influenced and sampling his music and actually doing my research on what he had been through and what he had been able to accomplish musically, to not be able to work with him was disappointing.

And he was still very active.

Yeah! So it’s one of those things where all I can do is if I do sample him, I have to do his music justice and pay homage. When people ask me about the music I sampled and what did I listen to growing up, it’s important that they know he had a large part in what kind of music I make and the amount of passion I put in my music. He was a true soul man at the end of the day.

Looking back at “REM,” you had a line in that song that says you feel as if you failed your fans with Live From The Underground. As more time has passed, do you feel the same way and what do you think you could’ve done better?

To me, it was one of things where I dealt with so much. I went from doing mixtapes and having that freedom of just throwing music out…but when you’re signed and working on a major label album, it’s a little bit more organized. It’s a lot that goes into it when you’re sampling. It’s a lot that goes into it when you’re creating a song. You have to deal with the business aspects as well. I wasn’t 100% prepared to do what I normally do with a project and deal with the business end. I think it bled over into my music. It bled over into how I felt about having to work under those circumstances. Dealing with sample clearances was one of those things that I never had to deal with before and it was mind blowing. I would hear a song that I would want to sample and then second-guess myself. I’d shoot down an idea or possible record before I’ve even created it. I had to get over that. Also, most of the time I’m competing with myself. People would say “Alright, your last project was 4evaNaDay” and a lot of people loved that and felt that it was better than Live From The Underground.

There was a freedom with 4evaNaDay that I didn’t have with Live From The Underground — which was the sampling, which was the unexpectedness. No one expected 4evaNaDay. I dealt with a lot of that. Looking back on it now, I’m proud of Live From The Underground because I stuck to my roots as much as possible. It’s one of those things when people go back now and listen to it, they’ll be like “Damn, that shit was super jammin’.” I think it was on top of me dropping a mixtape like 4evaNaDay — all original, themed out and a crazy cover, a month before I dropped my album. Also, I had been promoting my album Live From The Underground since 2011. We had the “Country Shit” video with Luda and Bun B in March. Then “Money On The Floor” came out in September of 2011 and my album didn’t come out until June of 2012. So there was a large gap and anticipation and I’m just blessed that the fans still believe in me enough to go out, purchase, represent and ultimately pay attention. I think I learned a valuable lesson in timing and getting things done early business wise. That way, I can solely focus on the music and I can get all the ideas that I want ironed out and let that be that and then roll it out properly. I think that’s what we’re doing right now with Cadillactica. I think it’ll work. We’ve got the amazing single with Rico Love, “Pay Attention” and I’m just excited for people to hear this full body of music — and I only used three samples.

Oh wow.

The thing is, you’re not going to know what is a sample and what’s not. That was even more exciting, because I was able to create the kind of music where you would still think it was a sample.

The last time I saw you perform live was in 2011 during the Return of 4Eva tour. Is there anything you’ve learned about touring between now and then?

Oh yeah. Resting, but not going to sleep an hour before your show. Not eating a heavy meal before your show. Not indulging in too much alcohol before your show. Crowd participation and engaging with the people more. Just having fun. I used to be really critical of my stage presence at these shows. I was giving my all, but it was still supposed to be fun at the end of the day. I think the Return of 4Eva tour was the first time where I started to understand that people could have fun. I could have a message and rap my ass off at the same time. From there, the Live From The Underground tour was the beginning of me really having fun, enjoying myself and enjoying hip-hop. At this point, now it’s just about performing the new content, bringing the people out that have always supported me and then bringing new people out while enjoying this thing called hip-hop. I’m spreading the message of following your dreams, putting God first and getting money.

Even back then it seemed like you had good stage presence.

Oh yeah. I’ve learned from some of the best. David Banner was a great, great performer for me to watch and just be like “Oh shit.” So when it comes to me being on stage, it don’t even matter. We’re jumping off the stage. We’re crowd surfing. We’re throwing water. We’re having fun. I gotta look at it like it’s my last performance, because if this is it, I wanna be remembered for having the kind of performance that’s hard to forget.

You mentioned being on various tours. I know you’ve been on tour with Macklemore and others as the supporting act and also on your own tours where you’re the headliner. I would think being the headliner is the bigger thrill but do prefer performing in the more intimate smaller venues or larger arenas?

It doesn’t matter. It could be five people there, it could be five thousand people there. Again, I’m going to put on my show like it’s the last show and it’s fully packed in that thang because I remember back when there was NOBODY that cared to see me perform or there were no shows at all. I try to keep that in mind. I always love to go on tour as the headliner and see the people that are always going to jam your music, but there’s an excitement of going to perform in front of people who don’t because you gain new fans. I’ve toured with J. Cole, Wiz Khalifa, like you said, Macklemore and Currensy and you always gain new fans. You’ll be out and about and people come up to you after the fact and are like “I wasn’t much of a fan of your music and this was my first time seeing you perform, but I’m glad I did and I know now.” That helps and keeps me motivated too.

Tell me about “Pay Attention”. How did that come about?

I had the opportunity to go down to Miami and work with Jim Jonsin and his team of producers, Zac and Finatik. Also, at the same time I wanted to be able to get in with Rico Wade and work because Jim Jonsin and Rico have this musical relationship where it’s cohesive and they work in a way that’s organic and it was a blessing to be able to go down there and get in the studio with both of them and create a song of that nature. For me, it was about getting out of my comfort zone. This album is a lot about that too. I was used to producing my own records and singing my own hooks and it was out of necessity at first in my career because I couldn’t afford to pay for beats and I didn’t have anybody to sing on the hooks. At this point of my career, I want to create and write in a manner where I can always take it to the next level. It was dope to get in with Rico because he has a gift for writing hooks that are relatable for everybody. It doesn’t matter where you’re from and it doesn’t matter who you are, you can relate to these hooks. When he sent that to me, I was like “I got it” as far as the verses and it was just dope to be able to add a little bit of my edge and my southern twang to it. I can still be myself, but make a record as big as “Pay Attention” and showcase my growth as I’m getting older. I want to put that in my music. I’m not K.R.I.T. from 2010.

It has that “grown and sexy” vibe to it.

Ain’t nothing wrong with that.

Is that going to be the vibe for Cadillactica as a whole?

I wouldn’t say that. Cadillactica is a free-floating album in a way where I felt like I was able to talk about whatever I wanted because I created a planet to do so. Cadillactica is a planet that I created, which in reality is my conscious mind. It’s where all my creative thoughts come from. It’s where all my ideas come from. All of my pain. All my passions. All of my struggles. All of my pain. It all comes from Cadillactica. Everything is a little obscure and a little different because in your mind, it IS like that. Your mind is abstract, your ideas are abstract and I wanted to make my music seem a little abstract. I wanted the skits to be a little abstract. I wanted some of the instrumentation and singing to be abstract. I wanted the content and the topics to be abstract. I think I was able to accomplish that on this planet called Cadillactica.

A theme I’ve always noticed with your projects is the sequencing. It always starts with the crunk trunk-rattlers and as things move forward, you get into the deeper content. So with this new project, are things going to be all over the place in an abstract way?

I think every song still has purpose on this project. I think it still flows in a way and I like to think of it as flowing in a way that’s like growing up. When you’re a young adolescent, things intrigue you. You’re energetic. You’re ready. You’re like “I wanna see this, I wanna do that, I wanna be a part of this.” Then when you start slowing down, other things start to become more important. Time becomes more relevant and you’re like “Man, am I doing what I’m supposed to be doing? Am I a part of what I’m supposed to be a part of? Is this all going to be enough? There’s not enough time in the day.” Then when you get older and reflect on it all, that’s when you’re like “I think I did enough. I hope God’s proud of me. I want to leave something behind.” Normally, I think of my sequencing that way. It’s like the buildup, then the climax and then you just kinda let go and then you fade out. I think of life in that manner and I like to think of music in the same way.

The album’s coming 11.11, you’re about to hit the road and your name is being mentioned more frequently as one of the top artists in the industry today. I remember hearing a song of yours in a Crown Royal commercial a little while back, do you feel like things are finally coming together for you or is there still that chip on your shoulder?

I think that this is my journey. Some people’s success comes faster, some people’s success takes time. It takes years. It takes development. I think of it like this: I’m still building my foundation. There’s still bricks being laid but once it’s right, this building won’t ever come down. My timing is different and it all makes sense, just being from where I’m from. It’s a different place. It’s a different environment. The population is different. I have to make people want to go to where I’m from. It’s almost like sometimes I’m fighting more than just comment boxes and stuff like that, but history itself because I want to shine some positive light on my state. I don’t want to tell somebody “I’m from Mississippi” and they always have negative thoughts about it. I want to showcase it differently. That follows the suit amongst a [person like] David Banner, who was able to not only be a positive role model in hip-hop…but in life. It’s important that people understand that just because I’m country, that does not mean that I’m not intelligent. I’m intelligent. I still believe in saying something that matters. There’s a lot of people where I’m from that feel the same, but you’d have to go there to know it. I think I’m gonna pull my weight and do whatever I can to make people open their minds and visit and come check it out and look at all this history and learn about where I’m from as well as these other places.

It might be a bit too early to ask, but what’s the agenda after the tour and the rollout of Cadillactica? Or Are you just focused squarely on the album at this point?

The album is the focus point right now, but obviously [there’s the] branding of the artist. Branding Big Sant. I’m excited about what he’s going to do. His voice is crazy. The music he writes is amazing. For him, it’s the same thing with building his foundation. I think that’s going to be the next thing for me as well. Helping him with his platform. Branding Multi Alumni as much as possible. Getting into scoring movies. Producing for other artists — not just rap artists, but also soul singers and jazz musicians. Ultimately, writing and composing music in different formats.

Are you and Big Sant ever going to do an entire album together?

I’m sure that’ ll happen. I can’t tell you when or how, but it’s going to happen.

Last question, is there going to be a “My Sub 3?”

Wooo! You gotta find out for yourself. That’s all I’m going to say. I can’t speak on it too much. You just have to find out for yourself.

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The post Interview: Big K.R.I.T. Talks Bobby Womack, Artistic Growth & The Planet Cadillactica appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

Big K.R.I.T. has been off the scene for a while to work on his Cadillactica album, but now he’s back with #WEEKOFKRIT. A new track everyday for the entire week, and today’s is the self-produced “New Agenda” featuring his Def Jam labelmate Rick Ross. The Mississippi rapper always had a knack for making music that you want to ride to in your whip, and this one is no exception. It’s super smooth, and perfect for you to drop your top, lean, and listen to, provided you live down South. Pneumonia ain’t no joke. It will be interesting to see what K.R.I.T. has up his sleeve for the rest of the week. Peep the track below.

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Pell‘s Fresh Produce Tour, which started last week, is still going strong. Click here for dates.

The post New Music: Pell feat. Big Sant – “Inner Peace” (prod. JR Jarris) appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

That Feel Good Tuesday is upon us again. This week’s track is “Chewsin’:ThreeSixtyFive” a collage of two concepts: confidence and paranoia. On the first half of the track, Pell casually declares that he’s the one doing the choosing; he then immediately contradicts himself on the anxious second half of the track by admitting his constant apprehension (365 days a year) toward possibly not being chosen (i.e. being successful). This is the dilemma of the developing artist, a constant and sometimes terrifying oscillation between certainty and its bleak opposite. These could have been two separate songs, but by joining them Pell acknowledges this duality.

“Chewsin’:ThreeSixtyFive” is the third release in Pell‘s #TFGTuesday campaign, which is releasing new music every Tuesday until next Tuesday, September 17, in promotion of his upcoming tour, which has the dates listed in this post. Listen below and check back in next Tuesday for the final installment.

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In promotion of his tour of the Southeast, which starts on September 12, Mississippi spitter Pell will be releasing  a new song every Tuesday until September 17. The name of the campaign is #TFGTuesday, which alludes to his brand, “That Feel Good,” which we all got a taste of on his summer EP.

“Never Let Go” is a bit of a departure from the songs on Feel Good Summer. Still thoughtful, but more earnest, Pell opts to rap more than harmonize, discussing relocating because of floods and continuing to grind, all while thanking his mother, who has supported him throughout. Flywalker, who actually produced the track, also discusses the struggle and making his mother proud. Listen below and look out for the next #TFGTuesday release next week. We’ve already listened to the tracks, so we can assure you, they are that good good.

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