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Speaker 1: Yeah, rapp Rate Up podcast. Elliott Wilson, you know what's up,

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Speaker 1: baby shilling Man? What's good going into Nashville today? Man,

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Speaker 1: I think it's the first time this guy Dave Man

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Speaker 1: from London. They were trying to get this out of

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Speaker 1: the podcast. Oh yeah, he's busy. Man's in the UK,

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Speaker 1: he's in America, he's everywhere. The Psycho Drama album still

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Speaker 1: making noise and he's on that I didn't get Top

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Speaker 1: Boys after Man. He does it all Man wraps, he says,

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Speaker 1: I mean, come on and man, so rainy day in

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Speaker 1: l A. Man, we're gonna sit down on London's own man,

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Speaker 1: Dave Man on your rapp Right Up podcasts, Sir, send

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Speaker 1: me the location this year about vacation like catching train

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Speaker 1: taking trying to get with this man for a minute now.

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Speaker 1: He's hot out and wrapper in l A today, Dave,

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Speaker 1: what's up? Respect? You can't call him sut time. That's

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Speaker 1: what the girls call him. Is that the origin? I

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Speaker 1: didn't notice the Santan origin. That that's that's part of that. Yeah, yeah,

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Speaker 1: that's that's that's what I going. Cool as you got

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Speaker 1: home still goes boys. I thought I was just yeah,

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Speaker 1: that's to tend it onto that you. Yeah, that means

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Speaker 1: that's the home tip. If somebody call you that, that

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Speaker 1: means they kind of really know you. Yeah, that one's

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Speaker 1: gonna know you. With this album and Psycho Drama. How

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Speaker 1: how proud of you like that you've seen, like you've conquered,

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Speaker 1: like you know, for a British artist to really make it,

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Speaker 1: make this impact into the American audience, like it's you know,

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Speaker 1: I've seen it one of the most critical acclaimed albums

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Speaker 1: of a year. Like what do you make of all

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Speaker 1: the reactions to Psycho Drama? It's hard to tell people,

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Speaker 1: I guess fully think because you don't you know, being

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Speaker 1: in London a lot of the time, you don't really

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Speaker 1: get to shore I got staying on the tour. Yeah

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Speaker 1: it's good. You got to feel a bit more, whether

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Speaker 1: it's connected in certain places or not. Yes, a lot

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Speaker 1: of people have shown love for it, and I guess

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Speaker 1: appreciating great for what you know, just gonna keep just

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Speaker 1: gonna keep pushing on. I don't really know, I got yeah,

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Speaker 1: I can't. If it's not you know, online, then how

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Speaker 1: do you what's the impact? How do you gauge it?

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Speaker 1: I can't really get to you understand. I think if

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Speaker 1: you're in another place a lot. If I was here

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Speaker 1: a lot and I was this is my first time

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Speaker 1: in the day this year, you know, if I was

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Speaker 1: in New York and or you know, Houston, I don't

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Speaker 1: know where it is, and I felt like, you know,

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Speaker 1: do you feel it in the hometown and London? Do

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Speaker 1: you feel like, oh, I really delivered because you know,

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Speaker 1: this was anticipated. There's a couple of EPs. This is

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Speaker 1: like you know, the heraldd like debut album, right, like,

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Speaker 1: so there's a lot of hype on that. There's a

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Speaker 1: lot of outside pressures like, so the at least in

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Speaker 1: the hometown, do you feel like you delivered to especially

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Speaker 1: to your family. Yeah, I guess so. In London, there's

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Speaker 1: definitely been a master you know, shifting the amount of

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Speaker 1: I guess attention that whole operation is bringing this year.

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Speaker 1: I think that, you know, people have definitely taken album

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Speaker 1: very well. The people that I see it's it's you

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Speaker 1: know what, it's what they reference. I definitely feel like

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Speaker 1: in my career, I'm living in the present, which is

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Speaker 1: good because you know, sometimes you can drop an album,

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Speaker 1: but people know you for the mixtape you dropped before

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Speaker 1: it or the mixtape you dropped on whatever two years ago,

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Speaker 1: three years ago. But everything feels very current. It's all

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Speaker 1: about the songs that are this year now on the project.

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Speaker 1: So yes, it's definitely been a reaction that I guess

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Speaker 1: I would have dreamed for, um, especially in London, but

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Speaker 1: I'm there all the time, so I can I can

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Speaker 1: feel it. You say you described his album as what

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Speaker 1: it's like to be black in South London for someone

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Speaker 1: that doesn't have a passport. What does that mean? Yeah,

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Speaker 1: I guess yes, there's a lot of different phases to

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Speaker 1: the album and I think you know that quote might

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Speaker 1: have been about one track in particular, in singularity, I

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Speaker 1: think the track throughout ours there's lyrics, whore reference, you know,

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Speaker 1: the the highest, the lows, that that type of thing.

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Speaker 1: What it's like being the musician, being young, being black,

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Speaker 1: you know, the verge of success, still being close to

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Speaker 1: all the things that you grew up in and around.

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Speaker 1: And I think it is, it's it's, it's it's different.

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Speaker 1: It would take you know, hours to to fully explain.

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Speaker 1: I guess what the black South London experiences, Especially where

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Speaker 1: I'm just one person from one background, there's probably a

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Speaker 1: man different experience for another guy that's living in a

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Speaker 1: different end, you know. But there was one line that

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Speaker 1: you had. I think we could probably relate it to America.

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Speaker 1: Like the idea that you said black is growing up

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Speaker 1: around your family and making it then being forced to

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Speaker 1: leave the place you love because it's hating it, you know.

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Speaker 1: I know from the American perspective, we can relate to that.

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Speaker 1: Like so many times, like you make it out your

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Speaker 1: community and then you know, don't you don't feel the

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Speaker 1: love the same way, and you almost have to get

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Speaker 1: yourself out of that community and then eventually your family

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Speaker 1: out of that community. Yeah. I think, you know, the

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Speaker 1: just being black in in general, because of all the

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Speaker 1: things that um black people have gone through over the years,

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Speaker 1: is so complex, and I think that is definitely one

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Speaker 1: of the strange of things that I was encountering being

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Speaker 1: on you know, the cusp of everything that that are

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Speaker 1: people that you know are for the most part, people

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Speaker 1: are genuinely happy if you want the best and such.

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Speaker 1: But you know, what it takes is that one percent

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Speaker 1: of people that aren't, you know, to to throw everything

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Speaker 1: into into disarray. And I think that in the communities

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Speaker 1: that we have in the communities that we that we

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Speaker 1: create for ourselves. Um. I don't know exactly what it is,

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Speaker 1: but I guess there are some individuals that would look

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Speaker 1: at your success and with rather talk about the reasons

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Speaker 1: that you shouldn't be the things that are wrong with it,

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Speaker 1: then the things that are right with it. And I

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Speaker 1: think that that breads a dangerous sort of combined to

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Speaker 1: stay in, especially where the things that we're coming from

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Speaker 1: our soul um in some communities, I guess harsh, you know. Um,

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Speaker 1: I don't know any of all that sort of thing

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Speaker 1: where that's the thing, like any other culture background per

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Speaker 1: se where that is. And I'm not saying that hates

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Speaker 1: don't exist in every walk of life, you know, but

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Speaker 1: I guess the extent to um in which being black is,

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Speaker 1: you know, like that inspired that song, I really tackled that.

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Speaker 1: The whole subject matter of black is one of the

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Speaker 1: most powerful songs on the album. And then it was

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Speaker 1: one of the lead singles right of the project. Yeah,

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Speaker 1: it was the first try to be put out and

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Speaker 1: I think, um, I was a rishion. I was originally

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Speaker 1: listening to Kendrick the Mark and then there was a

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Speaker 1: song blood But it's not even a song. It's just

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Speaker 1: like the intro I wrote it to the instrumental for Blood,

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Speaker 1: and I think there was, you know, coming a time

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Speaker 1: where it was important to just say something on the album,

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Speaker 1: to say something that, um, it was bigger than me

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Speaker 1: because a lot of it is very intrinsic, and even

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Speaker 1: though it's track free was one of the last tracks

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Speaker 1: to be written, and a lot of albums about myself,

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Speaker 1: I think it was about just making something extrinsic, speaking

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Speaker 1: for myself but for everyone else, and using my experience

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Speaker 1: or what it's like with being black to tackle the

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Speaker 1: wider issues in and around the community. And I think

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Speaker 1: that yeah, there's there's a lot of different inspirations behind it.

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Speaker 1: I think speaking to some friends that I have, you know,

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Speaker 1: state side, the different struggles that they have, I guess

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Speaker 1: with um being black, the somewhat loss of identity being

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Speaker 1: you know, African American and not exactly know you're direct

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Speaker 1: past and your history because of the things that you know,

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Speaker 1: African American people are faced and a lot of the

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Speaker 1: dark stuff that had happened there and just like actually

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Speaker 1: thinking about what those things would do the effects of that. UM,

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Speaker 1: the division in black community was like a big inspiration

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Speaker 1: behind it as well, because a lot of the time

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Speaker 1: I see people arguing about, you know, this black and

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Speaker 1: that black or this black is like and you know,

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Speaker 1: he you know what I'm saying, like black people and this,

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Speaker 1: but she's got a better chance of this because she's black,

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Speaker 1: but she's not like this black and your black is

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Speaker 1: this black and that black and such and such, and yeah,

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Speaker 1: he liked that black, but it's just too light. Also,

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Speaker 1: like how you play with saying it's it's a sour

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Speaker 1: flavor and it's a sweet flavor, like you play on

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Speaker 1: both sides of it. Yeah, because because it's a super black,

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Speaker 1: you know, I wouldn't have it any other way. And

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Speaker 1: I think the parts of it that make it taft,

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Speaker 1: that make it um so, so you know, I don't

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Speaker 1: know what the exact word is, but yeah, the the

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Speaker 1: darker parts of being black inspired the sweet parts as well.

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Speaker 1: And you look at you look at just the music,

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Speaker 1: you look at the soul, you look at the foods,

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Speaker 1: you look at the culture, all of these things. I

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Speaker 1: guess like their inception and their birth, where they came

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Speaker 1: from being you know, probably a struggle somewhere down the line,

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Speaker 1: I guess, you know, I'm pretty sure that blues music

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Speaker 1: come from, you know, a place of Yeah, you know

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Speaker 1: what I'm saying. I think that that, Um, that's why

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Speaker 1: it was towards the end that our referenced it being

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Speaker 1: the sweetest um flavor, because it's like you can't get

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Speaker 1: the sweetness of being black without like the everything that

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Speaker 1: had created. I think that, you know, I wouldn't say

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Speaker 1: that the black experience exists completely inside of our pain,

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Speaker 1: but it's you know, definitely a contribute in fact or

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Speaker 1: to what it is today the landscape with back today.

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Speaker 1: You know one last thing, I'm black, Uh. I heard

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Speaker 1: when you went released it back on my BBC radio

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Speaker 1: there was people saying they were offended, like quite a

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Speaker 1: little controversy. Ntil some DJs defended and said, you know

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Speaker 1: this song should played. What did you make of all that? Yeah,

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Speaker 1: I think that, you know, it's what I expected. To

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Speaker 1: some extent. The UK outside of London is completely different. Um.

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Speaker 1: You have a few you know places that are you've

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Speaker 1: got your London's bum in Manchester, Bristol or not in

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Speaker 1: the Needs Suffare with etc. It goes on. You have

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Speaker 1: your sick is where it's like you know, and then

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Speaker 1: when you get into rural areas and whatever that they

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Speaker 1: might not be as familial or accustomed to, you know,

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Speaker 1: the culture of lack vulture, black culture, etc. Just not

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Speaker 1: just black, just different cultures in general. So hearing that,

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Speaker 1: I think they the people that were outraged or whatever

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Speaker 1: it is, just didn't understand. I don't think that they

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Speaker 1: understood what the point of the song was. I think

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Speaker 1: the black If I say are black is beautiful, Black

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Speaker 1: is accident, that doesn't mean that I'm saying that everything

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Speaker 1: else isn't. It just means that I'm saying that this

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Speaker 1: is and you know, that's just that's just how it is.

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Speaker 1: It's I've never understood why people take offense to me

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Speaker 1: celebrateing and being proud of where or what I'm from,

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Speaker 1: what I represent. If I, you know, went on the

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Speaker 1: song and I said that everything else is this, yeah,

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Speaker 1: and that that was my thing, and if I was

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Speaker 1: one of those people that done that, then you know,

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Speaker 1: maybe I understand about where I was just celebrating Black Coach.

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Speaker 1: I think that people just heard the first four lines

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Speaker 1: and it just falls. Let me let me start from

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Speaker 1: you know thematically. Did you always have this idea of

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Speaker 1: opening up the album with the therapists and talking about

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Speaker 1: insecurities and things like that. Yeah. Um, that was something

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Speaker 1: that came together on one of the last days actually,

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Speaker 1: like placing all the words and getting a dialogue and

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Speaker 1: playing together. But it was always one of the driving

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Speaker 1: forces behind the album because it was just like I

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Speaker 1: just didn't want to just have a collection of tracks.

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Speaker 1: I wanted to have a narrative somewhat self discovery. And

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Speaker 1: I think if you listen to the album as eleven

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Speaker 1: separate tracks and then you listen to it as a whole,

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Speaker 1: it's just two completely different things. The tracks are meant

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Speaker 1: to be aware of each other. No, Trap four is

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Speaker 1: meant to lead onto track five, and they're meant to

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Speaker 1: you know that meant they're meant to, yeah, live in

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Speaker 1: the same world and get each other. And I referenced

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Speaker 1: other songs and songs, so it's not I guess one

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Speaker 1: of them ums, that's just independently. I think I wanted

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Speaker 1: to have a concept in the narrative. I still have

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Speaker 1: something that on its own could achieve some level commercial

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Speaker 1: How do you look at people haven't heard of the concept?

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Speaker 1: What is the concept and story that you are telling?

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Speaker 1: Because I feel like it's more as much about you

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Speaker 1: as also your brother. Right. Yeah. I think that everything

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Speaker 1: that a brother had gone through and that everything around

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Speaker 1: the situation of brought what was required with him to

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Speaker 1: do where he was in a place called Grendon was

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Speaker 1: self discovery and looking back at what made you do

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Speaker 1: the things that you've done, who are, why you are

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Speaker 1: that way? And I think that I just decided to

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Speaker 1: go on my own journey doing the same thing as

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Speaker 1: to what made me who I am, just a bit

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Speaker 1: more self discovery. And I think that that in doing that,

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Speaker 1: I learned about myself while writing out, while hearing it,

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Speaker 1: while creating it, um and Yeah, that was the basic

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Speaker 1: driving force the concept behind album, just to learn about myself.

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Speaker 1: And I think for other people that are listening, if

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Speaker 1: you could listen to me learning about myself, maybe learn

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Speaker 1: something about yourself. Yeah, that would have been being a

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Speaker 1: successful trying to make people feel out. It's okay to

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Speaker 1: go out and question yourself, what you do, how you

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Speaker 1: come to the place that you are. You know, I

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Speaker 1: feel like this when I wake up UM twenty seven,

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Speaker 1: for example, I'm thirty one, I'm forty five. I feel

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Speaker 1: as if my life has gone like this and like this,

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Speaker 1: These are the things that led up to this moment

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Speaker 1: in my life. This is how I could potentially change it.

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Speaker 1: This is where I want to be, This is where

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Speaker 1: I want to go. I think that journey I had

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Speaker 1: for fifty five minutes or whatever the running time and

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Speaker 1: the album was is what my use of growing up,

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Speaker 1: between the ages or whatever it was. It tough being

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Speaker 1: so vulnerable on the records because you're putting out a

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Speaker 1: lot of family business in you know, showing a lot

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Speaker 1: of vulnerability. Yeah, to some extent, it was hard too

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Speaker 1: to vocalize, but I had to, you know, I had

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Speaker 1: to let myself know if if I'm writing and it

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Speaker 1: doesn't feel as if I'm pushing it, or if it

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Speaker 1: doesn't feel as if this is controversial, because if I

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Speaker 1: might get in trouble for saying this, then I don't

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Speaker 1: think I'm pushing it enough. I'm challenge yourself that way

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Speaker 1: as a writer. Yeah, I know if I've said something,

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Speaker 1: whether it's whether it's good, because I'll have to ask

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Speaker 1: someone that i'm wave but also one of my friends

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Speaker 1: of family, and say, do you think it's too much

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Speaker 1: for me to say? If you think it's too much,

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Speaker 1: and when you're pushing yourself, and those are the lines

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Speaker 1: that you're crossing or not crossing, whether it's family business,

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Speaker 1: whether it's your own personal life, whether it's what you're saying,

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Speaker 1: the way that you think and feel. If you know that, yeah,

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Speaker 1: I've got this feeling of I'm taking it for at

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Speaker 1: least you're you're pushing the envelope because you can. You

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Speaker 1: can be safe. It's it's pretty easy to be safe

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Speaker 1: in the wrappers and just be m Yeah, you can

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Speaker 1: going in a boof and rap about whatever it is

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Speaker 1: clean sixteen together. But yeah, I think what is more

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Speaker 1: like rewarding is hearing something and then listening back to

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Speaker 1: a verse and thinking, oh, that's actually how I feel.

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Speaker 1: That's crazy. So you know, it's it's a it's a

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Speaker 1: weird it's a weird feeling. I felt that when I

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Speaker 1: listened to draw. You said you lost study grand over

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Speaker 1: your family. Yeah, like that's based off a real experience. Yeah,

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Speaker 1: that whole that whole verse, that whole section, yes, real um,

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Speaker 1: And I remember writing it and thinking, ah, I don't

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Speaker 1: know how I'm going to explain this to everyone that

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Speaker 1: I've just said this, But I think because it was happening,

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Speaker 1: what had happened so close to the time was at

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Speaker 1: the time, I just didn't know how to say anything else.

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Speaker 1: With with family, certain things come out, certain things don't

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Speaker 1: come out, you know, and you get oh, you fight,

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Speaker 1: you go through whatever it is. But my responsibility at

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Speaker 1: that time was to say for the world everything that

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Speaker 1: was going on with me inside me and holding back

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Speaker 1: one point or holding back some stuff that is such

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Speaker 1: an important part of the way that I'm talking. That's

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Speaker 1: just nuts, do you know what I'm saying? To do

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Speaker 1: that and to make an album for however long you're

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Speaker 1: working on a seven eight, nine months straight a year,

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Speaker 1: and then you're coming up to the final hurdle. You're

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Speaker 1: writing an outro, and this is how you're feeling, you're

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Speaker 1: really feeling this way. You can write for four minutes

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Speaker 1: and you can just take out a line and not

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Speaker 1: tell the world, or you can just go all away

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Speaker 1: and leave order. I thought I would have looked back

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Speaker 1: on it five six years in the future. I might

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Speaker 1: not have remembered what was going on. I might have,

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Speaker 1: but I probably would have regretted not vocalizing how I

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Speaker 1: felt any given point. Because now, at least from five

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Speaker 1: we can look back at his fami and sit down

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Speaker 1: and laugh and say, yeah, this happened or that happened

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Speaker 1: or not. I don't know, but at least I would

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Speaker 1: have said it would have been there on having like

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Speaker 1: your older brother incrocerated, Like it's like you've and and

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Speaker 1: the other brother wasn't crocerated to like someb you had

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Speaker 1: to become the man of the house in a sense

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Speaker 1: of the provider in a sense, like what was that

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Speaker 1: transition like for you? I was just making music and

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Speaker 1: then now everything just started happening. Really, It's just it's

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Speaker 1: a weird transitional. You're just making music just rapingly, just

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Speaker 1: singing and whatever a sudden, what's going well? And then

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Speaker 1: just time just slides. I wasn't sitting down and thinking,

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Speaker 1: oh yeah like this, yeah, this is yeah, you know

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Speaker 1: what I'm saying. Yeah, reminds me like the ovo in

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Speaker 1: your chest. Like I feel like the first time a

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00:19:53,680 --> 00:19:56,399
Speaker 1: lot of us folks recognize you was when you had

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Speaker 1: to record Want to Know, and all of a sudden

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Speaker 1: Drake jumped on that record. Like looking back at that now,

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Speaker 1: like how pivotal was that to your career? And what

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Speaker 1: was that moment like when he just added this verse

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Speaker 1: to the record and so it took off. It was

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Speaker 1: it was crazy. I can't It was one of the

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Speaker 1: craziest things ever. That felt so aiding, and you know,

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Speaker 1: he's worldwide Wroun superstar, one of the greatest ever to

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Speaker 1: do it. And I think for a long time it

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Speaker 1: didn't even feel real. I felt I won the lottery.

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Speaker 1: It was a mad way. I remember back sitting down

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Speaker 1: and songs not out yet. You don't I didn't know

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Speaker 1: music to any real level. The business side. I didn't

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Speaker 1: know anything. But it just feels that I'm not necessarily

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Speaker 1: crazy lucky person. I wouldn't go into the class and

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Speaker 1: be the guy that won a raffle. I wouldn't like,

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Speaker 1: you know, I was getting a crazy lucky person. But

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Speaker 1: we weren't music that was happening in the UK. There's

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Speaker 1: a lot of good songs at the time. By the way,

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Speaker 1: there's a lot of music. But for that song to

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Speaker 1: just be chosen at random, I felt like, yeah, I

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Speaker 1: won the lot That was the luckiest I've ever felt

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Speaker 1: in my entire life. Just how have you stumbled and

358
00:21:21,720 --> 00:21:24,920
Speaker 1: how have you heard? It? Didn't understand? Didn't give you

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Speaker 1: more confidence that I can I can really make it

360
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Speaker 1: in this music business and I have to continue making music.

361
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Speaker 1: I can't just like disappear. The bay stuff, UM weird

362
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Speaker 1: sort of this. You never know what to expect, you think,

363
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Speaker 1: and just sitting down before the song's out. This song

364
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Speaker 1: is about to come out. I know this is going

365
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Speaker 1: to come out, but I don't know exactly what it's

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Speaker 1: gonna sound like because I haven't heard it. I just

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Speaker 1: hope that sounds that sounds interesting. I know it's gonna

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Speaker 1: sound good because it's straight. I don't know what. I

369
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Speaker 1: don't know what he's gonna do. Is he's just gonna

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Speaker 1: use the beat. Am I going to be in the

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Speaker 1: background doing harmonies? Like I don't. I don't know what

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Speaker 1: happens next. Am I ever going to have to work again?

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Speaker 1: I'm like, I'm sitting down thinking to myself like like

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Speaker 1: you know, I could have been online looking for Lamborghinis

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Speaker 1: or whatever. I'm I'm sitting down thinking that I've gone

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Speaker 1: absolutely because in my head like at that time, while

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Speaker 1: I was so, I think I just turned eighteen, all

378
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Speaker 1: I've seen is, um, you see you seem in sixteen

379
00:22:46,920 --> 00:22:54,640
Speaker 1: the year is the American rappers. They looked crazy, crazy, crazy,

380
00:22:54,880 --> 00:22:57,200
Speaker 1: rich and crazy distance not saying that they don't look

381
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Speaker 1: crazy rich now, but you would look an American wrapper

382
00:23:00,920 --> 00:23:06,960
Speaker 1: and think what it is the you can't Yeah, and

383
00:23:07,520 --> 00:23:14,920
Speaker 1: you know, obviously Drake's Canadian, but he dominates the the American. Yeah.

384
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Speaker 1: So I didn't actually understand the mechanics of everything until

385
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Speaker 1: later on years later, and I realized that, Okay, like

386
00:23:26,840 --> 00:23:31,640
Speaker 1: this is how this works and that and like streaming

387
00:23:31,720 --> 00:23:35,080
Speaker 1: is just coming into playing. It was a real transitional

388
00:23:35,200 --> 00:23:38,720
Speaker 1: time for music in general. So those years were super

389
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Speaker 1: duper interesting. But it just gave me a massive, massive,

390
00:23:42,000 --> 00:23:45,920
Speaker 1: massive headstock. And you know, can't be grateful enough to

391
00:23:46,240 --> 00:23:50,240
Speaker 1: to two to him and the team for the way

392
00:23:50,280 --> 00:23:55,480
Speaker 1: that they've handled that song and everything afterwards and looked

393
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Speaker 1: out for us. Doesn't like you maintain a great relationship,

394
00:23:57,720 --> 00:24:00,080
Speaker 1: but you remained independence like you signed with overall, are

395
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Speaker 1: you still you're an independent force? But there's obviously still

396
00:24:02,720 --> 00:24:06,560
Speaker 1: that mutual respect as Piers, Yeah, of course. And um,

397
00:24:07,480 --> 00:24:13,040
Speaker 1: I think with everything, I didn't know myself yet as

398
00:24:13,040 --> 00:24:15,520
Speaker 1: a musician what I was gonna pip out sound, that

399
00:24:15,560 --> 00:24:17,440
Speaker 1: I was gonna make what I represented, And I think

400
00:24:17,480 --> 00:24:20,320
Speaker 1: that I just even now still need a bit of

401
00:24:20,440 --> 00:24:23,160
Speaker 1: time to find that out and to to work out

402
00:24:23,320 --> 00:24:26,080
Speaker 1: what I'm bringing to the table, who I'm eye as

403
00:24:26,080 --> 00:24:31,320
Speaker 1: a musician. But yeah, their whole entire movement from from

404
00:24:31,920 --> 00:24:35,560
Speaker 1: the music too, to the clothing, to the people behind

405
00:24:35,640 --> 00:24:40,000
Speaker 1: the radio too, what they're doing and film and television.

406
00:24:40,000 --> 00:24:43,760
Speaker 1: And I respect Supergrouper highly, you know, I watch out

407
00:24:44,040 --> 00:24:46,959
Speaker 1: you know the amazing people, because it seems like Drake's

408
00:24:47,040 --> 00:24:49,720
Speaker 1: Coaston obviously changes everything. But for some reason, I feel

409
00:24:49,760 --> 00:24:52,159
Speaker 1: like a shift came about when the Hangman dropped, Like

410
00:24:52,359 --> 00:24:54,520
Speaker 1: that's my favorite record for you and even the video.

411
00:24:54,640 --> 00:24:56,879
Speaker 1: For some reason, it's simple was you and your friends,

412
00:24:57,440 --> 00:25:00,159
Speaker 1: but it resonates with a lot of people. Is it

413
00:25:00,240 --> 00:25:02,680
Speaker 1: about that record that you feel like people funk with?

414
00:25:03,520 --> 00:25:10,000
Speaker 1: I think Hangman was. It's definitely one of, you know,

415
00:25:10,240 --> 00:25:13,399
Speaker 1: my most important songs coming at the time that it

416
00:25:13,520 --> 00:25:21,119
Speaker 1: came out. And it was a big um shift because

417
00:25:22,520 --> 00:25:25,639
Speaker 1: I spoke to Um a few of my friends at

418
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Speaker 1: the time the video and we were just we were

419
00:25:28,320 --> 00:25:33,400
Speaker 1: just really really focused on making sure that we delivered

420
00:25:33,440 --> 00:25:40,199
Speaker 1: the right things two the people with with everything in Hangman,

421
00:25:40,320 --> 00:25:43,440
Speaker 1: from the instrumentation to the words, to the video, the

422
00:25:43,680 --> 00:25:48,399
Speaker 1: entire experience that you get when you hear what I'm saying,

423
00:25:49,200 --> 00:25:52,280
Speaker 1: and I think, like you mentioned the video, everything is

424
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Speaker 1: important if I've got the lyrics at Hangman, we have

425
00:25:55,720 --> 00:26:02,080
Speaker 1: a polished video in the studio somewhere in the countryside,

426
00:26:02,600 --> 00:26:05,200
Speaker 1: and it looks clean and it looks expensive. The words

427
00:26:05,240 --> 00:26:08,520
Speaker 1: don't resonate the same way if I do it outside

428
00:26:08,600 --> 00:26:12,640
Speaker 1: of my my area, or if I if it's if

429
00:26:12,960 --> 00:26:15,159
Speaker 1: my friends aren't with me in a single, and it

430
00:26:15,280 --> 00:26:19,480
Speaker 1: doesn't resonate the same way. Because everything that I'm saying

431
00:26:19,680 --> 00:26:23,240
Speaker 1: is it's an experience and it's for some people. You

432
00:26:23,359 --> 00:26:26,879
Speaker 1: have to understand and see that we're here inside of

433
00:26:26,960 --> 00:26:30,200
Speaker 1: this as I'm saying to you. The message is coming

434
00:26:30,320 --> 00:26:32,760
Speaker 1: live and direct from the source in the center. And

435
00:26:32,840 --> 00:26:34,760
Speaker 1: I think at the time, with a lot of the

436
00:26:34,800 --> 00:26:39,520
Speaker 1: things that going on around me and around the music

437
00:26:39,640 --> 00:26:42,560
Speaker 1: and the way that people are speaking, I think people

438
00:26:42,680 --> 00:26:49,840
Speaker 1: forget No Hangman, I was what so I'm twenty But

439
00:26:50,000 --> 00:26:54,720
Speaker 1: whether at me, I'm I'm wrapping this in music view

440
00:26:54,800 --> 00:26:59,760
Speaker 1: or and whatever. But that's our home. We're living in

441
00:27:00,080 --> 00:27:03,119
Speaker 1: Struttum and this is what I'm talking about, and this

442
00:27:03,200 --> 00:27:05,600
Speaker 1: is what I'm saying. But it's it's just the reality

443
00:27:05,680 --> 00:27:08,720
Speaker 1: that you can see it it's not. It's not strange

444
00:27:09,000 --> 00:27:13,440
Speaker 1: where where we're here. Look, here's the video filming. You say,

445
00:27:13,480 --> 00:27:15,560
Speaker 1: like London is cursed, the city has got a problem,

446
00:27:15,680 --> 00:27:17,800
Speaker 1: like if a person has never been there, Like, what

447
00:27:17,920 --> 00:27:21,600
Speaker 1: do you mean by that? It's it's upside down at

448
00:27:21,720 --> 00:27:25,920
Speaker 1: places and at times, and it's very easy to get

449
00:27:26,040 --> 00:27:29,040
Speaker 1: drawn out, to get put into situations or put into

450
00:27:29,080 --> 00:27:34,240
Speaker 1: circumstances that you shouldn't be in London asn't can imagine

451
00:27:34,400 --> 00:27:37,960
Speaker 1: it is anywhere here, you know, parts of whatever state

452
00:27:38,040 --> 00:27:41,199
Speaker 1: you go to in America, that's I guess the universal thing.

453
00:27:41,600 --> 00:27:46,520
Speaker 1: But London in particular, the city in the UK. I

454
00:27:46,680 --> 00:27:51,399
Speaker 1: was just talking from my experience or you know, it

455
00:27:51,520 --> 00:27:56,000
Speaker 1: can go left so quick and and in that time,

456
00:27:56,359 --> 00:28:03,480
Speaker 1: in that period of time, finding ourselves in more situations

457
00:28:04,000 --> 00:28:08,080
Speaker 1: and more things that would have inspired lyrics like that

458
00:28:08,320 --> 00:28:13,080
Speaker 1: than usual. So I think that me just commentating about

459
00:28:13,119 --> 00:28:14,720
Speaker 1: what was going on at the time. I just said,

460
00:28:14,800 --> 00:28:20,359
Speaker 1: you know, London's because because entry over entry point, it

461
00:28:20,440 --> 00:28:24,160
Speaker 1: doesn't take much for things to get heated, for things

462
00:28:24,240 --> 00:28:26,879
Speaker 1: to escalate, you know. Um, but you also have this

463
00:28:26,960 --> 00:28:30,440
Speaker 1: song Psycho Drama straight and dedicated to your hometown. What

464
00:28:30,640 --> 00:28:37,960
Speaker 1: is it like over there? Like excuse and I will say, um,

465
00:28:38,800 --> 00:28:43,440
Speaker 1: yes it Stratums. It's an interesting one. It's it's a

466
00:28:44,520 --> 00:28:46,640
Speaker 1: it's a pretty big area, but it's pretty small at

467
00:28:46,680 --> 00:28:51,800
Speaker 1: the same time. Um, there's some different parts to it.

468
00:28:52,000 --> 00:28:56,880
Speaker 1: But for the most part, Strutum is it's pretty. It's

469
00:28:56,920 --> 00:29:01,800
Speaker 1: pretty cool. We call it home. You know, there's there's um.

470
00:29:03,080 --> 00:29:06,480
Speaker 1: Like I said, different sections and areas. I wouldn't say

471
00:29:07,080 --> 00:29:12,600
Speaker 1: Strengtham itself is just one because you can have Stratham Though, Strutham, Common,

472
00:29:12,720 --> 00:29:18,160
Speaker 1: Stratham Hill Um etc. Main Struttham where the Tesco is

473
00:29:18,720 --> 00:29:21,920
Speaker 1: and every you know, every one of them might have

474
00:29:22,040 --> 00:29:25,880
Speaker 1: their own different sections of people that are from from there.

475
00:29:26,160 --> 00:29:30,760
Speaker 1: And it's one of them places in London where it's

476
00:29:30,800 --> 00:29:35,960
Speaker 1: some It's on a long road, a twenty three school

477
00:29:36,040 --> 00:29:40,080
Speaker 1: on a long road, so it's like drive straight through

478
00:29:40,240 --> 00:29:43,120
Speaker 1: a lot of people. You're strungthing to get to other areas.

479
00:29:43,240 --> 00:29:45,280
Speaker 1: But yeah, it was a good place to grow up

480
00:29:47,840 --> 00:29:54,200
Speaker 1: and yeah, I embracest it's it's good to be able

481
00:29:54,240 --> 00:29:57,120
Speaker 1: to embrace where you from. I think sometimes for some

482
00:29:57,240 --> 00:30:00,760
Speaker 1: people in London it's hard because where from a way

483
00:30:01,040 --> 00:30:03,280
Speaker 1: way of board, if you scream by and you say

484
00:30:03,440 --> 00:30:06,080
Speaker 1: this is where I'm from and I'm proud that couldn't

485
00:30:06,120 --> 00:30:10,360
Speaker 1: come with a whole world of problems to your honest um,

486
00:30:11,760 --> 00:30:18,640
Speaker 1: just insert random area from northeast West London or South London.

487
00:30:18,880 --> 00:30:21,000
Speaker 1: You say, I'm from here here, I'm from here, I'm

488
00:30:21,000 --> 00:30:24,920
Speaker 1: from here. People from in other random place to get

489
00:30:25,080 --> 00:30:31,480
Speaker 1: ah you yeah, your your mr, your mr this area.

490
00:30:31,760 --> 00:30:37,920
Speaker 1: But hold on Like so, I think stratum being being

491
00:30:38,000 --> 00:30:41,600
Speaker 1: able to just be proud of wherever from. You know,

492
00:30:41,960 --> 00:30:48,440
Speaker 1: there's obviously little different things going on in whatever area,

493
00:30:48,520 --> 00:30:51,360
Speaker 1: but it's not necessarily one of those areas that sparks

494
00:30:51,440 --> 00:30:55,360
Speaker 1: outrage the moment that you mentioned in conversation. So yeah,

495
00:30:55,440 --> 00:30:57,960
Speaker 1: it's it's home for us. But now that you're like

496
00:30:58,040 --> 00:30:59,960
Speaker 1: this big fish in a small parker, where's that try?

497
00:31:00,080 --> 00:31:03,240
Speaker 1: Just like coming out here in America and getting embraced

498
00:31:03,280 --> 00:31:09,240
Speaker 1: in love. Oh yeah, I'm the New York show in America.

499
00:31:09,280 --> 00:31:12,120
Speaker 1: I'm I'm a smooth fish and a very very very

500
00:31:12,200 --> 00:31:14,800
Speaker 1: big point. Listen, I went to the show in New York.

501
00:31:14,840 --> 00:31:17,360
Speaker 1: A lot of people can't feel that venue or get

502
00:31:17,400 --> 00:31:21,400
Speaker 1: the crowd rocket like that. Thank you. Um, I appreciares

503
00:31:21,800 --> 00:31:23,680
Speaker 1: New York. Stop with things hearing your music that maybe

504
00:31:23,720 --> 00:31:26,280
Speaker 1: it would be like, you know, just calm and measure

505
00:31:26,360 --> 00:31:28,560
Speaker 1: and not have the raw rod element of the last show.

506
00:31:28,600 --> 00:31:30,400
Speaker 1: But I feel like you you still got the crowd

507
00:31:30,480 --> 00:31:33,040
Speaker 1: jumping on crazy to high. It's high energy. Yeah, I

508
00:31:33,080 --> 00:31:34,560
Speaker 1: think maybe if you listen to your album Man, I

509
00:31:34,680 --> 00:31:37,360
Speaker 1: expect that to see this such a level of high

510
00:31:37,480 --> 00:31:39,960
Speaker 1: energy at the show. But it's high energy throughout the

511
00:31:39,960 --> 00:31:44,840
Speaker 1: whole show because I guess for for the stuff in

512
00:31:44,960 --> 00:31:48,200
Speaker 1: between the albums, a lot of the songs are singles.

513
00:31:48,440 --> 00:31:50,600
Speaker 1: A lot of the songs are just like and single,

514
00:31:50,800 --> 00:31:53,720
Speaker 1: And I think that's why the album was. I was

515
00:31:53,800 --> 00:31:56,960
Speaker 1: okay with it being so much slower, so much diver

516
00:31:57,200 --> 00:32:00,160
Speaker 1: because I know that in the time needing up of that,

517
00:32:00,680 --> 00:32:03,040
Speaker 1: I had released so and so and so and so,

518
00:32:03,400 --> 00:32:06,960
Speaker 1: and after that I've released the songs that are in

519
00:32:07,000 --> 00:32:10,560
Speaker 1: the balance is perfectly maintained. But yeah, in that one

520
00:32:10,880 --> 00:32:14,800
Speaker 1: body of work, that story for the live show, for

521
00:32:15,040 --> 00:32:17,960
Speaker 1: performance the Man would be the best to just run

522
00:32:18,040 --> 00:32:22,720
Speaker 1: through fifty five minutes of super deep music in the

523
00:32:22,800 --> 00:32:26,080
Speaker 1: show in New York. But it's it's it's very very

524
00:32:26,280 --> 00:32:30,200
Speaker 1: very strange, you know, coming to America and speaking to

525
00:32:30,280 --> 00:32:33,840
Speaker 1: people and what we're doing in the sound that we're

526
00:32:33,840 --> 00:32:38,160
Speaker 1: trying to bring is slowly traveling over and you know,

527
00:32:38,560 --> 00:32:41,440
Speaker 1: with the right the right people, with the right amount

528
00:32:41,520 --> 00:32:45,800
Speaker 1: of time put in dedication, I think we can start

529
00:32:45,880 --> 00:32:49,800
Speaker 1: to change the way that everything is seen and heard.

530
00:32:50,600 --> 00:32:53,240
Speaker 1: But it just it requires all of those things. That requires,

531
00:32:53,600 --> 00:32:56,120
Speaker 1: you know, the best music, people that are willing to

532
00:32:56,200 --> 00:32:59,520
Speaker 1: come over to tour, people that are willing to to

533
00:32:59,640 --> 00:33:03,600
Speaker 1: embring as different audiences to try new things. And I

534
00:33:03,720 --> 00:33:05,440
Speaker 1: was gonna go to your point, like, why do you

535
00:33:05,480 --> 00:33:07,560
Speaker 1: think it's been so hard for UK artists to break

536
00:33:07,600 --> 00:33:10,320
Speaker 1: here in America? A lot of UK artists can't get visas.

537
00:33:11,440 --> 00:33:15,440
Speaker 1: Um so um. I don't want to say anything of

538
00:33:15,520 --> 00:33:17,520
Speaker 1: the American government before I get mine with votes, but

539
00:33:22,080 --> 00:33:30,760
Speaker 1: was welcome, thank you. So a lot of British artists

540
00:33:30,800 --> 00:33:34,600
Speaker 1: can't get visas. It's tough for them. Um. And then

541
00:33:34,960 --> 00:33:37,880
Speaker 1: the artists that can get visas, oh, it's that do

542
00:33:38,440 --> 00:33:42,360
Speaker 1: you know have the ability to travelers. It's as if

543
00:33:42,720 --> 00:33:46,920
Speaker 1: you know, there's a lot of unfinished business with people

544
00:33:46,960 --> 00:33:49,560
Speaker 1: in the UK. The UK is a massive market for

545
00:33:49,640 --> 00:33:52,560
Speaker 1: people in the UK. They want to conquer it, you know,

546
00:33:52,800 --> 00:33:54,560
Speaker 1: like Kane All said an interview the other day, a

547
00:33:54,640 --> 00:33:56,880
Speaker 1: lot of people don't necessarily look at America. I think

548
00:33:57,280 --> 00:34:01,120
Speaker 1: this is something that I aspire to conqueror or whatever.

549
00:34:01,320 --> 00:34:05,120
Speaker 1: Because you think it's an action like that. I think

550
00:34:05,280 --> 00:34:07,640
Speaker 1: some people might not think it's possible. Some people might

551
00:34:08,080 --> 00:34:11,160
Speaker 1: not really care at this point in time as to

552
00:34:11,480 --> 00:34:14,520
Speaker 1: whether it is possible or not, because it requires a

553
00:34:14,640 --> 00:34:17,120
Speaker 1: lot of it's pretty it's a it's a big headache.

554
00:34:17,560 --> 00:34:20,680
Speaker 1: I guess when you if you're someone that is doing

555
00:34:20,760 --> 00:34:26,080
Speaker 1: whatever at a certain level and you're from you could

556
00:34:26,080 --> 00:34:29,480
Speaker 1: be from anywhere the UK, France, Spain, and you're up

557
00:34:29,520 --> 00:34:33,200
Speaker 1: here and you're doing you know whatever it is to

558
00:34:33,280 --> 00:34:35,520
Speaker 1: a high level in your city and you have to

559
00:34:35,600 --> 00:34:39,440
Speaker 1: go somewhere else and you're no one again, But like

560
00:34:39,719 --> 00:34:42,000
Speaker 1: you were no one two years ago where you were

561
00:34:42,360 --> 00:34:44,399
Speaker 1: and that that didn't feel too good. But now you're

562
00:34:44,440 --> 00:34:47,120
Speaker 1: someone like you don't want a lot of people don't

563
00:34:47,120 --> 00:34:50,200
Speaker 1: want to be known again. And I understand it because

564
00:34:50,239 --> 00:34:52,239
Speaker 1: you're working on whatever it is that you've got here.

565
00:34:52,560 --> 00:34:56,000
Speaker 1: You've gotta in your head, you've got to keep up

566
00:34:56,080 --> 00:34:58,400
Speaker 1: with being someone where you are. You want to be

567
00:34:58,480 --> 00:35:00,920
Speaker 1: a bigger someone. You know, why about the fact that

568
00:35:00,960 --> 00:35:07,759
Speaker 1: you're knowing somewhere else and you know growing everywhere at

569
00:35:07,760 --> 00:35:10,360
Speaker 1: the same time for me is vital. I think that

570
00:35:10,840 --> 00:35:15,600
Speaker 1: that is super duper important. So when we're touring America

571
00:35:15,920 --> 00:35:18,800
Speaker 1: and I'm getting messages and people are saying, you know,

572
00:35:19,000 --> 00:35:24,680
Speaker 1: come to Atlanta or come to Houston, and people care

573
00:35:24,920 --> 00:35:27,520
Speaker 1: enough the message and just send the DM and say,

574
00:35:27,719 --> 00:35:30,040
Speaker 1: on your next tour, make sure that you add San Francisco,

575
00:35:30,440 --> 00:35:32,400
Speaker 1: or on your next tour, make sure you add Chicago.

576
00:35:32,680 --> 00:35:35,080
Speaker 1: Or why do you always go to Toronto and never

577
00:35:35,200 --> 00:35:38,160
Speaker 1: Vancouver or come to Montreal. I see it all, and

578
00:35:38,239 --> 00:35:41,319
Speaker 1: I think if there's people out there, I know it's

579
00:35:41,360 --> 00:35:45,520
Speaker 1: like too to want to to ride for someone else's

580
00:35:45,640 --> 00:35:47,480
Speaker 1: music and tell the people around you listen to so

581
00:35:47,600 --> 00:35:51,359
Speaker 1: and so, listen to this, listen to that, But they're

582
00:35:51,400 --> 00:35:53,640
Speaker 1: never there or they don't give you the tools to

583
00:35:53,719 --> 00:35:56,640
Speaker 1: back up. And I think if there is people that

584
00:35:56,719 --> 00:35:59,440
Speaker 1: are trying to spread the music and spread the movement

585
00:35:59,480 --> 00:36:01,480
Speaker 1: and what it is that we're doing, it's only right

586
00:36:01,560 --> 00:36:04,160
Speaker 1: I'll go to the cities and give them the chance

587
00:36:04,280 --> 00:36:06,320
Speaker 1: to see me live, the chance to bring their friends,

588
00:36:06,480 --> 00:36:08,640
Speaker 1: a chance to have a good night. And that's what

589
00:36:08,840 --> 00:36:12,120
Speaker 1: the touring and the show is all about, just maintaining

590
00:36:12,200 --> 00:36:15,319
Speaker 1: that growth and and just keeping it going because yes,

591
00:36:15,520 --> 00:36:18,239
Speaker 1: it's it's it's tough down here. It's a continent. It is,

592
00:36:18,480 --> 00:36:21,040
Speaker 1: it is a continent. You do, man, it's a sneaking

593
00:36:21,120 --> 00:36:23,600
Speaker 1: Some turn up on the album like location with Burning Boy,

594
00:36:23,719 --> 00:36:25,520
Speaker 1: Like how did you find that balance? And how is

595
00:36:25,560 --> 00:36:26,920
Speaker 1: it fun when you get to make a record like

596
00:36:27,000 --> 00:36:30,920
Speaker 1: that amongst all the heavy subject matter. Yeah, it's a

597
00:36:30,960 --> 00:36:34,160
Speaker 1: strange run because that track, it was just it was

598
00:36:34,200 --> 00:36:38,520
Speaker 1: always an idea and I never created that type of

599
00:36:38,600 --> 00:36:42,000
Speaker 1: thing and thought this is an album like such. It

600
00:36:42,160 --> 00:36:45,879
Speaker 1: was for a while we were looking for a song

601
00:36:46,280 --> 00:36:48,080
Speaker 1: and a single for the album. I was going to

602
00:36:48,160 --> 00:36:50,839
Speaker 1: sessions and trying to create a single, but that song

603
00:36:50,920 --> 00:36:56,400
Speaker 1: was just that in a different form. And I'm worked

604
00:36:56,400 --> 00:37:01,960
Speaker 1: and we producer with J five. Um it's very, very

605
00:37:02,120 --> 00:37:04,400
Speaker 1: very interesting just the way that the song came about.

606
00:37:04,960 --> 00:37:09,480
Speaker 1: Um Jay and I were freestyling on some chords. Um

607
00:37:09,600 --> 00:37:12,239
Speaker 1: put some chords down and Burnaboy just freestyle his whole

608
00:37:12,280 --> 00:37:16,960
Speaker 1: part instantly that he was It did not take that

609
00:37:17,040 --> 00:37:21,640
Speaker 1: man long at all, five fifteen minutes like he was

610
00:37:21,719 --> 00:37:25,479
Speaker 1: just I don't know how he'd done it. I'm still

611
00:37:25,680 --> 00:37:30,040
Speaker 1: in the shot amazed from how quick that process was

612
00:37:30,120 --> 00:37:32,040
Speaker 1: for him that his part of the song was done,

613
00:37:32,480 --> 00:37:35,120
Speaker 1: and then we just had a template for a beat,

614
00:37:35,680 --> 00:37:37,520
Speaker 1: and then Jas just said, yeah, I'm gonna take this

615
00:37:37,600 --> 00:37:39,920
Speaker 1: away and gonna work on it, and he did, and

616
00:37:40,120 --> 00:37:43,239
Speaker 1: I just wrote a verse because I had two verses

617
00:37:43,239 --> 00:37:45,200
Speaker 1: of rhythm. You they were kind of deeper, and the

618
00:37:45,280 --> 00:37:47,239
Speaker 1: song was a bit deeper, as you could tell from

619
00:37:47,280 --> 00:37:50,919
Speaker 1: Burner Boys hook. It's still somewhat dark, like my Dog's

620
00:37:50,960 --> 00:37:53,320
Speaker 1: in probation and I was down back and headed to

621
00:37:53,360 --> 00:37:56,080
Speaker 1: the top right now. The instrumentation was kind of different.

622
00:37:56,120 --> 00:37:58,920
Speaker 1: It was a different vibe. And then yeah, I had

623
00:37:59,160 --> 00:38:03,160
Speaker 1: two verses. They were deep, and I remember playing them

624
00:38:03,160 --> 00:38:05,760
Speaker 1: to people and they were like, yeah, the song's got potential.

625
00:38:06,640 --> 00:38:08,560
Speaker 1: And I said, you know, what do you guys think

626
00:38:08,640 --> 00:38:12,759
Speaker 1: My manager said, he doesn't act. He thinks that I

627
00:38:12,800 --> 00:38:15,279
Speaker 1: could do a better first verse. I can contextualize it.

628
00:38:16,320 --> 00:38:21,759
Speaker 1: Medio over there, it was Benny Finny, challenge you to

629
00:38:21,800 --> 00:38:24,080
Speaker 1: contextualize it. My brother I was I was looking, I

630
00:38:24,160 --> 00:38:27,520
Speaker 1: was thinking, like what does that mean? Like what is that? Said? Oh, yeah,

631
00:38:27,560 --> 00:38:32,320
Speaker 1: you can contextualize your versity more so. I never originally

632
00:38:32,360 --> 00:38:34,920
Speaker 1: the first verse never started like our send me a location.

633
00:38:35,000 --> 00:38:36,640
Speaker 1: I was like the sick verse that I had written.

634
00:38:37,280 --> 00:38:39,640
Speaker 1: Then yeah, he's like contextualized. I was like, all right, cool, funky,

635
00:38:39,680 --> 00:38:42,239
Speaker 1: I'm gonna contextualize all the way. I was just like

636
00:38:42,560 --> 00:38:44,520
Speaker 1: send me the location. You know when when you get

637
00:38:44,680 --> 00:38:46,759
Speaker 1: one of them questions and essay and you have to

638
00:38:46,920 --> 00:38:50,160
Speaker 1: like re like repackage the question in your essay or

639
00:38:50,200 --> 00:38:51,640
Speaker 1: like in the interview. A song would be like a

640
00:38:51,760 --> 00:38:53,600
Speaker 1: so how do you feel this morning? And you'll get

641
00:38:53,640 --> 00:38:56,640
Speaker 1: like soul I feel this morning, and you have to

642
00:38:56,719 --> 00:38:59,320
Speaker 1: like say what the finger said before. That's why I

643
00:38:59,400 --> 00:39:02,000
Speaker 1: done with the first verse, was just sending at It

644
00:39:02,040 --> 00:39:03,879
Speaker 1: took a long time to get through the Leslie track

645
00:39:04,000 --> 00:39:10,200
Speaker 1: Man six verses eleven minutes. That took me a while,

646
00:39:10,320 --> 00:39:13,680
Speaker 1: Like the storylines so intricate, it's like six verses, Like

647
00:39:13,840 --> 00:39:18,200
Speaker 1: that's just that's like his own album. Can you explain Leslie? Yeah?

648
00:39:18,719 --> 00:39:21,600
Speaker 1: With that track, there was a story that I had

649
00:39:22,520 --> 00:39:26,360
Speaker 1: that I wanted to get to and it was a

650
00:39:26,440 --> 00:39:28,040
Speaker 1: story that I wanted to tell, and I wanted to

651
00:39:28,120 --> 00:39:30,000
Speaker 1: tell two stories. But the second part of the story

652
00:39:30,040 --> 00:39:35,360
Speaker 1: where Rue was singing um and she's talking about a

653
00:39:35,480 --> 00:39:38,640
Speaker 1: child about names such, it was the first part I had,

654
00:39:39,360 --> 00:39:43,080
Speaker 1: and then it was about telling that, you know, the

655
00:39:44,160 --> 00:39:48,200
Speaker 1: story that's true enough and accurate enough to what is

656
00:39:48,280 --> 00:39:51,919
Speaker 1: that I'm speaking about to really give that second part

657
00:39:52,440 --> 00:39:56,879
Speaker 1: of the story the context that I needed while also

658
00:39:56,960 --> 00:40:00,359
Speaker 1: telling the song. So with a Child about a Name,

659
00:40:00,920 --> 00:40:03,960
Speaker 1: just the second part of the song, just what it's

660
00:40:03,960 --> 00:40:07,359
Speaker 1: split into, where, um, who I was talking about? I guess,

661
00:40:07,920 --> 00:40:12,920
Speaker 1: miscarriage and a loss of a child, etc. There was

662
00:40:12,960 --> 00:40:19,040
Speaker 1: a whole bunch of negatives that she was like, paradoxes,

663
00:40:19,120 --> 00:40:22,440
Speaker 1: That's what That's what it was all about. Basically paradoxes. Um,

664
00:40:22,880 --> 00:40:28,200
Speaker 1: that stuff that feels impossible or feels like it shouldn't

665
00:40:28,200 --> 00:40:31,600
Speaker 1: be you know. Um, they used to study philosophy and

666
00:40:31,680 --> 00:40:36,600
Speaker 1: they had that that triangle, you know, the triangle, that

667
00:40:36,680 --> 00:40:39,920
Speaker 1: palace using their logo, or the staircase. I can't remember

668
00:40:39,920 --> 00:40:42,040
Speaker 1: what the staircase is called. You know the staircase. They

669
00:40:42,120 --> 00:40:44,320
Speaker 1: had an inception where you go around the staircase in

670
00:40:44,360 --> 00:40:49,279
Speaker 1: the square. Um. That was stuff like that was the

671
00:40:49,440 --> 00:40:55,560
Speaker 1: inspiration behind the imagery for the Child about Name, just

672
00:40:56,040 --> 00:40:59,799
Speaker 1: describing how wrong the feeling is of you know, using

673
00:41:00,080 --> 00:41:02,400
Speaker 1: I guess the child before it happens to this character

674
00:41:02,440 --> 00:41:07,200
Speaker 1: and tell him the stories a story that led up

675
00:41:07,280 --> 00:41:11,040
Speaker 1: to that that then, I guess if you fully understood

676
00:41:11,080 --> 00:41:14,480
Speaker 1: the song, made the end of the song as powerful

677
00:41:14,520 --> 00:41:17,120
Speaker 1: as it could be while also telling his own story

678
00:41:17,440 --> 00:41:22,720
Speaker 1: about domestic violence, and I guess more so than domestic violence,

679
00:41:23,239 --> 00:41:26,320
Speaker 1: the loss of character that stuff like that brings the

680
00:41:26,400 --> 00:41:31,359
Speaker 1: emotional trauma. I think that that's why someone says that, wow,

681
00:41:31,840 --> 00:41:33,799
Speaker 1: why did it take eleven minutes? Why is the song

682
00:41:34,040 --> 00:41:41,879
Speaker 1: so long? I think fitting in the normal story arc

683
00:41:42,080 --> 00:41:47,960
Speaker 1: of a film, like beginning, middle, problem, resolution and that

684
00:41:48,400 --> 00:41:52,400
Speaker 1: that is okay, yeah, cool, might take you four minutes,

685
00:41:52,480 --> 00:41:54,440
Speaker 1: might take you three minutes, depending on the tempo of

686
00:41:54,520 --> 00:41:59,439
Speaker 1: the song. But adding the layers of like you said,

687
00:41:59,560 --> 00:42:06,360
Speaker 1: I guess, intricacy and telling stories within stories given easter eggs,

688
00:42:06,800 --> 00:42:09,480
Speaker 1: giving you things that I guess towards the end of

689
00:42:09,520 --> 00:42:11,759
Speaker 1: the song make you think I should have known this

690
00:42:11,880 --> 00:42:16,080
Speaker 1: from the start, and the kind of pops up yeah,

691
00:42:16,640 --> 00:42:18,960
Speaker 1: just just yeah. I guess doing all of those things

692
00:42:19,000 --> 00:42:22,120
Speaker 1: that make the story feel like you've heard something that

693
00:42:22,520 --> 00:42:27,839
Speaker 1: is completely cohesive was definitely the challenge. And you can

694
00:42:27,920 --> 00:42:30,759
Speaker 1: imagine in an eleven minute story where you're rapping for

695
00:42:30,920 --> 00:42:34,320
Speaker 1: every line, there could be plot holes, there can be this,

696
00:42:34,560 --> 00:42:36,799
Speaker 1: there can be that and just going through every single

697
00:42:36,880 --> 00:42:39,560
Speaker 1: one and making sure it's like a riddle. It's like

698
00:42:39,680 --> 00:42:42,680
Speaker 1: one of them weirdle games. You say something and then

699
00:42:42,760 --> 00:42:48,440
Speaker 1: you explain it, and you're saying, oh, yeah, this, But

700
00:42:48,600 --> 00:42:51,359
Speaker 1: then what you're saying three minutes down the line, why

701
00:42:51,440 --> 00:42:54,000
Speaker 1: has someone done this when two minutes ago they were here,

702
00:42:54,320 --> 00:42:58,680
Speaker 1: and why you have to then explain this situation three

703
00:42:58,719 --> 00:43:01,080
Speaker 1: minutes earlier into the song. So when you do explain

704
00:43:01,160 --> 00:43:03,880
Speaker 1: it at seven minutes so for it doesn't feel like

705
00:43:03,960 --> 00:43:06,759
Speaker 1: you've just randomly thrown this in for the sake and

706
00:43:07,040 --> 00:43:09,160
Speaker 1: like all of that stuff, and obviously the story being

707
00:43:10,280 --> 00:43:13,000
Speaker 1: you know, based on true events and the true story

708
00:43:15,640 --> 00:43:19,000
Speaker 1: in drama, it does give me enough of a basis

709
00:43:19,160 --> 00:43:23,440
Speaker 1: to be able to not be struggling with just fabricating,

710
00:43:24,280 --> 00:43:27,040
Speaker 1: you know, just eleven minutes worth of the story, but

711
00:43:27,239 --> 00:43:32,520
Speaker 1: also changing enough and like being respectful to enough to

712
00:43:32,640 --> 00:43:36,080
Speaker 1: the situation to use my creative license to deliver it

713
00:43:36,160 --> 00:43:40,640
Speaker 1: to the people and the way that it is. Um yeah,

714
00:43:40,800 --> 00:43:46,000
Speaker 1: that's why it was super Yea. We get a visual

715
00:43:46,080 --> 00:43:49,520
Speaker 1: for that. We've been planning. We've been planning the visual.

716
00:43:49,560 --> 00:43:52,759
Speaker 1: I've been planning to do something. Um but I just

717
00:43:53,040 --> 00:43:59,400
Speaker 1: keep getting so so cool, keep coming in man visuals

718
00:43:59,440 --> 00:44:04,719
Speaker 1: on type. Oh yes, yes, alright to your character marked

719
00:44:04,760 --> 00:44:09,319
Speaker 1: the top boy, how did that role given come about?

720
00:44:09,440 --> 00:44:13,920
Speaker 1: As moody um, dearly offender, crazy east ender, you know,

721
00:44:14,040 --> 00:44:16,600
Speaker 1: shout out to j Hu. That's a that's a Jay hustler.

722
00:44:16,680 --> 00:44:19,839
Speaker 1: I don't know if you guys listened to jam Yeah, yeah,

723
00:44:19,920 --> 00:44:24,000
Speaker 1: so that's the disaster. Yeah. That was one of lyrics

724
00:44:24,040 --> 00:44:26,760
Speaker 1: from one of his unreleased songs that I would listening

725
00:44:26,800 --> 00:44:29,240
Speaker 1: to a lot when I was filming. It just sounds

726
00:44:29,280 --> 00:44:31,879
Speaker 1: like something that my character would say, Yeah, I am

727
00:44:33,360 --> 00:44:36,359
Speaker 1: our audition. They asked me to audition for a different role,

728
00:44:36,920 --> 00:44:40,080
Speaker 1: audition than a gut audition for that role I did

729
00:44:40,160 --> 00:44:45,239
Speaker 1: get because the world of acting, just like any other

730
00:44:45,320 --> 00:44:49,880
Speaker 1: world football, music, white would seem to someone that's outside

731
00:44:49,920 --> 00:44:54,640
Speaker 1: of it. It felt so miserable our audition. I don't

732
00:44:54,640 --> 00:44:56,320
Speaker 1: know if I did good. I don't know if I

733
00:44:56,400 --> 00:44:59,960
Speaker 1: did bad. I didn't know why I got the cool

734
00:45:00,560 --> 00:45:04,799
Speaker 1: what was you know? When they're saying, yeah you got

735
00:45:04,880 --> 00:45:09,520
Speaker 1: the role, you guys being serious? Am I just making

736
00:45:09,560 --> 00:45:13,920
Speaker 1: a cameo? And like an extra? Is this? I didn't

737
00:45:14,040 --> 00:45:18,640
Speaker 1: really get um For a long time. I was you know,

738
00:45:18,920 --> 00:45:22,239
Speaker 1: massively grateful for the opportunity. But I guess because I

739
00:45:22,320 --> 00:45:28,880
Speaker 1: was coming from a musical position and standpoint and top one,

740
00:45:28,920 --> 00:45:32,800
Speaker 1: it was obviously so big. I didn't really feel like

741
00:45:33,719 --> 00:45:39,279
Speaker 1: I belonged there because I don't know. Um, it's hard

742
00:45:39,320 --> 00:45:44,600
Speaker 1: to explain. You're just not imagine you're sitting at read

743
00:45:44,680 --> 00:45:52,160
Speaker 1: through you know Kno's actual use and you know actually

744
00:45:52,239 --> 00:45:55,400
Speaker 1: might be because you're in a marathon. Michael Wards that

745
00:45:56,040 --> 00:46:00,839
Speaker 1: everyone the series and actors and you, I know, looking

746
00:46:00,880 --> 00:46:05,040
Speaker 1: at these guys, you yeah, that you guys are meant

747
00:46:05,080 --> 00:46:08,640
Speaker 1: to be here. Yeah, you guys are meant to be

748
00:46:08,800 --> 00:46:11,359
Speaker 1: hire other actors. I don't know if I don't even

749
00:46:11,400 --> 00:46:15,759
Speaker 1: know if you act. Do you know what I'm saying?

750
00:46:15,960 --> 00:46:17,800
Speaker 1: Did you prepare for the role? Because you killed it?

751
00:46:18,040 --> 00:46:22,759
Speaker 1: Thank you? Taking that into consideration and obviously having that

752
00:46:23,239 --> 00:46:27,799
Speaker 1: on my shoulder, not and and being nervous feeding as

753
00:46:27,880 --> 00:46:29,239
Speaker 1: if I don't want to let the people that are

754
00:46:29,280 --> 00:46:31,840
Speaker 1: watching me down. I tried to just get into the

755
00:46:31,920 --> 00:46:34,120
Speaker 1: mind of a character I met with, a character he

756
00:46:34,320 --> 00:46:37,319
Speaker 1: was based on, and as thought, I'm going to take

757
00:46:37,360 --> 00:46:41,680
Speaker 1: it very very far left from what my character was

758
00:46:41,800 --> 00:46:45,920
Speaker 1: based on. What they wanted to play I'm gonna put

759
00:46:46,000 --> 00:46:50,560
Speaker 1: elements myself in there, but just take it really left

760
00:46:50,600 --> 00:46:55,600
Speaker 1: and not do the the goal to thing. Because at

761
00:46:55,680 --> 00:47:00,680
Speaker 1: first me and rainald Or, who was the director the

762
00:47:00,800 --> 00:47:06,279
Speaker 1: first couple of episode, the first few, he said, just

763
00:47:06,400 --> 00:47:10,279
Speaker 1: try and come a bit different, maybe get a bit

764
00:47:10,320 --> 00:47:12,400
Speaker 1: of a distinctive look to you, such and such. So

765
00:47:12,520 --> 00:47:15,279
Speaker 1: I went trying to get long hair, braids and the thing,

766
00:47:15,680 --> 00:47:17,759
Speaker 1: but someone else and the thing already had graids and

767
00:47:17,960 --> 00:47:20,040
Speaker 1: taking over the type grades. So when I got to

768
00:47:20,120 --> 00:47:22,080
Speaker 1: there on the first day of set, I remember taking

769
00:47:22,120 --> 00:47:25,080
Speaker 1: off the hair that I just spent a day putting on. UM.

770
00:47:26,000 --> 00:47:29,120
Speaker 1: But that's like how I was that down to just

771
00:47:29,239 --> 00:47:34,960
Speaker 1: go and just completely changed my image. And when that

772
00:47:35,160 --> 00:47:37,040
Speaker 1: was going and I was back to my normal short

773
00:47:37,080 --> 00:47:41,680
Speaker 1: hair which I have underneath this happen, I just knew

774
00:47:43,960 --> 00:47:48,400
Speaker 1: not everyone that is crazy or super duper dangerous is

775
00:47:50,000 --> 00:47:57,520
Speaker 1: um supernatural, Bravardo, etc. A lot of the time had

776
00:47:57,560 --> 00:48:02,200
Speaker 1: a high pitched streaked his voice. He was kind of young,

777
00:48:03,200 --> 00:48:06,440
Speaker 1: more so annoying. I think he was an asshole, but

778
00:48:06,560 --> 00:48:08,879
Speaker 1: you like him, you wanted to stay on screen. Yeah,

779
00:48:09,440 --> 00:48:13,279
Speaker 1: he he was annoying, but in a way that was

780
00:48:13,600 --> 00:48:17,839
Speaker 1: kind of addictive to watch because there weren't really many

781
00:48:17,960 --> 00:48:20,480
Speaker 1: characters like that. And the more that you see other

782
00:48:20,560 --> 00:48:22,480
Speaker 1: people acting, the more that you see other people and

783
00:48:22,640 --> 00:48:25,279
Speaker 1: set then what their characters bringing to the table, the

784
00:48:25,360 --> 00:48:27,560
Speaker 1: more that you know, I want my character to be

785
00:48:27,719 --> 00:48:29,640
Speaker 1: this guy. I don't want to be, you know, some

786
00:48:29,840 --> 00:48:32,040
Speaker 1: clone of a guy that already exists on the show

787
00:48:32,400 --> 00:48:37,760
Speaker 1: and he's here for you know, ten twenty minutes each episode.

788
00:48:37,800 --> 00:48:39,759
Speaker 1: I don't want to just do something that someone else

789
00:48:39,800 --> 00:48:43,160
Speaker 1: has done. So I definitely tried to make him a

790
00:48:43,239 --> 00:48:48,839
Speaker 1: bit softer in terms of he's still a villain, but yeah,

791
00:48:48,880 --> 00:48:51,480
Speaker 1: he's kind of articulate, kind of got a higher pitched voice.

792
00:48:51,840 --> 00:48:54,040
Speaker 1: If he wasn't in a life of crime, he could

793
00:48:54,080 --> 00:48:58,200
Speaker 1: probably be, you know, doing a pretty decent job. He

794
00:48:58,280 --> 00:49:02,839
Speaker 1: could be in law, someone in a room for him. Though,

795
00:49:02,960 --> 00:49:05,080
Speaker 1: despite being the bad guy, like and when you got

796
00:49:05,200 --> 00:49:08,640
Speaker 1: killed in it, I was like, ah, yeah, it was.

797
00:49:09,320 --> 00:49:12,000
Speaker 1: It sucks because he was like a character you wanted

798
00:49:12,040 --> 00:49:14,360
Speaker 1: to keep seeing reoccurring, like yeah, and I think I

799
00:49:14,680 --> 00:49:19,680
Speaker 1: didn't even as a character get into my strife. It

800
00:49:19,680 --> 00:49:21,399
Speaker 1: also seems like it's part of your real life because

801
00:49:21,560 --> 00:49:22,799
Speaker 1: the way you were brought up, you know, you were

802
00:49:22,840 --> 00:49:24,520
Speaker 1: close to your mom. She kind of shielded you away

803
00:49:24,560 --> 00:49:26,520
Speaker 1: from the streets, Like what do you think of everything

804
00:49:26,600 --> 00:49:29,920
Speaker 1: that's going on with your career and success. Yeah, my mom.

805
00:49:30,239 --> 00:49:34,359
Speaker 1: My mom's you know, super duper happy. She's I guess

806
00:49:34,400 --> 00:49:37,560
Speaker 1: we're all just greatful for for what is going on

807
00:49:37,880 --> 00:49:41,640
Speaker 1: at this current point in time. She's old, man. I

808
00:49:41,800 --> 00:49:45,120
Speaker 1: just try and make sure that I keep doing what

809
00:49:45,239 --> 00:49:48,800
Speaker 1: I can. I keep focused on, just stay out of

810
00:49:49,640 --> 00:49:51,320
Speaker 1: style of anything that I don't need to be in.

811
00:49:52,360 --> 00:49:56,080
Speaker 1: Listening to my mom because she's she's right a lot

812
00:49:56,160 --> 00:49:59,200
Speaker 1: of the time. But this is something that she might

813
00:49:59,280 --> 00:50:03,120
Speaker 1: have imagine when she wrote the book of My life

814
00:50:03,560 --> 00:50:05,360
Speaker 1: before I was born and said that this is the

815
00:50:05,440 --> 00:50:09,640
Speaker 1: life that I was gonna leave. But I'm it's just

816
00:50:09,800 --> 00:50:13,080
Speaker 1: it's just how the cookie crumbles Sometimes. Sometimes you just

817
00:50:13,200 --> 00:50:15,440
Speaker 1: have to sit down and say, I've got three children,

818
00:50:15,480 --> 00:50:17,680
Speaker 1: and one of them is just like the creative guy

819
00:50:17,760 --> 00:50:23,680
Speaker 1: that doesn't have any attention towards things are um not

820
00:50:24,120 --> 00:50:27,840
Speaker 1: involving the arts, that type of thing. And you know,

821
00:50:27,960 --> 00:50:31,279
Speaker 1: I wasn't an athlete, I'm just a music I'm just

822
00:50:32,160 --> 00:50:36,400
Speaker 1: I'm just yeah, thank you, that was the one you

823
00:50:36,440 --> 00:50:39,040
Speaker 1: brought on stage right when I take it you seemed

824
00:50:39,080 --> 00:50:42,400
Speaker 1: like an emotional moment for you. Yeah, definitely, definitely. And

825
00:50:42,880 --> 00:50:49,200
Speaker 1: I always say, I guess because that award in particular, Uh,

826
00:50:49,480 --> 00:50:52,680
Speaker 1: it meant so much to everyone. That's why it further

827
00:50:53,320 --> 00:50:56,040
Speaker 1: meant more to me. Because when you're doing something and

828
00:50:56,120 --> 00:50:57,960
Speaker 1: it's the first time for you, it's one thing. But

829
00:50:58,040 --> 00:51:02,879
Speaker 1: when it's the first time for everyone, um, it's definitely big.

830
00:51:02,960 --> 00:51:06,960
Speaker 1: My team, friends, family, and my managements that this is

831
00:51:07,200 --> 00:51:10,759
Speaker 1: our first nomination together, this this is it's at the

832
00:51:10,800 --> 00:51:13,240
Speaker 1: same time for all of us. Is it's a proud

833
00:51:13,400 --> 00:51:15,480
Speaker 1: moment for all of us, and it's good to know

834
00:51:15,760 --> 00:51:19,200
Speaker 1: that you know, something that we've all put so much

835
00:51:19,280 --> 00:51:22,480
Speaker 1: time into can be rewarding for for all of us.

836
00:51:22,560 --> 00:51:26,000
Speaker 1: My mom was always pushing and she was obsessed with

837
00:51:26,120 --> 00:51:29,239
Speaker 1: up what I used to think, Oh, she wanted you

838
00:51:29,280 --> 00:51:32,719
Speaker 1: to get that specifical war. Yeah. She she had this

839
00:51:32,840 --> 00:51:36,880
Speaker 1: conspiracy theory. She had this she had this theory. They

840
00:51:36,960 --> 00:51:39,319
Speaker 1: love of conspiracy. My mom was always telling me, make

841
00:51:39,360 --> 00:51:41,080
Speaker 1: sure you get my tickets, make sure you're my tickets.

842
00:51:41,120 --> 00:51:44,480
Speaker 1: I'm gonna get your tickets money like I've gotten. I

843
00:51:44,560 --> 00:51:47,919
Speaker 1: was telling that, of course, and in my head, of course,

844
00:51:48,000 --> 00:51:50,480
Speaker 1: my mom's gonna be a when when she came, she

845
00:51:50,640 --> 00:51:52,759
Speaker 1: was dressed up and she was ready and she was

846
00:51:53,200 --> 00:51:55,760
Speaker 1: excited for the moment. We're all nervous. I was very nervous.

847
00:51:55,840 --> 00:51:59,720
Speaker 1: I felt sick. And yeah, they just announced it. Remember,

848
00:51:59,880 --> 00:52:03,359
Speaker 1: was just like mad loud instant. That was that he said,

849
00:52:03,440 --> 00:52:07,440
Speaker 1: Dave knows that it's like someone through a flashbang the

850
00:52:07,520 --> 00:52:10,160
Speaker 1: grenade or something. That just a lot of shouting and

851
00:52:10,200 --> 00:52:12,480
Speaker 1: then I was under a lot of people's arms and

852
00:52:12,600 --> 00:52:15,840
Speaker 1: I was getting pushed and then boom, I was just

853
00:52:15,960 --> 00:52:19,000
Speaker 1: on stage. I was just giving a speech. And then

854
00:52:19,080 --> 00:52:21,120
Speaker 1: my mom was just on stage. My mom just took

855
00:52:21,160 --> 00:52:28,399
Speaker 1: the award, showed up John's in Jack's house. Has mom

856
00:52:28,480 --> 00:52:31,520
Speaker 1: started working yet? Um? Do you know what my mom?

857
00:52:31,760 --> 00:52:36,040
Speaker 1: My mom just works because I don't want doing it

858
00:52:36,120 --> 00:52:40,200
Speaker 1: that she likes to work. I think without the work

859
00:52:40,960 --> 00:52:43,360
Speaker 1: that my mom does, especially because she's given back to

860
00:52:43,400 --> 00:52:47,439
Speaker 1: the community in the work she does. Um, I don't

861
00:52:47,440 --> 00:52:50,920
Speaker 1: know what one if I didn't. Money is just one

862
00:52:50,960 --> 00:52:52,680
Speaker 1: of those weird things. But even if you did have

863
00:52:52,760 --> 00:52:54,360
Speaker 1: all the money in the world, you could have retired.

864
00:52:54,440 --> 00:52:58,480
Speaker 1: You'd find something to do every day. Some people working

865
00:52:58,520 --> 00:53:02,000
Speaker 1: and stuff. If I could just quit right now, I

866
00:53:02,160 --> 00:53:05,400
Speaker 1: just quit I don't think that my mom looks at

867
00:53:05,400 --> 00:53:07,719
Speaker 1: it that way. There's certain jobs that my mom's quit.

868
00:53:07,800 --> 00:53:09,680
Speaker 1: My mom doesn't work all the jobs that she used

869
00:53:09,719 --> 00:53:12,440
Speaker 1: to work. Um, if you're doing what you like to do.

870
00:53:12,640 --> 00:53:16,560
Speaker 1: And I think there's one job that she's works and

871
00:53:16,840 --> 00:53:20,239
Speaker 1: she you know, close to our clients, and that time

872
00:53:20,560 --> 00:53:22,719
Speaker 1: she I think she she enjoys it. I don't. I

873
00:53:22,840 --> 00:53:26,120
Speaker 1: tell her, I don't think you need to work. But

874
00:53:26,360 --> 00:53:31,000
Speaker 1: she's she's she um, she's still looking at and she's

875
00:53:31,040 --> 00:53:36,000
Speaker 1: being a mom. She happily turning around. I need the house,

876
00:53:36,040 --> 00:53:37,520
Speaker 1: and she say like, oh, do you need if you

877
00:53:37,600 --> 00:53:39,879
Speaker 1: need any money, and she gave me a five pound

878
00:53:39,920 --> 00:53:44,200
Speaker 1: note or a tempound not as you know, like you're living,

879
00:53:44,760 --> 00:53:47,279
Speaker 1: you're living in the past. But I'm going to take

880
00:53:47,360 --> 00:53:49,239
Speaker 1: this five pound not because I have no money, and

881
00:53:51,800 --> 00:53:55,280
Speaker 1: yeah I have. So it's it's yeah, it's a good dynamic.

882
00:53:55,400 --> 00:54:00,600
Speaker 1: But my mom lives, you know, superdu the humble. She

883
00:54:00,680 --> 00:54:05,360
Speaker 1: doesn't live beyond her means. And I try and encourage

884
00:54:05,400 --> 00:54:07,200
Speaker 1: her to, you know, doing more, if you want to

885
00:54:07,239 --> 00:54:08,759
Speaker 1: take a holiday, if you want to get this bad.

886
00:54:08,800 --> 00:54:12,239
Speaker 1: But I don't think she's very materialistic. She always says

887
00:54:12,280 --> 00:54:13,719
Speaker 1: that you know, I don't go out and get the

888
00:54:13,840 --> 00:54:18,920
Speaker 1: balance argus and where she pronounced but um. At the

889
00:54:18,960 --> 00:54:21,080
Speaker 1: same time, though, I think my mom does love it

890
00:54:21,280 --> 00:54:24,400
Speaker 1: secretly because you know, when she was on stage and

891
00:54:24,680 --> 00:54:27,680
Speaker 1: when my mom backs when she when she's taking pictures,

892
00:54:28,000 --> 00:54:31,080
Speaker 1: like my mom, you know understand like I might go

893
00:54:31,280 --> 00:54:34,880
Speaker 1: somewhere and my mom has been there before me, and

894
00:54:34,960 --> 00:54:37,480
Speaker 1: I would have heard through the grape behind my mom's

895
00:54:37,480 --> 00:54:41,520
Speaker 1: gone around and told everyone like, yeah, my son does

896
00:54:41,920 --> 00:54:45,399
Speaker 1: desk for that. And it's good to know that she's

897
00:54:45,520 --> 00:54:48,080
Speaker 1: just proud. I guess that she's that she feels like

898
00:54:49,080 --> 00:54:51,480
Speaker 1: we're doing something good at our family is here and

899
00:54:51,560 --> 00:54:54,200
Speaker 1: went on for good. This is a positive impact I'm making.

900
00:54:54,360 --> 00:54:57,160
Speaker 1: I think that that is I guess every parent's dream,

901
00:54:57,200 --> 00:55:02,120
Speaker 1: African parents especially, they just want some into to you know, yeah,

902
00:55:02,840 --> 00:55:04,840
Speaker 1: just staying strong man. One of the look before we

903
00:55:04,880 --> 00:55:06,120
Speaker 1: get out here. One of the lines I thought was

904
00:55:06,160 --> 00:55:07,680
Speaker 1: strong and the two we said I fell in love

905
00:55:07,719 --> 00:55:11,880
Speaker 1: with optimism. Yeah when inspired that when you DeLine my

906
00:55:12,120 --> 00:55:19,000
Speaker 1: relationship with emotions is what I was h describing. And

907
00:55:19,080 --> 00:55:23,880
Speaker 1: I think, weirdly, even though emotions are the building blocks

908
00:55:23,960 --> 00:55:30,879
Speaker 1: of relationships, your relationships with your emotions or what keep

909
00:55:30,960 --> 00:55:38,719
Speaker 1: everything in tone. So stuff like regret m your relationship

910
00:55:38,840 --> 00:55:41,080
Speaker 1: with a feeling of regret, you could be someone that is.

911
00:55:41,640 --> 00:55:44,640
Speaker 1: You know, the other day my brother said that, you know,

912
00:55:44,840 --> 00:55:48,560
Speaker 1: sometimes my mom can be pro stressed. Being pro stressed

913
00:55:48,760 --> 00:55:50,719
Speaker 1: doesn't mean that you like being stressed out, It's just

914
00:55:52,160 --> 00:55:55,600
Speaker 1: it is something that allows itself you're allowed to perpetuate.

915
00:55:56,280 --> 00:56:00,439
Speaker 1: I think being someone that's like pro regret as someone

916
00:56:00,520 --> 00:56:03,840
Speaker 1: that likes living in the past or likes being a

917
00:56:03,880 --> 00:56:06,560
Speaker 1: great bard that you you don't enjoy it, you don't

918
00:56:06,600 --> 00:56:09,400
Speaker 1: necessarily like, but that's it's kind of like what you do.

919
00:56:10,000 --> 00:56:13,160
Speaker 1: And when I said yeah, I fell in love with optimism,

920
00:56:13,880 --> 00:56:20,400
Speaker 1: I think I just meant I became someone that that

921
00:56:20,600 --> 00:56:26,359
Speaker 1: was my goal to feeling emotion, being optimistic, being bright,

922
00:56:26,680 --> 00:56:30,800
Speaker 1: looking forward, that being a positive energy to be around.

923
00:56:30,840 --> 00:56:33,239
Speaker 1: Because when I'm when i'm when when I'm a negative energy,

924
00:56:33,840 --> 00:56:37,640
Speaker 1: when I'm when i'm sad, when i'm quiet, bring everything down.

925
00:56:38,480 --> 00:56:42,279
Speaker 1: I think that you'll know that it's very it's very

926
00:56:42,320 --> 00:56:45,080
Speaker 1: difficult to be happy in a room where I'm sad.

927
00:56:46,000 --> 00:56:49,440
Speaker 1: It's just weird. Some people can do that, but I

928
00:56:49,520 --> 00:56:51,959
Speaker 1: had to get out of that and try. And even

929
00:56:52,040 --> 00:56:54,960
Speaker 1: days where I wasn't feeling necessarily like that. Just be

930
00:56:55,760 --> 00:56:57,920
Speaker 1: right and outward. And as you can probably tell that,

931
00:56:58,040 --> 00:57:01,719
Speaker 1: I talk a lot, so yeah, that was that was

932
00:57:02,040 --> 00:57:06,239
Speaker 1: just yeah, yeah, it's yourself. Yeah. See. One of my

933
00:57:06,280 --> 00:57:08,200
Speaker 1: favorite lines is on the cycle you say you learned

934
00:57:08,560 --> 00:57:10,480
Speaker 1: you can judge a nigger by the woman he curves.

935
00:57:11,120 --> 00:57:17,320
Speaker 1: I like that. I like that. It's it's it's um.

936
00:57:17,720 --> 00:57:20,320
Speaker 1: You know where did that clan come from? Here? Drew

937
00:57:20,440 --> 00:57:23,200
Speaker 1: me out? I can't remember who drew me out? Yeah,

938
00:57:24,560 --> 00:57:30,000
Speaker 1: it's true, or that singles yeah right now, as as

939
00:57:30,160 --> 00:57:32,960
Speaker 1: as I filmed this, and as I record this, you

940
00:57:33,000 --> 00:57:35,720
Speaker 1: know what I'm saying. As Yeah, as I record this,

941
00:57:35,880 --> 00:57:40,439
Speaker 1: I am it's um. It's technical. But I I think

942
00:57:41,960 --> 00:57:44,960
Speaker 1: and the same thing with Gold the guys that you

943
00:57:46,440 --> 00:57:49,440
Speaker 1: the guys that you've spoken to when the judge you

944
00:57:49,480 --> 00:57:54,120
Speaker 1: on that, the guys that you've not spoken to. No,

945
00:57:54,280 --> 00:57:57,200
Speaker 1: I think it's the reverse. No, no, no, I think

946
00:57:57,240 --> 00:57:59,600
Speaker 1: it's I think it's the reverse. For those. I think

947
00:57:59,640 --> 00:58:03,360
Speaker 1: it's the reverse because like some girls, you'll speak to

948
00:58:03,440 --> 00:58:06,920
Speaker 1: them and they'll be like, oh, so and so is

949
00:58:06,960 --> 00:58:09,919
Speaker 1: in my d M, but are curved him such as such?

950
00:58:10,600 --> 00:58:13,320
Speaker 1: And you look at her X and you'll be doing

951
00:58:13,360 --> 00:58:15,760
Speaker 1: a master you're thinking now, but this isn't you know

952
00:58:15,800 --> 00:58:17,880
Speaker 1: what I'm saying that this doesn't make no sense. But

953
00:58:18,400 --> 00:58:21,960
Speaker 1: as a boy, huh, if you're doing the right things

954
00:58:22,080 --> 00:58:24,280
Speaker 1: and you're just not like you know what I'm saying,

955
00:58:24,600 --> 00:58:30,000
Speaker 1: just just sucking anything that's just moving and walking in

956
00:58:30,120 --> 00:58:33,320
Speaker 1: such as such, and you've got standards, you're class, you

957
00:58:33,360 --> 00:58:35,479
Speaker 1: know what I'm saying. You've learned something to stand and stuff.

958
00:58:35,480 --> 00:58:36,680
Speaker 1: And that's what I'm trying to be. I'm trying to

959
00:58:38,880 --> 00:58:40,920
Speaker 1: try in all that aspects of your life, trying to

960
00:58:40,920 --> 00:58:45,200
Speaker 1: stave himself acting, music, personal life, personal life. I'm trying

961
00:58:45,200 --> 00:58:47,040
Speaker 1: to I'm trying to be smooth, you know what I'm saying.

962
00:58:47,360 --> 00:58:51,960
Speaker 1: I think that um Goes goes sometimes in London. Yeah,

963
00:58:52,520 --> 00:58:54,880
Speaker 1: they speak to my name, but they put that they

964
00:58:54,880 --> 00:58:59,280
Speaker 1: don't put enough respect to my name said because for

965
00:58:59,680 --> 00:59:03,919
Speaker 1: music from I'm mad reserved. You know what I'm saying

966
00:59:03,960 --> 00:59:07,040
Speaker 1: that I'm mad like it. It's like my rule, like

967
00:59:07,160 --> 00:59:10,280
Speaker 1: don't dm girls. Don't you know what I'm saying that

968
00:59:10,480 --> 00:59:13,320
Speaker 1: maybe one or two once in a blue moon, like

969
00:59:13,560 --> 00:59:16,400
Speaker 1: way back in the parts life, but for the most

970
00:59:16,440 --> 00:59:18,439
Speaker 1: part that was never mean. So I had to set

971
00:59:18,480 --> 00:59:20,080
Speaker 1: the record straight, Like you know what I'm saying that

972
00:59:20,480 --> 00:59:23,520
Speaker 1: the women that I curve see you know the pros

973
00:59:23,560 --> 00:59:25,800
Speaker 1: as you put it, almost as a regular guy. Still

974
00:59:25,840 --> 00:59:29,320
Speaker 1: in terms of how you deal with the ladies. Yeah,

975
00:59:29,600 --> 00:59:32,600
Speaker 1: I think it's worse because when you're a musician, you

976
00:59:33,520 --> 00:59:37,080
Speaker 1: it's not saying it because you could just things could

977
00:59:37,120 --> 00:59:41,320
Speaker 1: just go mad wrong things to me, you on your

978
00:59:41,440 --> 00:59:45,200
Speaker 1: on your mind. I think if you are thinking, if

979
00:59:45,200 --> 00:59:46,960
Speaker 1: you're not thinking, I just can't do whatever you want.

980
00:59:47,120 --> 00:59:50,960
Speaker 1: But if you are thinking, things can go wrong. Because girls,

981
00:59:51,320 --> 00:59:54,200
Speaker 1: if you're just fucking girls left right and something right,

982
00:59:54,640 --> 00:59:56,960
Speaker 1: you can end up with like mad child support, like

983
00:59:57,160 --> 01:00:00,400
Speaker 1: mad like mad baby moms that you don't speak to

984
01:00:00,480 --> 01:00:03,200
Speaker 1: and such or just like broken relationships that stuff like

985
01:00:03,320 --> 01:00:05,720
Speaker 1: that if you're not and you're doing too much and

986
01:00:05,720 --> 01:00:09,160
Speaker 1: you speaking that soul and then that's just one side

987
01:00:09,160 --> 01:00:13,040
Speaker 1: of it. Obviously American, it's madden here, Like I'm sure

988
01:00:13,520 --> 01:00:19,200
Speaker 1: back you guys, like some crazy crazy things going on here.

989
01:00:19,720 --> 01:00:22,560
Speaker 1: You know, you sleep with you sleep with a woman,

990
01:00:22,640 --> 01:00:28,080
Speaker 1: you wake up drugged, No watch you on TMZ on TMZ,

991
01:00:28,880 --> 01:00:33,000
Speaker 1: you know, half naked like like Eyeline on you and that,

992
01:00:33,160 --> 01:00:36,080
Speaker 1: like I don't know Yeah, that's when I listened to

993
01:00:36,240 --> 01:00:38,080
Speaker 1: music from the South and I listened to the Atlanta

994
01:00:39,240 --> 01:00:42,240
Speaker 1: City Girls and stuff like. That's like, no, that's the

995
01:00:42,320 --> 01:00:44,320
Speaker 1: picture that I paint, like, r you go to Atlanta,

996
01:00:44,680 --> 01:00:47,440
Speaker 1: like go to whatever, go to strike club, sleep will

997
01:00:47,440 --> 01:00:49,440
Speaker 1: go like you're waking up with no watching, no wallet?

998
01:00:50,200 --> 01:00:52,400
Speaker 1: Have I got? Have I got the wrong end of

999
01:00:52,440 --> 01:00:56,320
Speaker 1: the Is that? Is that a thing? It happens, It

1000
01:00:56,440 --> 01:00:58,760
Speaker 1: happens a lot. Does that happen? That has happened to you?

1001
01:01:05,000 --> 01:01:07,360
Speaker 1: But you're gonna say the right path and I'm confidence man.

1002
01:01:08,080 --> 01:01:10,160
Speaker 1: Amazing work, brother, God, we've got to finally got a

1003
01:01:10,240 --> 01:01:12,800
Speaker 1: chance to sit down. Thank you, Thank you guys. Did

1004
01:01:12,840 --> 01:01:17,160
Speaker 1: you enjoyed this was cool? Of course? Of course we'll

1005
01:01:17,240 --> 01:01:19,520
Speaker 1: check you out in the UK one day. Yeah, whenever

1006
01:01:19,560 --> 01:01:23,640
Speaker 1: you're on the UK Psycle Drama, get that album, man,

1007
01:01:23,800 --> 01:01:27,200
Speaker 1: it's up, wrap right off podcasts. Yeah,