Emily May 5/5/22 Emily May 5/5/22

Interview: The Wrecks

The Wrecks

Interview and Words by: Emily May

LA-based alt-rock band The Wrecks, comprised of Nick Anderson (vocalist/producer), Aaron Kelley (bass), Nick “Schmizz” Schmidt (guitar), and Billy Nally (drums), have been steadily gaining fans and releasing music since forming in 2017, with their top five singles on Spotify having over 80 MILLION listens. The band’s initial recordings were done themselves, having no prior experience, when they had the opportunity to sneak into a recording studio where a friend was housesitting. Anderson watched YouTube tutorials and the We Are The Wrecks EP was born. They quickly caught the attention of Jeff Regan at SiriusXM’s top alternative channel AltNation and their first single “Favorite Liar” was added to his playlist, resulting in the #1 spot on the Alt18 Countdown, months of charting in the countdown’s Top 5, and the band’s first Top 40 Alternative radio hit. In 2020, the band released their debut LP Infinitely Ordinary, via Big Noise, which has over 58 million streams on Spotify. The band has been working on their sophomore album, Sonder, which will be released on June 10th. The Wrecks collaborated with producers Westen Weiss (Meek Mill, Camila Cabello, Post Malone) and Dillon Deskin (Flo Rida, Will Sparks, Different Heaven, Myrne) to grow their sound. “They're both such talented producers and put their touch on this record in a very natural way,” says Anderson. “They allowed me to focus more on the songwriting rather than hyper-focusing on minute production details like usual. I also benefited from the lyrical help of Savannah Bleu, with whom I've written in the past, to keep the thematic train on the tracks per se. I think this song is a step in a very natural direction for us, and I'm excited for our fans to hear it.” The band released the album’s first single, “Lone Survivor”, in February, followed by “I Love This Part”.

Regarding “Lone Survivor”, Anderson says, “‘Lone Survivor’ is a testament to feeling empowered by your independence in the aftermath of a breakup. The energy of this song was swimming through my veins for a few days before writing it. So when the time came for me to get in the booth and write the melody and lyrics, a lot of it came out right away.” Regarding “I Love This Part”, Anderson says, “There was a fire in me while making this record that I hadn’t felt in years. I remember the night I wrote the majority of the song and recorded the vocals; I cried, I laughed, I yelled. I let all of my intrusive thoughts in. I let myself be angry, be sad, be spiteful, be free.” Like the earliest Wrecks songs, he says this song means a lot to him because it kept his “head above water and helped [him] cope during a very difficult time. Not only that, but it inspired and set the tone for the rest of the upcoming album." Anderson says the inspiration for “I Love This Part” happened when within days of returning home from tour with three fewer roommates and one less girlfriend than when he left. He had two choices: “lay in bed miserable or make this song. ’I Love This Part’ was liberating for me emotionally and musically," he says. "The chip on my shoulder was my petty co-pilot and I was able to access some repressed angst that I surely thought I abandoned in high school. I rediscovered old parts of myself, melodies and energies that I didn’t think were still at my disposal, while also pushing new boundaries sonically for our band." Excited to release their album and go on tour, make sure to follow and connect with The Wrecks via the following links to stay up-to-date on all upcoming band, album, and tour news! Photo credit: Natalie Hewitt.

You met Aaron when you were 15 and later met Billy and Schmitz, forming The Wrecks in 2017. What can you tell me about the early days of the band and playing together and exploring your sound as a band?

Nick: It was a really exciting time for all of us because I think collectively we knew that this band was gonna be the one that finally worked. We had all spent years and years playing in empty rooms in our own respective local bands, and each of us saw this as an opportunity to make a real push at our dreams of being in a successful band. Billy and Schmizz were graduating high school, Aaron and I were dissolving our old band, and the stars aligned for what would become The Wrecks. I can remember rehearsing in our manager's garage that first month as a band, and feeling like, "This is a real band. We're a real band, I think." We weren't very good yet, but the pieces were there.

You already had a bunch of songs you were sitting on before forming the band, which became the songs on your first EP. What was it like writing music after that moment, once you had your bandmates on board? Do you feel like you guys had a pretty good flow together from the start when it came to writing new material?

Nick: Schmizz and I started spending almost every night writing and recording demos together. During those sessions, Schmizz would introduce me to so much great alternative music I had never heard, and he influenced my taste in a major way. His approach to the guitar is so creative and exciting and was so new to me at that point. I remember watching him use a lighter as a slide to make a percussive layer and realizing that I had so much to learn from him both musically and creatively. That's when I knew we'd make great music together. He has continued to push me out of my comfort zone over the years, and I think I've done the same for him. His pursuit of unique sounds and new ways to use the guitar as a production weapon is so inspiring to me and has had a lasting effect on my writing and production even when I'm going at it alone. A lot of this new record forced me to channel my inner "Nick Schmidt" because we've been living on separate sides of the country and I was tasked with recording the majority of this album in my studio alone.

What has it been like for you guys since those early days, learning to produce everything yourself and having your own studio? Do you prefer to have more of a DIY approach with the band?

Nick: I feel like it's been the same process since day one of basically having total creative freedom and taking a DIY approach to everything with the band. It definitely used to be even more DIY than it is today, though. Back then, I was designing our merch, our light show, our artwork, and graphics, on top of running the socials and working on new music, while the other guys were busy with miscellaneous tasks like emailing colleges and venues trying to book us shows, and selling tickets at the mall to people they met on Tinder. There was something new every day for us to tackle, and we learned to almost self-manage and operate as a team while having the oversight of our actual managers to keep everything moving. It was quite a hectic and busy time. Which makes sense I guess as to why we were playing shows just weeks into starting the band and had our first single out just months later.

Since then, we've been able to grow our team and work with lots of talented and creative individuals for all of those non-music-related aspects of the band, but the DIY approach still feels very alive within the band. Currently, I write and record everything out of my home studio in LA, and spent the last 6 months working on this new record with little-to-no input from anyone - relearning to trust my instincts and make something I like.

Everything you write comes straight from your life and songwriting for you has always involved telling the truth. Can you speak a bit about the importance for you of being so honest and authentic in your songwriting? Have you ever found it challenging to be so vulnerable and open with your lyrics?

Nick: It's sort of the opposite, actually. Being honest and vulnerable when writing songs is the easiest way to do it for now. I've found that my best work comes when I'm very sure about what and/or who I'm writing about. I begin to struggle with a track when I've lost sight of its purpose or its emotional authenticity. That's why I think the best songs are written the quickest and are typically honest expressions.

You recorded your debut LP Infinitely Ordinary in May of 2020 and it was primarily recorded in an old barn-turned-studio in Western NY over a 3 month period. What can you tell me about having the luxury of time while recording, to learn and make mistakes? What do you feel you learned and in what ways did that recording experience shape your recording going forward?

Nick: That summer was instrumental in my development as a producer. But we only ended up keeping three songs from that summer in the barn - one of which was mostly re-recorded. I would say I developed more as a producer than a songwriter that summer, because I don't think I wrote my best songs during that time. I spent the majority of studio time messing with new plug-ins and fiddling with arrangements, building up these massive productions for songs that were just okay at their core.

While writing the songs for the LP, you found yourself improvising lyrics and melodies on the spot, tapping into your subconscious. What was that experience like and have you found yourself writing subconsciously since?

Nick: This only works for very specific songs, but yes, I found myself improvising the verses for "Sonder" - the title track of our new album. It wasn't done all at once, but for each line of the verse, I would hit record and hope that something good would come out. There's a broken and scratchy, but emotional, delivery to those verses because they are real thoughts and feelings, felt and heard in real-time.

You have said that you’ve struggled to write much new The Wrecks music between Infinitely Ordinary and now and felt too burnt out to create something that excited you. How did you work through that creative block? What do you guys enjoy doing outside of music to keep the creativity flowing, the burn out at bay, and to try to stay grounded?

Nick: I didn't even realize I was in a creative block until I looked back and noticed how little music I had made since the first album. I don't think I'll ever know the answer to burn out or creative blocks. I got my "mojo" back in the aftermath of a breakup in September 2021. I think it had just been so long since I had something to say and to process and to work through emotionally. I turned to the same outlet that I've been turning to since I was 14 - writing music. Suddenly, I had too many songs to choose from.

In February, you released the single “Lone Survivor” and more recently “I Love This Part”. What can you tell me about “Lone Survivor” and working with Savannah Bleu, who co-wrote the song with you? With regards to “I Love This Part”, you’ve said that the night you wrote and recorded it, you laughed, cried, and yelled and let all of your intrusive thoughts in. How do you feel that writing that song served as a cathartic experience for you?

Nick: Savannah is my favorite person to write with. We don't write together often, but when we do, something very special comes from the session every time. She has such great instincts both lyrically and structurally that perfectly compliment my approach melodically to The Wrecks songs. Sometimes when I'm too zoomed in to the specifics of a story, she'll offer a line that ties it all to her original theme of the chorus, and it feels like magic when she makes those "ah-ha" moments happen. Savannah is so brilliant, and an incredibly talented artist in her own right. This whole album was a cathartic experience. It was my device to feel and express. It was a journey toward closure.

What has it been like working/collaborating with producers Weston Weiss and Dillon Deskin and in what ways have they helped you to grow your sound as a band?

Nick: The only track the three of us worked on together was Lone Survivor. It was a really fun session, and it was refreshing to focus more on melody and lyrics than to hyperfixate on the instrumental. They started building the track based on a chorus progression and vibe that Savannah and I had started on acoustic, and once they had some chords and drums down, I was able to start pacing the room singing ideas until something stuck. That's basically how the whole song was written that night.

What can fans expect from your upcoming tour and album? What else do you have coming up this year?

Nick: I think our fans can expect the best version of The Wrecks yet. I haven't felt this optimistic and excited in years, and I just can't wait to put out this record and go on a sold out headline tour this summer.

Emily May 4/20/22 Emily May 4/20/22

Interview: Rose Betts

Growing up in England, singer-songwriter Rose Betts grew up immersed in music and started writing songs at the age of 11. While most of her high school classmates had plans to go to university after graduation, Rose had other plans for herself. She decided to forgo university and move to London to start her life as a musician, and although the process was a slow build, she learned a lot from the experience. She was a regular on the London music scene and frequently performed Sofar Sounds. She toured the UK in 2017 and released her debut EP, Stars Look Down, and has received major radio play on BBC 2 and BBC 6 and continues to blur the lines of conventionality through her collaborations with art, film, theatre, and virtual technology. She has done collaborative projects, such as working on Bazzi’s single “Young and Alive” which was nominated for Best Remixed Recording at the 63rd Annual Grammy Awards. She also has the opportunity last year to do a cover of "The Song To The Siren" for Zack Snyder's Justice League, which served as the leading song of Zack Snyder's Justice League (Original Motion Picture Soundtrack), created by GRAMMY-nominated multi-platinum producer, musician, composer, and educator Tom Holkenborg.

On March 25th, Rose released her debut full-length album White Orchids, which she entirely wrote and co-produced with producer Kevin White in LA. Rose sees White Orchids as representing a loss of innocence; a moment of pure youth and fragility where her heart was broken. Just as an orchid blooms once before it is usually discarded, it feels as though one can grasp on to youth for merely a fleeting moment. She says, “My album 'White Orchids' has within it every shade of who I am, from the fierce days to the low days, from the mornings I wake up happy to the ones I wake up longing for something I lost. I have not hidden from the listener this time. If someone finds something of themselves within this project that would be a magical and precious thing. I hope 'White Orchids' can be a landscape they can take a stroll through, get lost in, be surprised and elated by, and that for their brief time inside the songs they can feel, even for just a moment, free.” Having just signed a publishing deal, her plan is to make and release more music! It’s safe to say that Rose Betts is an artist we should all be following! You can connect with Rose Betts via the following links to stay up-to-date on all upcoming news, music, and live show dates.

You started writing pop songs at 11 and decided that rather than going to university, you wanted to move to London to start life as a musician there. Coming from a supportive and artistic family, what can you tell me about your childhood and developing such a strong love for music at an early age? What were your early days as a musician like when you first moved to London?

Rose: Growing up immersed in music was and is a gift I feel so lucky to have received. It’s not unlike learning another language while young. You don’t think about it. It flows through and around you and is totally a part of your life. Everything our family did involved music, and it still does. Even now, we’re all grown up and music is intertwined in our love and support of each other. Moving to London was full on, and hard, but I loved it. It was a slow build, getting gigs at small London venues, finding musician friends, building a band, figuring out how to make ends meet. A lot was learned!

In writing such personal and introspective songs, in what ways have you found music/songwriting a good way for you to express what you feel in a cathartic way? Do you find it easier to express yourself through music and that music helps you to alchemize the pain or other feelings you may feel around the topics you write about?

Rose: What a wonderful question. Songwriting is totally a part of how I process my life. It acts as a filter through which i can examine my experiences and feelings, and also release them. But it is also just a fun challenge to take things I see and feel and see if they can fit into a song. I think I find it easier to be vulnerable in music than in real life for sure. I’m working on this.

You did a cover last year of "The Song To The Siren" for Zack Snyder's Justice League soundtrack. What can you tell me about that experience, as well as how you approached writing a song for film vs for an album? What was it like for you to also have the song used by Olympic Silver Medalist Alexandra Trusova in her recent Olympic run?

Rose: Well first off, I can’t take credit for writing ‘Song to the Siren’ unfortunately, it was written in the sixties by Tim Buckley and Larry Beckett. The whole experience of creating my version and then finding out it would be in Zack Snyder’s Justice League was surreal to say the least! All I knew at the time I recorded my demo version was a little outline of the scene, but with no particulars to make me guess what it was.

Working on music for a set scene/film is very different to writing for an album… everything was extremely personal in my album, however the music for the film was all about bringing to life the emotional intentions of the scene, so although I drew on my own experiences to bring authenticity to the cover it was never about my story. I loved seeing ‘Song to the Siren’ being used for Alexandra Trusova’s Olympic performance. Again, a little surreal, but I thought her beautiful skating went so beautifully with the music!

You have talked about how limitation is one of the finest tools for making art, speaking specifically about your process of making your stop motion music video for your song "Rocket". What can you tell me about making that video and how limitation has aided you, if at all, in a broader sense in your career?

Rose: Making the stop motion video for Rocket was an arduous task, and I did my back in for a few days as well! The spirit of the song asked for something full of movement, with a sort of childish naivety hiding something a bit more serious for the visual, so stop motion just felt right. Not having much in the way of budget, and loving the creative side to all this, I jumped at the chance to make something out of simple materials with only an iphone. Storytelling doesn’t have to be an expensive, expansive affair. In fact, it’s really quite simple. I like stretching myself, and dreaming big, and would love to work on all sorts of levels, but I’ve definitely discovered that limitations keep one focused on the story, on what’s being told, make you dig deeper and force you to be more creative.

With regards to your song "Rocket", you have said that the song fell into your lap fully formed but how when you wrote it, it felt like a throwaway. The response from your dad and others helped you see the song in a different light. Have you had other instances like that in your career, where you didn't like a song you wrote but an outside perspective helped you to see it differently? Do you often have songs that seem to write themselves?

Rose: I never disliked Rocket. I guess I just didn’t respect it very much immediately, but I do now! I have had a few times when songs have fallen into my lap. I heard a song in a dream once and woke up to sing it into my phone, and it ended up on the album! That is a rare occurrence though. My song “Driving Myself Home” felt similar to Rocket, in that it sort of wrote itself and felt like a throwaway. However, when I shared it on my tiktok it blew up which made me take it a bit more seriously, as clearly there was something in it that people really connected with! It’s strange when that happens. The songs I pour my soul into don’t always connect how one expects, and then something that feels too easy turns into the song that sparks.

In 2017 you self-released your debut EP The Stars Look Down and on March 25th, you will be releasing your debut album White Orchids. Having said it is a departure from your EP, what inspired and influenced the songs you wrote for the new album and how would you compare the two bodies of work? With your EP having been completely self-released, how did you meet and come to work with co-producer Kevin White on the new album and what was it like for you to work with someone else this time around?

Rose: There is a fair amount of time between these two projects… most of that time was waiting to find the right producer as I was writing songs that I had big sound ambitions for. I started working with a management label in LA and met with Kevin while out there. We immediately connected with a shared vision for the songs and working with him was really easy and creative. I worked with producer Asa Bennett on my first EP and learned so much about the process, so I knew the ins and outs of being in the room with producers. What we did differently this time was co-write on a couple of tracks and this was new and a fun challenge. I feel like it brought songs out of me that I normally wouldn’t have written. My time in London, the friendships and relationships I had all inspired the album. I feel like I experienced a brilliant moment of youthful innocence and love, and the album explores coming to terms with the loss of this moment. The themes felt big to me and led to big songs which is why this album is so much grander in its production.

What was it like for you to be so vulnerable with this album and, as you said, include every shade of who you are and not hide from the listener this time? Can you talk a bit about the significance of the album title for you and how it signifies the loss of innocence you experienced after heartbreak?

Rose: The album title ‘White Orchids’ comes from the song I wrote, which in turn came from a metaphor in The Great Gatsby. Fitzgerald uses the flower to describe Daisy and her world, symbolising her innocent beauty and youth. I thought about these themes in connection with a flower that cannot support itself, requiring a stake to stand upright, blooming once and then appearing dead for another year before the next bloom. It made so much sense to me, that innocence and youth are so brief, so vulnerable… I felt that my own moment of glorious youth shared this reality and that the songs were all part of me processing this. Being vulnerable is never easy, but weirdly I’ve become used to it… hardened to it perhaps. There is a wonderful feeling of freedom when you let those walls down.

In April of last year, you released the song "Recovery", the first single from the new album. What can you tell me about the experience it came from and how it changed you and the way you write and sing songs?

Rose: I wrote Recovery while literally in the storm following a relationship that ended painfully. For a moment the storm cleared and in that moment I wrote this song. It’s easy to feel a panic to be ‘ok’ after the world has crashed around you, to want to appear healed and unaffected as soon as possible. I realised I needed to stop, to let myself recover, sit in the moment, let it wash over me. It was the first time I’d really felt that and the first time I let myself be completely open in a song, and once you’ve gone to that place as an artist there’s no going back.

What can you tell me about the album artwork, the idea behind the photos you took, and spending time on El Matador beach?

Rose: I had a bunch of artwork ready and none of it was fitting so we took some pictures in my manager’s garden and then I was wearing this dress and it was so floaty I wanted to play in it and we took that photo. I like it because it feels powerful and present. I hadn’t listened to the album in ages and then before we submitted the final mix to mastering I listened through and was surprised by how the songs felt so sure of themselves. I wanted the artwork to reflect this. We went to El Matador to do some filming and I was amazed. I didn’t know there were rugged beaches like that here, really beautiful.

You brought your poet friend Angelique Neumann onto the new album. What can you tell me about the poetic element of the album and the songs "Cyanide Tooth" and "Park Avenue" that she wrote?

Rose: I was so thrilled to work with Angelique on this project. I’ve known her and her work for years and always felt it would compliment anything it touched so I’m so happy I managed to convince her to bring her wonderful voice to the project. Her poems give the album a moment of breath and stillness… she was present for much of the time that the songs were written and knows everyone involved so she already had such a deep understanding of the themes. I’ll leave her to describe her work but for me I find her poems and her delivery utterly enchanting, magical and they bring SO much to the album.

What has your time in LA been like? What do you love and find inspiring about the city? What are some of your favorite places to go in the city?

Rose: My time in LA has been full with new people, challenges, places, adventures… I’m finding things to love which is a little harder than in cities I’m used to but there is much to love here. There is a gorgeous bar near me like something out of the 20’s, live jazz or honky tonk piano most nights… also the public library is a gem, a temple of a place, and I walk a lot around Echo Park in the evenings, keeping an eye on the water lilies. And I love looking up. The buildings in Downtown will reward you for this.

What's next for you?

Rose: More music! I’ve just signed a publishing deal so I’m hoping to be in writing mode. Although that said I have a bunch of songs that would like to see the light of day so that’s something I’m focusing on too… but basically I want to share as much music as possible, enough of these long breaks between projects!

Emily May 4/1/22 Emily May 4/1/22

Interview: Kendra Erika

South Florida pop singer-songwriter Kendra Erika is a spicy, bold artist who has worked with a variety of Grammy-winning producers such as Charlie Midnight; Jan Fairchild (Elton John, Mary J Blige); John DeNicola (Hungry Eyes and Time of my Life from Dirty Dancing); Damon Sharpe (Ariana Grande, Jennifer Lopez); Ned Cameron (Kid Ink, Lil Wayne); Mark Mangold (Cher, Michael Bolton); Luigie "LUGO" Gonzalez (Janet Jackson, Madonna, Barbra Streisand); and Ronnie "CHICO" DiCicco (JLo, Kistine W, Rihanna, Britney Spears). Drawn to music from a young age, she was born tone-deaf. At 8 years old her parents put her in vocal lessons with vocal coach Gisbert Heuer, a former professional opera singer from Berlin, who helped her lay a foundation with which she was able to grow and tap into her capabilities. Before pursuing her music full-time and upon the insistence of her mom, Kendra attended college at Lynn University, where she graduated with a degree in communications and international business. It was this experience that she believes helped her to mature and grow as a person. Having worked with many different producers, label execs, etc while coming up in the industry, some of which wished to mold her into the kind of artist they thought she should be, she learned to develop her own vision for the kind of artist she wanted to be and navigate her way through the industry on her own terms. With her fierce desire to be as independent and true to herself as possible, she started her own record label called OysterShell Music. Kendra met and come to work with longtime LA record producer Damon Sharpe a few years backhand the two immediately clicked and have been working together in her studio since.

In recent months, Kendra has released a successful cover of Aaliyah’s “Try Again”, in celebration of what would have been the singer’s 43rd birthday, as well as a dance remake of “As Long As You’re Mine” from Wicked featuring 2x Tony Award nominee, and American Idol finalist Constantine Maroulis. Most recently she released her latest single “Rapture”, co-written by Kendra Erika and Ronnie "CHICO" DiCicco (JLo, Kristine W, Rihanna, Britney Spears) and produced by DiCicco, which sets the bar even higher for the dance-pop singer-songwriter. When asked about her new single Kendra said, “Rapture” encapsulates the very essence of who I am as not only an artist, but an individual, a woman, and a performer. The song was written out of pure research and discovery of what my sexual nature is made of. From the vocals to the production, both Chico and I wanted this one to capture and release the primal essence of who I am, and what turns me on musically. Cinematic, dynamic, intense, and spiritually brazen. As far as the eye can see, “Rapture” is the bar that has been set and the bold and lustrous taste of what is to come from me.” Today sees the release of the music video for “Rapture”, for which she tapped talented director Tolga Katas (Stevie B) as well as famed designer Armando Farfan Jr. who previously worked with artists like Lady Gaga, as well as on the Victoria Secret Fashion Show. With a goal going forward to release more music and have more experiences, make sure to follow Kendra Erika via the links below to stay up-to-date on all upcoming music, news, and live dates!

You were drawn to music from a young age but have said that you were born tone-deaf. What can you tell me about taking vocal lessons starting at the age of 8 and about your vocal coach Gisbert Heuer, a former professional opera singer from Berlin?

The saying “break you down to build you back up again” rings through with what he did. I say all of this with the true sentiment. A foundation was laid and Gisbert was able to tap into my capabilities that needed to grow and be brought to the surface and beyond. Was he strict? Did he give me a hard time out of tough love? More than enough times. But, that is how I know someone truly cares. Even that has shaped my discernment in knowing who I have around me. He was the first person to not be a “yes” person and to push me to those unchartered places in my voice and performance.

You got your start in musical theatre, performing in school plays and in community theater. What kind of foundation do you feel laid for you in pursuing a musical path? Do you see yourself doing musical theater again at all in the future?

It built my stage time credits and also my overall confidence on stage. Learning to sing and dance simultaneously early on is a skill that most current music performers had to do crash courses in order to continue on in their label support and distribution. A lot of people underestimate the level of influence and background that musical theatre brings to a performer. Even those who switch over to doing broadway or theatre, and then go back to pop, can see an improvement in their overall presence and agility. I don’t just see myself doing musical theater again in the future, I know I’ll be doing it in the future.

You have a message that you have said you try to instill in your music of believing in yourself for what you are and how with social media being such a big influence in our lives, sometimes we project images of ourselves because we want to be accepted. What role has social media played in your life and career and have you found yourself falling prey to that longing for acceptance and not believing in yourself?

To be honest, social media has been the author of both my pain and my gain throughout my life and career. I’ve endured pain, and followers I’ve gained. In order to navigate through the minefield of social media, you have to understand that it’s a matrix. A lot of what you see is fake and politically and socially driven with narratives and agendas. This is why I try to be as organic in my posts as possible so as to not be another statistic in this observation. Even I have wrought my mind about social media. I mean, the amount of Bratz doll clones and lookalikes on there has made me feel guilty about being a black swan, which is absolutely ridiculous because, in REALITY, it’s the advantage. It’s laughable that so many people preach in their captions about being ‘different’ when their faces and backsides look exactly the same to those crowding the feeds. This is why I’m avid in practicing being about it, not just talking about it. Once I understood and inner stood what and how social media is best used for, and it’s a daily process personally for me, then it’s not as bemoaning, and you can wrestle victoriously with what big tech throws at you.

You studied communication and international business at Lynn University after high school, before pursuing music full-time. What can you tell me about your time in college? Do you feel it gave you a better perspective going forward, regarding life and your goals, than you would have had otherwise?

Going to college and obtaining my education was a deal laid out by my mom and followed through by me. Upon graduating high school, she said she would still support my music aspirations if and only if I went and got my education in something other than music and performing based. That period of time allowed me to mature and grow since I was performing at local gigs and going to college at the same time. I believe this protected me from sinking into the "rabbit hole" that many young artists, unfortunately, do these days.

You worked with/met many different producers, label execs, etc while coming up in the music industry and have talked about how they sometimes wanted to mold you into the kind of artist that they thought you should be. What can you tell me about the inner strength you developed and the vision for the kind of artist you wanted to be that has helped you to navigate your own path in the music industry.

I learned some time ago that a lot of what is out there is manufactured and that most of the currents have been molded. It’s called industry standard. The standard never moves, it just remains constant. Now, there is a reason why the acts from previous decades have been able to stand the test of time, and that is they broke through the glass because they weren’t afraid of doing something different. They weren’t afraid of pissing anybody off. In today’s sensitive world, people are so fearful of that, that it literally holds them back from achieving excellence. A prime example is Eminem and Kanye. Both treat music like it’s a sport. That competitive edge has earned both of them respect, and although they aren’t anywhere near saturation (Eminem more than Kanye) when they talk, when they put something out there, people pay attention. Having the “shut up, he or she is talking” effect is timeless. I know I don’t fit industry standards. And, that independence is always the way to longevity.

How did you meet and come to work with longtime LA record producer Damon Sharpe, with whom you write songs, produce videos, and do most of what a record label would do? Why do you feel the two of you clicked so well?

My Billboard chart promoter, Jason Dauman, originally introduced us to work and collaborate. We clicked so well because we’re two empaths. He’s able to pick up on what I’m bringing into the studio, and I’m able to turn the water into wine. LOL. From the moment we wrote and recorded “Oasis”, the chemistry was inexplainable. There’s no formulaic code, just that he and I flowed creatively and stylistically so well from inception.

What can you tell me about starting your own record label, OysterShell Music, and your goal of being as independent of an artist as possible? Do you have plans to record music for other artists on your label or just your own music?

Being independent is what I savor and what needs to be steadfast throughout the majority of my career. So by having OysterShell Music, “because my music’s an aphrodisiac”, is something I revel in and believe in. No other plans yet, nothing confirmed to divulge.

How did the opportunity come about for your recent distribution deal with Symphonic distribution and what has the experience been like so far?

My marketing/management team introduced me to Symphonic distribution and I am finding them exceptionally supportive to work with.

Along with writing and recording music, you also support different charities and are passionate about helping children. What are some of your favorite charities to support? Have you always felt drawn to help others in that way?

Helping children and women, especially in the area of education and well-being is something I’m passionate about. Prevention of human trafficking and anti-pedophilia are two stronghold causes I stand behind. Operation Underground Railroad, WarChild, Unicorn Children’s Foundation, Propel, and Florence Fuller, are just some of the names I’ve been involved with. With both parents being stapled givers in the community, I grew up exercising that muscle and making sure that I made it constant to give back. You get more reward and fulfillment out of what you’re doing when you give back to communities.

As an artist who places a particular emphasis on lyrics, more so than many other dance artists, what significance do good lyrics, storytelling, and messaging in a song hold for you? What messages do you hope to convey through your music?

Music is the easiest way and method used to program people. The reason why today we see so many people in a state of confusion is because the lyrics and the messages of the current music are laden with mixed messages. It’s like they talk a big game about wanting people to be loving and equal, but then the music reflects more focus on the pain, the fear, the recklessness, and the division. And the music is what is going to wire and influence society, not the talk. Frank Sinatra is one of my biggest inspirations when it comes to this. He was clear, and he was romantic. He made you feel a part of something, a part of the experience. Invited into the piano bar, invited into that whimsical element. That’s the essence and kind of substance I like to keep thickly threaded throughout my music. Where people feel a part of something.

You recently released your latest single "Rapture". What can you tell me about the song, and in what ways does it encapsulate the very essence of who you are as an artist, individual, woman, and performer? How does it show what's to come from you as an artist? How did you meet and come to work with Ronnie "CHICO" DiCiccio?

I met Chico during Covid while performing my weekly Facebook live stream shows. Coincidentally, we had already known each other through the Billboard Dance Club chart. Chico is a Billboard reporter who supported “Self Control” when it was ascending to #1 on the charts, and he also had another record on the chart he was pushing to at that time. The energy was hot that day, my friends. We became instant friends and through talking about the industry during Covid, there was a lot of synergy and similarity between us in our careers. We took advantage of that and jumped right into the studio shortly after when Chico pitched not only a song, but a concept, and “Rapture” was born. We remain close to this very day. I think the word “Rapture” sums it up. As a female artist, it’s daringly safe to say every woman has a burning passion and fire, and sensual energy that is a part of who they are, and how you can express that through your words and music, is the ultimate.

What can you tell me about the music video for "Rapture" and working with director Tolga Katas and famed designer Armando Farfan, Jr?

We filmed it at Armando’s studio and the main stage in Las Vegas. I’ve worked with Tolga a few times before, so the experience is always a brand new continuation of the previous times. Armando is quite masterful, yet is quite confident about who he is and what he does. I took note of that because it’s how I operate when working creatively. The vision is well-prepared and then delivered in a very tactful way. Both Tolga and Armando together were great.

What's next for you?

More music, and more experiences

Photo Ladies 3/30/22 Photo Ladies 3/30/22

Shovels & Rope Manticore Tour

Americana powerhouse Shovels & Rope make a stop at the Axis Club in Toronto, Ontario Sunday, April 3rd. The husband and wife duo are in town in support of their latest album “Manticore” which was released February 18 on Dualtone Records. Once planned as a stripped down record, the couple was afforded the time to expand the sound of the album as the world shut down in 2020. Musing on modern womanhood, celebrity, the death of James Dean and their own divorce, Shovels & Rope bring the heartfelt, deeply personal storytelling they are known for.

With 2022 marking 10 years since the duo’s breakout LP “O’ Be Joyful”, this outing will not only be a celebration of “Manticore” but of the band’s career thus far. With support from Toronto based songwriter Jeremie Albino, the US leg of Shovels & Rope’s spring tour is a must see for Americana fans in Toronto and beyond.

Full list of tour dates for the “Manticore” tour can be found here:

https://shovelsandrope.com/tour-dates/

Carolyn Lederach 3/21/22 Carolyn Lederach 3/21/22

Chat In a Hat: Julia Wolf

The rules are simple...there's a hat, this hat is filled with many questions ranging from the personal to the offbeat. We pass the hat, and artists get a chance to answer the question they choose from said hat. Fun is had by all.

Julia Wolf is currently set out on her first tour opening for the wonderful Fletcher. Not to mention, all the shows are sold out, not a bad start! We got to catch her at her Philly show and do a little catch-up since our Quarantine Profile with Julia back during lockdown times. Since then she’s been busy releasing more new music including her debut album Girls in Purgatory and her latest single “RIP to the Club”. So many exciting things to come, and can’t wait to see where she goes next!

Without further ado, here's our Chat in the Hat with Julia Wolf:

What's the stupidest thing you did in your teens to look cool?

It wasn’t high school, but every day in elementary school, I wore a tie because I was obsessed with Avril Lavigne and, you know, had to represent.

Would you rather change the past or be able to see into the future?

Absolutely see to the future! I wanna know everything. I have no issues with past experiences.

If you could invite two people to a dinner party, who would they be?

Definitely Jack Harlow. Cause he's my favorite of all time. And the second one, I’d have to say Robert, Pattinson, because Twilight forever.

If you could have any superpower, what would you want?

I think I'd want to be invisible.

The apocalypse is tomorrow. What's the last thing you would do?

I would do a whole trip back to my hometown and just do all the cute little things that we used to do on Long Island. We can bring Malfoy, our dog.

The last thing that you've done, that you deserve a Highfive for

Soundcheck!

What is your favorite album?

Jack Harlow That’s What They All Say

If you could eat anything right now, what would it be?

Gnocchi

Emily May 2/9/22 Emily May 2/9/22

Interview: Geneviève Racette

Geneviève Racette

Interview by: Emily May
Photo: Éva-Maude TC

Montreal singer-songwriter Geneviève Racette grew up surrounded by music, singing harmonies with her sister and being exposed to a wide variety of musical genres., all of which shaped the artist she is today. Raised in a bilingual household, she learned to write in both English and French, but early in her career she released French music, with her first album, the purely French Les aurores boréales, being released in 2016. She later decided to expand her opportunities as an artist, and 2019 saw her release her first English speaking album, No Water, No Flowers. She recently released her latest single “Someone” featuring Dallas Green [City and Color/Alexisonfire], a song she says is the most vulnerable she has ever written. The track will be on her upcoming third album Satellite, due to be released on March 18th. Satellite is a 9-song collection, delivering honest stories of self-discovery and reflection through the cycle of love. Filled with intimate vocals, lush instruments, and expressive harmonies, Racette’s new album evokes moments of love, heartbreak, healing, forgiveness, and ultimately, falling in love again. Racette has shared two other singles from the album; the reverb-drenched, earnest longing of “Maybe” and “Les adieux.”

She has already been nominated and received several prestigious prizes including, Emerging Artist of the Year at the Canadian Folk Music Award (2020). She traveled twice to the Banff Center for Arts and Creativity in 2017 and was selected among 150 singer-songwriters to work with some of the best songwriters from Nashville. Geneviève is also recognized by established artists in the industry for her talents. She grabbed the attention of singer-songwriter Dallas Green on Instagram with her cover of “Hello, I’m in Delaware.” He then invited her to appear with him on stage at the Osheaga Festival in 2019, a most memorable moment for her. Geneviève has an undeniable love of the stage, in 2019 she conquered over a hundred Canadian concert venues. In the last two years, Racette has broadened her performing territory, from mostly Québec venues to other Canadian provinces Manitoba, Saskatchewan, and the Maritimes, as the headliner in each of the tours. She also finds time to exchange and meet with artists at a variety of music showcases such as Folk Alliance International New Orleans (2020), Folk Music Ontario (2019 and 2021), and the Canadian Music Week (2019), with an appearance at the Folk Alliance International showcase scheduled in May. With plans to collaborate with more artists and release more music, make sure to follow Geneviève Racette via the following links and stay up to date on all upcoming music, news, and tour dates!

You grew up in a very musical and creative home, as both of your parents were musicians. What can you tell me about your childhood and how the musical environment you grew up in helped to cultivate your love for, and desire to pursue, music? In what ways do you feel that singing with your siblings growing up helped you to experiment and learn about your own voice?

Geneviève: I grew up surrounded by music. My mother taught piano at home several hours a day and my father was passionate about anything music-related. My siblings and I spent hours watching music videos on MuchMusic, learning choreographies, and singing along. I’m so grateful for the childhood I was given. My sister and I learned how to harmonize singing with the Spice Girls and I learned how to play guitar while listening to the Beatles. Being exposed to different styles and genres of music has definitely shaped the musician I am today. To this day my family is my #1 fan club. They supported me every step of the way. I need them.

You released your first full-length album Les aurores boréales in May 2016, which was a French-speaking album, and have since emerged as a rising talent in both French and English speaking Canadian music scenes. What can you tell me about Les aurores boréales and those early days of being an artist?

Geneviève: It feels like so long ago. I had a completely different life personally and professionally. I was applying for my first grants, playing my first shows, and struggling to pay my rent. I didn’t know much about the music industry but I truly tried my very best. I have been very lucky throughout my career but I did go through some tough times as well. Times when I did not feel supported by the people I was working with. I have learned and grown so much since then and I am so much happier in my career today.

In 2019, you released your second album, and first English-speaking album, No Water, No Flowers, which won you the Emerging Artist of the Year award at the 2020 Canadian Folk Music Awards. What can you tell me about deciding to record an English-speaking album and what it has been like to be a part of both the French and English-speaking Canadian music scenes?

Geneviève: I grew up in a bilingual family. The English language has always been part of my life. I’ve always written in both languages but I was told by Québec industry folks to stick to French. I was told it was very hard to “get out of Québec.” So as a young twenty-something-year-old, I listened to them for a while. Don’t get me wrong: I love French music. Les Adieux is one of my favourite tracks on the new record. But I felt pressured into singing exclusively in French for a long time. Québec is the only province in Canada where francophones make up the majority of the population. Québec’s French music scene in particular. You could very well have a great fulfilling successful career as an artist without ever leaving Québec. We really have a separate culture from the rest of Canada. But the reality is that the more languages you sing in, the more doors you get to open and explore. I don’t think anyone should feel pressured into anything when it comes to art. That defeats the purpose of art! I love the Canadian music scene. We have so many great artists. Touring Canada was SO MUCH FUN! We have beautiful scenery and people all around. I can’t wait to get back on the road.

You have talked about loving the music of City and Colour and how Dallas Green inspired you to want to be a songwriter. What do you feel it is about his songwriting that you connected so strongly with and that made you want to become a songwriter yourself?

Geneviève: I always listened to many different genres of music. I think it’s important to break out of your musical patterns and listen to new things. I was a huge Alexisonfire fan before being a City and Colour fan. When I discovered City and Colour I felt it was complementary to Alexisonfire. The music was completely different but it made sense. That was truly inspiring to me. It seemed like Dallas was following his inspirations without compromising. He could write and perform in a hardcore band and also write deep, touching acoustic songs. That is artistic authenticity. As a kid who loved all sorts of different styles of music, I could really relate to that.

You recently released the track "Someone," which features Dallas Green. What can you tell me about the track and what it was like for you to collaborate with Green? Do you plan to collaborate with him more in the future or have collaborations planned with other artists?

Geneviève: "Someone" is one of those songs that just poured out of me. It’s probably the most vulnerable song I’ve ever written. It’s a song about desire, temptation, seduction, and fantasy. There’s also guilt and shame that comes with it. I think sometimes life throws feelings at you and they’re meant to act as signals. I really like this song but it often brings me back to a weird place.

I totally heard Dallas’s voice when I wrote it but I was too shy to ask him to sing on it. There’s something about the melody that reminds me of City and Colour. I’m a pretty insecure person and the idea of asking one of my teenage heroes to sing on my song was a little too scary. I sent him a few demos and out of all the songs he fell in love with "Someone." Dallas said he would love to sing on it if I was interested. I said yes, duh. We didn’t really get the chance to work together in person yet. He recorded his vocals in Toronto during the lockdown. I think it’s very generous of him to have offered to sing on my new single “Someone” and I’m so excited to release it. I’ve known about this for so long, it was hard to keep it a secret all this time!

On March 18th, you will be releasing your new album Satellite, a bilingual collection of 9 songs that explores stories of self-discovery and reflection through the cycle of love. What can you tell me about the writing and recording process for the album, as well as the message you hope people take away from it? What has your journey of self-discovery been like?

Geneviève: Satellite is really a record about the cycle of love. It evokes moments of love, heartbreak, healing, forgiveness and ultimately falling in love again. An eternal period of beginnings and endings. Forever orbiting around love. While I wrote the record I was in the middle of what is called in astrology my “Saturn Return.” This is supposedly when the planet Saturn returns to the same ecliptic longitude that it occupied at the moment of your birth. They say it takes about 28-30 years. It’s a period of intense growth, discomfort, and maturity. It’s there to teach you responsibility for yourself. It makes you question everything and forces you to make important life decisions. I don’t know if you believe in that stuff but it was SPOT ON for me. I was about to completely change my life and it was super scary but very inspiring that’s for sure.

I’m lucky I had a few songs written pre-pandemic. I held on to those songs for a while before I wrote new ones. I did a lot of online co-write sessions with my friends Barbra Lica and Danielle Knibbe. Other than that, the inspiration was hard to find for a really long time. My brain was busy processing what was going on. Not to be dramatic but living alone and not being able to perform for so long has been really hard. When my producer François-Pierre Lue and I had to stop working on the record because the studio closed due to lockdown I was simply devastated. That record felt like it was the only thing I had left career-wise. It was really hard to deal with. But hey, we finished it and it’s finally coming out on March 18th!

Having performed on over 100 Canadian stages in 2019, what do you love the most about being on stage and performing for people?

Geneviève: Feeling a human emotional connection with people. Filling up a room with melodies and words that touch people’s hearts. There’s nothing like it.

You have also performed at various music showcases over the past few years. What do you enjoy about playing showcases and what can you tell me about the Folk Alliance International showcase you will be playing in May?

Geneviève: I am very excited and grateful to have been selected as an official showcase artist at FAI 2022. Showcases are really stressful and I don’t love playing them, to be honest. The performance part of these events is my least favorite. What I like about conferences like Folk Alliance International is meeting musicians from all over the world. Making connections with artists and watching THEM perform!

How would you describe your artistic vision as an artist and what can you tell me about your hopes and plans to broaden your reach as an artist beyond Canadian markets?

Geneviève: I try to stay as humble and true as possible with my art. It’s what I’ve been doing since day one and I feel good about it. With this new record, I hope to reach as many people as I can. Québec, Canada, USA, UK, name it. I have a large team (almost ALL WOMEN!) helping me with the promotion of Satellite. Team Racette has reached out to Montreal, Toronto, and Nashville. I’m really proud of that. Let’s cross our fingers and send good vibes on March 18th!

What's next for you? What are your goals going forward?

Geneviève: I am such a goal-driven person but with the pandemic slowing everything down I try hard to go one day at a time. What I hope is next for me is a more awesome collaboration with artists that I love.

Emily May 2/7/22 Emily May 2/7/22

Interview: Josh Stokes

Josh Stokes is a musical force to be reckoned with. Born and raised in Baltimore, his childhood was steeped in faith, family, and music/the arts, and his gifts were nurtured throughout his childhood. Growing up in the church, playing drums, watching choir rehearsals, and watching plays come together are all experiences that shaped his life. Josh has performed, recorded, and toured with many artists over the past 20 years, such as Redman & Method Man, Marsha Ambrosius, Kim Burrell, Erica Campbell, Future Islands, Jpegmafia, Abdu Ali, Joy Postell, and Blaqstarr to name a few, allowing him to learn many lessons that have shaped the artist he is today. With a sound he calls New Age Funk, his music blends new-age soul with a twist of R&B, funk, and psychedelic punk. In 2020, Josh hosted 2 outdoor music festivals in Baltimore, NuLove 1 & 2, bringing the city together and offering a break from Covid, with a documentary later being made about the festivals. Having released his first solo album Who Is Josh Stokes? in 2016, Funktion in 2018, and Toons in 2020, 2021 saw the release of his latest album God Jewel, inspired by the perseverance and belief in one’s self, while showcasing a family of songs surrounding life, love, and new sounds. His latest single, “I Believe”. “I Believe" is a fearless, unapologetic anthem challenging systematic oppression while championing the unwanted and underprivileged. Giving them a voice and spirit of triumph”, says Josh. “Overall the message of the song is believing in yourself, no matter your environment, and how all in all every place is pretty much the same as far as the class system. Rich people, poor people, and the rich trying to control the poor. Control them to feel like they're less than and that they could never be in the position of being rich, but it's really a form of programming. If you control someone's self-esteem you can affect their growth. Navigating dangerous streets (police, innocent bystanders, enemies) and having to know where to go and not go it's all a plot to distract and derail. I believe we can overcome all of that and create the world we imagine!”. With plans to tour this summer and produce a few albums, he plans to continue climbing the ladder towards his success! You can connect with Josh Stokes via the following links:

You grew up in Baltimore as the son of a preacher and with a love for gospel music. What can you tell me about your childhood and developing a love for music and the ways in which your gospel roots have influenced the music you make? How has Baltimore influenced you, both personally and artistically?

Josh- My childhood was extremely rich with family and the arts. Before my father started his church, my uncle had his. With the gifts I was born with, I was fortunate to nurture them. We would be there at least three days out of the week and I loved it because I was able to play drums all the time, watch choir rehearsal, and see plays come together. To this day I am forever grateful for those experiences that shaped my life. Gospel music is a highly spiritual Black art form that cannot be ignored. The feeling you get from it, whether you’re a believer or not will affect you. Today I am not a Christian, but gospel music, especially older gospel music, is powerful.

Baltimore is a tough place. It's not for the weak. I don’t mean fighting or killing. I mean the mentality. We persevere in spite of everything. Baltimore has influenced me to remain myself, create my own style, and never give up. To be a force to be reckoned with whether acknowledged by the mainstream or not. Do you know how many styles of music, dress, and lingo we created? How many legends live in, and are inspired by the life of Baltimore. Baltimore inspires me to hustle, and get what’s mine.

Having worked and shared the stage with so many amazing artists, what kind of influence do you feel they had on you and what did you learn from them about what it really takes to sustain a music career?

Josh- Working with so many artists as a child until now has shown me how to be professional, strive for excellence, and give everything I have. Take no shortcuts. They’ve also shown me that everything can’t be friendly and smiles. You have to handle your business. We have a history of being used by labels, promoters etc., and we will not be taken advantage of anymore. You have to use your voice.

You emerged on the scene as a solo artist in 2016 with your album Who Is Josh Stokes?. How would you describe that album and how it introduced you as an artist? You have said that as a result of releasing that album, you were presented with other great opportunities that would take you further and further into your musical, but ultimately life, journey. In what ways do you see those two journeys as being connected?

Josh- I would describe WIJS as me jumping two feet in the pool… SPLASH! Here, I am world. I wanted to share my ideas with the world because I knew they were worthy of being heard. It was an array of sounds and ideas that had been floating in my head. I was ready to step out and do my thing. After releasing WIJS, show opportunities, collaborations (production, writing, performing etc.) began to open up for me just as I knew they would. In my world, music and life go hand and hand. I wouldn’t have a life without it. Music is my savior. Being a Black man from an inner-city you must have a passion. Something that will keep you focused and out of trouble because it's too easy to do. We’ve all seen examples of that.

Your album Funktion stands as a living testament to the generative importance of funk music and how it permeates so many functions of pop music that we take for granted today. Why do you feel that funk music has stood the test of time and has influenced so much of the music that has come after? In what ways has it influenced you and your music and how would you describe your New Age Funk sound?

Josh- Thank you so much! Funk ain’t nothin’ but the blues. The blues is in any genre alive today. It’s stood the test of time because I feel it’s the truest, an art form. I believe it shows the genius of black artistry and it continues to update itself through the youth. New name, same game. It influences me by making me feel free and stick to my guns. I would describe my New Age Funk as Bold, Black, and standing on the shoulders of the great people who came before me. I consider it an honor to be connected to them.

In 2020, you hosted two outdoor music festivals in Baltimore, NuLove 1 & 2. What inspired you to host these festivals and in what ways do you feel that they brought the community together? What can you tell me about the NuLove Fest Documentary that was made about the festivals?

Josh- What inspired me to create the NuLove Fest was the lack of events at the time due to covid. Friends and colleagues were playing outside and I saw that as an opportunity to create an outlet for the artists in the city to perform. It brought the community together in a major way. Hundreds of people gathered on North & Charles in Baltimore. You could feel the joy outside that night. Everyone was happy to be back outside. I believe it helped us in a major way and helped take some of the stress off of the citizens of the city. NuLove Fest was a monumental moment in history that deserved to be documented. It also proved to me that not only am I a musician but a creator in its entirety. No creator is one-track-minded. We can do anything. We just have certain pieces we choose to focus on. It was a proud moment for me and it gave me a greater sense of confidence. The world will know about NuLove Fest.

As a multidisciplinary artist, you also created your own animated series, Turd Ferguson and the Shitheadz, from illustration to sound production. What inspired you to start the series and what can you tell me about it?

Josh- Yes! That is another project I am truly proud of. The idea was always in my head. It was just a matter of sitting down and doing it, which was the most challenging part. While the world was shut down with no live music or studio sessions, I took that same energy and finally sat down to write and draw the show. It’s about a local band of friends who wanted to make it to the big time in the music industry. Every episode is a fun-filled journey. New town, new friends, same shitheadz. I was able to finish a five-episode season. Check it out whenever you can.

Last year, you released your latest album God Jewel, inspired by the perseverance and believing in oneself. What can you tell me about the album and its message, as well as the process of recording it, which you have said was done in your van?

Josh- God Jewel was such a liberating experience for me in all ways! The message of God Jewel is that You’re God! The highest power! Stop allowing the world to dictate who you are and go do your thing. We’re that powerful and it’s time we believe it. All power to the people! I recorded most of the vocals in my van. I loved every minute of it. I'm proving to myself I can do anything. I'm just spreading that message.

You recently released your new single "I Believe”, a spinoff of an old political campaign called 'Baltimore Believe'. In what ways did that campaign message resonate with you and what can you tell me about the song?

Josh- “I Believe” wasn’t a spinoff of the “Baltimore Believe” campaign. It just happened to go together so well my manager suggested the idea. I am speaking to underprivileged people who feel they have no chance of overcoming in this life. The people who’ve been behind in the race of life since they were born. Victims of police brutality, corrupt government, hurt in the home, insecurity, lack of funds, whatever. “I Believe” is for you! No matter what position you’re in you can still make it happen. Nothing can stop you!

In "I Believe", you talk about the power of believing in yourself, no matter your environment, and how controlling a person's self-esteem controls their growth. Having said that, you have talked about how you always embraced your greatness but had a tendency to hide it. How would you describe your journey of learning to not hide your greatness and to live your purpose out loud?

Josh- My journey in learning is not to hide my greatness, which came from trial and error. By doing great work, but living in the shadows. I am naturally an introvert. So I'm comfortable there, but I realized I wouldn’t get all of what is mine if I never stepped out and claimed it. I learned that people's opinions of me don't matter. It only matters what I think about me. And I love me! I know I’m amazing! It’s just getting started. I'm coming to get everything that is mine. I know it only gets brighter from here!

With everything going on in this country (and the world in general), what gives you hope right now? How do you feel that we can collectively overcome the hurdles we face and create a better world?

Josh- What gives me hope is that the people in this country will realize the power we have together. We can collectively overcome by not falling victim to mainstream media and divisive propaganda. By seeing a human as a human, not an enemy. There has been great damage done to this country, since its origin, which may never happen, but just knowing we are greater together than apart makes me want to keep striving.

What can you tell me about your 'YOUNG GIFTED & BLACK' movement?

Josh- “Young Gifted & Black” is a vision from the mind of the great Lorraine Hansberry (Raisin In The Sun) and the state of mind of Ms. Nina Simone. Watching her documentary gave me a refreshing hope and pride in myself and my race. I’m a proud Black man and I am grateful for my lineage. It is an attitude, that I am great. And I come from greatness. I am so proud of that. I encourage every person to tap into your greatness and walk in the spirit of your ancestors. They got us!

What are your thoughts on the power of music as a catalyst to change people and change the world? Who are some of the artists that have had the greatest impact on you?

Josh- Music is a spiritual experience! It’s been simplified in human form and tampered with by corporations to make money and manipulate, but it’s so much bigger than that. Music will turn you into a person you didn’t even know you could be. That’s why it’s also important to make sure the music you’re taking in is building you up and not tearing you down. Artists that have had the greatest impact on me are Muddy Waters, Howlin Wolf, James Brown, Sly Stone, Nina Simone, Billie Holiday, George Clinton, Martin Luther King, Malcolm X, J Dilla, D’Angelo, and Paul Mooney.

What's next for you?

Josh- I am planning a tour for the summer. I’m producing a few albums, continuing to climb this ladder, seeing all of the greatest places and people life presents!