Following the release of his entirely self-produced album The Allegory, Royce Da 5’9″ has continued his epic press run with a conversation on Elliot Wilson and B. Dot Miller’s Rap Radar. Within the opening moments, it becomes clear that Royce’s artistic vision stretches well beyond lyricism; the way he speaks about crafting a cohesive sonic vision, tailoring his beats to best convey his chosen message.

“When I get beats from people, I always look for the proper marriage between the vocal and the beat,” he explains. “That proper marriage is not created through the best rap that you can say or the best beat you can make. It’s created through the right marriage. It’s about hearing the beat and decided–” He remembers seeing footage of Jay-Z reacting to Timbaland‘s “Dirt Off Your Shoulder” instrumental in the studio. “[Jay] was in there, he took a stab at it, and I remember some of the delivery not being as sharp as when he finally finished it,” says Royce. “Then the recut made it perfect. That beat is phenomenal, but it may not go down in history as the best Timbaland beat. But because of what they did together it’s classic.”

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Around the 15 minute mark, Elliott asks whether Royce ultimately regrets taking to social media to air his grievances, specifically pointing to the time he called out Lord Jamar on IG Live. “I don’t have regrets with that,” says Royce. “The only thing I can honestly say I would probably switch around is anything I might have said he could have taken offense to in terms of feeling disrespected. I never want to disrespect OGs. I never want to say anything that might come across as wanting to take away from his legacy. I respect him, I respect Brand Nubian…It’s just difficult to be able to say that and still disagree with something he might be saying.”

“It’s not like I had to defend Em,” he continues. “I spoke about things when my name as mentioned. The only time I challenged him was on Twitter, I challenge him on some cool shit. I felt like I kept it respectful.” Miller jokes that he didn’t keep it respectful for Kid Rock, prompting Royce to double down. “I don’t respect Kid Rock,” he says. “I feel like everybody should be allowed to say what they want to say and feel how they want to feel. As long as everyone is willing to stand in the center of their truths if they get held accountable. I’m personally someone who is going to hold you accountable if I feel disrespected.”

Wilson praises the way he held Yelawolf accountable on “Overcomer,” and Royce elaborates on his seemingly hardline stance. “I consider him a friend. I hold my friend to a certain standard…I don’t ask for respect, we give respect and we get respect. If I say something about somebody on a record and I’m taking a friendly jab, it’s all in fun.” Wilson asks whether he thinks the weight of his words landed on Yela, and Royce nods. “He knew exactly what was going on. He didn’t feel the need to make a phone call or call me and clarify anything. He feels entitled. Just like he reached out to me when the antics wore out — that’s the same entitled behavior.”

Check out the full conversation below, and be sure to support one of the game’s greatest lyricists right here. 

Royce Da 5’9” has never been a stranger to self-expression. He famously scoured the darkest depths of his soul like Detroit’s Edgar Allan Poe on Death Is Certain. He penned his own autobiography sans filter on Book Of Ryan — an album many deem to be his masterpiece. Songs like “Tabernacle” and “Startercoat” are chapters of a living breathing story. He shares and he draws his own conclusions. It’s been that way for over two decades now, rising from the Rock City sewer smoke and wreaking havoc on “Game Radio FM.”

It shouldn’t be surprising that Royce decided to soundtrack his eighth studio album. Even if it meant taking up a trade and effectively starting on a blank slate. Royce is undisputedly one of the game’s lyrical elites; a one-percenter. In the production sphere he’s simply a dreamer looking to make an honest living. It serves to imbue his work with a charming sort of DIY ruggedness. Many samples are flipped and some arrangements are more intricate than others. Royce sets himself up to deliver a rapper’s album, unpretentious and economical. His efforts shine brightest on the hypnotic “Thou Shall” and the heavily Primo-inspired “I Play Forever.” For better or worse it never feels like he’s overthinking. Even when questionable choices are made there’s comfort in knowing that the one making them is doing so on his own accord.

Agency is a major theme across The Allegory. The willingness to control one’s own destiny and retain artistic freedom. As he explains on “Rhinestone Doo Rag,” he wore one so younger artists “won’t have to.” There’s an aura of triumph achieved through sacrifice, a process of trial and error that molded an eager student into a wizened teacher. Royce doesn’t deal in didacticism; his lessons are often left open to interpretation. Taking to a dissonant and feverish guitar loop on “Pendulum,” Royce fires off so many gems it’s impossible to unearth them all without repeat listens. Refreshingly embracing the comedic subgenre of “dad-rap,” Royce’s playful sense of humor never undercuts the impact of his insight. “Now, I’m falling in a downward spiral, my main ho is Bow Wow‘s side ho with “model” in the bio,” he laments. “I’m starting to sound dated, ‘Cause I ain’t paid attention to the climate since the Nae-Nae.”

As a craftsman, Royce’s confidence is at an all-time high. He’s proven time and again that his prowess is second to none. But The Allegory is not about putting on a masterclass in flow through select moments might suggest otherwise. “I Play Forever” is one of them, in which Royce connects with fellow veteran Grafh for a pair of murderous verses. “FUBU” is another, with Royce absolutely refusing to be outdone by Conway; no easy feat as doing so requires a Herculean performance. Despite these moments of technical brilliance, The Allegory is more so about the message Royce is looking to convey — either to the listener or to himself. In the introductory “Mr. Grace,” Royce likens the album to Plato’s “Allegory Of The Cave,” hinting at the album’s conceptual narrative; in its simplest interpretation, the idea of perception vs. reality. Perhaps Royce’s Allegory is not in itself an allegory to be unpacked, but rather a direct allusion to the ideas presented in Plato’s theory.

Through that lens, there are times where Royce knows exactly what lies behind the curtain. Or in keeping with Plato’s imagery, the tangible forms standing behind the row of ignorant prisoners. When speaking on topics like the nefarious elements of the record industry, Royce’s voice carries authority; there’s a reason he’s still thriving twenty-years down the line, the proud owner of his own masters and publishing. It’s all too easy to imagine nameless suits standing behind a row of young rappers making shadow puppets on the wall. Songs like “Tricked” and “Upside Down” find Royce seeking to expose the truth as he sees it. To unchain the proverbial prisoners and force them to address their status as pawns. The water darkens when he wades into topics on which his research process holds a confirmation bias. Much has been made of anti-vaxx sentiments and perhaps not enough has been made about the circumstances that might have led to such an empirically disprovable conclusion. Though it does feel like The Allegory has been designed to convert those willing to see the light, it also speaks to the fallibility of man on a variety of levels — alas, not all of them intentional.

This sort of complexity is a quality that Royce himself has experienced first hand, chiefly explored through his relationship with his father on “Hero.” A force can be at once destructive and inspirational, wrong in the name of righteousness. While The Allegory is not Royce’s best album, there’s a certain transcendental quality that cannot be denied. It’s certainly his most dense body of work; bars fly overhead packed with hidden meaning and double entendres, don’t even ask him how. Whether his messages land will depend wholly on the listener’s willingness to respect the source. Those expecting Royce to concoct something en vogue or trendy will leave disappointed. He’s earned the right to stay within his comfort zone — but damned if he hasn’t been steadily renovating it over the years. 

While it’s not uncommon to see Eminem ranked rather highly in matters of lyrical pedigree, those who value the artform know Royce Da 5’9″ isn’t far away. There’s a reason that Bad Meets Evil finds them operating on equal ground, the perfect counterpart to one another; both share a gleeful appreciation of gallows humor, a penchant for wordplay, and the ridiculous ability for seeking and destroying new pockets. Now, with 2020 bringing Eminem’s Music To Be Murdered By and Royce’s The Allegory so wonderfully into our lives, some circles have been debating as to whether Bad has surpassed Evil once and for all.

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Remember that this is hip-hop, and ranking things is simply par for the course. Seeing as both Eminem and Royce are battle-tested scholars of the Detroit rap scene, cutting their teeth in heated lyrical battles and furthering their own craft through healthy competition, it’s a fair question. After all, Em recently told KXNG Crooked that matching Royce is one of his main creative inspirations, high praise from a rapper who has seemingly mastered his domain. On the other side, Royce has been standing proudly beside Em for years, never failing to acknowledge his skill, passion, and ability to outshine even the deadliest emcees. 

If their recent records are any indication, both Bad and Evil alike are operating at a newfound level of confidence. While we patiently wait for a sequel to Hell: The Sequel, it seems like as good a time as any to test the waters. Should you count yourself a fan of Em and Royce’s movement, where do you stand? Insofar as mastery of the craft, which of the two is operating at a higher plane of existence? And remember – most importantly, that this is not meant to pit two friends against each other; it’s simply in the name of good fun and spirited competition.

With that in mind, are you riding for Nickle or Slim? Bad or Evil? The Allegory or Music To Be Murdered By?

Many fans were first introduced to the name White Gold this year, through his appearances on Eminem‘s Music To Be Murdered By and Royce Da 5’9’s The Allegory. For those keeping score, the Bronx songwriter appeared on Eminem’s Bad Meets Evil reunion “You Gon’ Learn” as well as Royce’s “Black Savage” and “Hero. But questions remained as to how a 33-year-old New York vocalist ended up connecting with one of hip-hop’s most respected lyrical duos. Thanks to some groundwork from GENIUS, the inspirational story has begun to unfold. 

As White Gold (real name Bobby Yewah) tells it, his lofty features were ultimately arranged by Royce’s longtime manager Kino. That’s not to say he wasn’t a player before — he apparently scored production placements for Cam’ron, Joe Budden, Kevin Gates, and Pusha — but those came before his rebrand as a vocalist. “I got involved with [Bad Meets Evil] through Royce’s manager Kino,” Gold tells Genius. “He hit me one day, and was like, “Yo, I heard a song that you did. Would you want to work with Royce?” 

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After a few studio sessions with Royce, the pair ended up developing the skeleton of “You Gon Learn.” “It was for Royce initially,” he reveals. “I think it was like six months later, Kino called me. He’s like, “Yeah, bro. Em heard it and was like, ‘Yo, I want the record and I want the dude that’s on there as the hook.’” And that was it. I had to keep the secret for six months or so, man.”

He also breaks down Royce’s “Hero,” explaining that Nickle originally wrote the song as a counterpart to Book Of Ryan highlight “Cocaine.” “He’s like, ‘Yeah, this is basically me making up for the collateral damage that came with ‘Cocaine,'” explains Gold. “He didn’t want his dad to feel like he was putting him down…Now, him going through whatever he has gone through with his sobriety and everything like that, he can see how flawed people are still just that, people.”

Check out the full interview right here. To those of you who discovered the singer-songwriter through Em and Royce’s albums, will you be putting White Gold on your radar? 

A few rappers have expressed anti-vaccination views with Royce Da 5’9″ being the most recent to take it on wax. Fresh off of the release of his latest project, The Allegory, the rapper recently elaborated on lyrics from “Tricked,” explaining his controversial stance. On the song, he raps, “From day one at the hospital they target our children/Say they gonna immunize ’em they somehow get autism.”

Speaking to Complex, Royce explained that the stance isn’t one that he’s actually pushing others to believe. He explained that he and his wife don’t even share the same beliefs in this and that all of his children have been vaccinated. 

“I have a child on the spectrum. All of my kids have been vaccinated. Within the last couple of years, I started being just real, real information junkie,” he said. “I found that I was able to draw a correlation between autism and vaccination. I found vaccinations link back to autism in many ways. And my wife is not anti-vaxx. So if I was ever going to have any more kids, we’d probably have to figure out a way to meet halfway. So I’m not in any way trying to encourage people to not get their kids vaccinated. I encourage you to believe what you want to believe.

The journalist, Shawn Setaro, pressed the topic further, asking whether it’s dangerous that, as a public figure, he’s pushing this message, even though the link between vaccines and autism has been disproven.

“It’s not a danger, because I’m speaking the facts. People who are against the anti-vaxxers, where are their facts at? What facts do they have? Was there something that America told them? Because I operate under the edict that America is guilty until proven innocent,” he said before asking Setaro whether he has a child on the spectrum. 

“You’re telling me what you want to believe, and I’m telling you what I want to believe. It’s just that simple. You don’t have any facts that can say that I’m wrong. You’re just telling me what you believe, and I’m fine with you believing that. But don’t try to tell me what I can say and what I believe. I believe what I want to believe. And I say what I want to say. So you feel like I can believe it, then it shouldn’t be anything else to talk about.”

Peep the interview here. 

Royce Da 5’9″ is in the midst of a stellar year, capping off the release of his entirely self-produced new album The Allegory with a ridiculous new freestyle for the LA Leakers. Though his previous projects Book Of Ryan and the aforementioned Allegory find Royce in a more reflective and personal state, fans know that the man built his reputation by slaughtering instrumentals with an elite flow and merciless pen game. The LA Leakers have continuously given emcees a platform to flex their bars, and it’s no wonder they recently invited Nickle Nine to do exactly that for their hundredth freestyle special.

Off the bat, Royce opts to roll through some of his album’s hardest verses, kicking things off with “Thou Shall.” Though some might lament his decision to spit writtens from the album, it’s relatively simple to understand his reasoning; considering how many pages worth of rhymes he recently gave us, it’s no wonder he wants to show off some of his handiwork. But after the “warm-up” as he calls it, Royce comes through with some new fire, proving once again that he’s among the greatest the freestyle game has to offer. 

“I’d rather watch Floyd May flash at a Gucci store a day, then work for an asshole that get mad at me asking for a raise,” he raps. “Cop a new cotton pickin’ Aston in grey just for the slaves, n***as current — Nickle was born and raised to destroy a wave.” Stepping comfortably into the role of O.G, it’s clear that Royce has no shortage of game in his playbook. The fact that he just gave us an entire album and still had some new bars for us should serve as an inspiration to any up-and-coming emcee looking for answers. The key to longevity is simple: git gud. 

With his new album The Allegory set to drop tomorrow, Royce Da 5’9″ hit up Real 92.3 for a conversation about his recent creative endeavors; aside from his own project, he also laced two production credits on Eminem‘s gold-certified Music To Be Murdered By, as well as three typically solid verses. Speaking on his turn to production, Royce explains that he has been hitting the studio every day to practice his craft. “I hadn’t planned on doing anything,” he admits. “I started messing with the beats, learning how to make beats. One thing led to another and I was halfway through a project. Had a direction in mind, knew what I wanted to say and went with it. This is the first project that happened to me.“

Moving forward, Royce shares a hilarious story about the time he allowed Griselda’s entire tour team to crash at his studio. “Before I even knew Benny existed I was a big Griselda fan,” he shares. “They didn’t get a hotel room, they were just sprawled out everywhere. Merch laying everywhere. Suitcases opened up everywhere. My studio was a mess — a bunch of real hood-ass n***as!” Meanwhile, Royce was working on a beat in his room with the key players when he noticed Benny whispering some bars. “I was like, what’s up homie, you got something to this? He was like ‘yeah I got something.’ And he went in my booth and torched my booth.”

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In a moment that’s sure to elicit a few playful barbs from Eminem, Royce declares The Real Slim Shady to be his favorite of his rhyming partner’s album; it’s unclear as to whether he’s referring to The Slim Shady LP, or The Marshall Mathers LP on which “The Real Slim Shady” can be found. He also kindly ranked Revival as his least favorite of Em’s project, though he neglects to elaborate further. When asked about his involvement in Em’s latest record, which has the staunch approval of both DJ Hed and Bootleg Kev, Royce maintains that he had nothing to do in the creation — aside from hooking up a monstrous feature. “This is something he wanted to do,” confirms Nickle. “He called me about the ‘Yah Yah’ song, and told me he wanted Black Thought. I went and got him Black Thought.”

On the topic of Royce’s recent shot at Yelawolf on “Over Comer,” he explains that it comes down to the topic of respect. “He did something I felt was disrespectful,” explains Royce. “There was a window of time where he could have called me to clarify or just say something to me. He didn’t even think he needed to call me — he didn’t even extend me that respect. It was something that happened behind closed doors and he knew I knew about it. I took offense to it, and how I handled it was addressing it on a song. I felt it was the only way I could handle it — for me to to air it out publically would imply I’m using it as a vehicle to push an album or be vindictive. I’m not a vindictive person…I felt the only way to do it was let him know it’s on my radar. I’m aware.” 

Check out the full interview with one of the greatest rappers of our time below, and look out for that Allegory project to arrive in full at midnight.

Royce Da 5’9″ wasn’t kidding when he dropped off “Overcomer,” having conquered two of most crippling vices — alcoholism and infidelity. After eight years of sobriety and two of his strongest albums to date in Layers and Book Of Ryan, Royce is gearing up to deliver his entirely self-produced project The Allegory on February 21st. Speaking with DJ Smallz Eyes, Nickle took a moment to reflect on his own experiences shaking his demons and coming to terms with a new and healthier normal.

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“I think a lot of people that suffer from addiction reach a point where they get tired of it,” says Royce. “They either ignore it or they’re so hurt by whatever’s fueling it, so traumatized. They don’t understand it, don’t know it. Maybe they don’t have somebody to talk to. It’s different situations people can be in. I’m just one of those people, if I’m not going to listen to anybody, the least I can do is listen to myself. That’s how I was. People told me they thought I should quit drinking. I didn’t listen to any of them.”

He also speaks on his relationship with his wife, which was once fractured by his own habits of infidelity. “If you a girl that would come lay up and drink with me, it provides a camaraderie I’m looking for while under the influence,” he reflects. “But it’s still wrong. If I had to go in front of a judge I wouldn’t expect leniency.” He also admits that much of his decision was fueled by the pain his behavior caused his wife, something he takes full responsibility for. Check out the full interview below, courtesy of DJ Smallz Eyes. 

Royce Da 5’9″ has been having a ridiculous start to the year. Not only has the esteemed lyricist gracefully slid into the production game, landing two production credits alongside three verses on Eminem’s surprise drop Music To Get Murdered By, he also came through and produced the entirety of his upcoming album The Allegory. With Bad Meets Evil on the brain and tensions between former Shady 2.0 Boys at an all-time high, Royce has officially unveiled the complete tracklist to his upcoming studio album.

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Clocking in at a staggering twenty-two tracks, though Royce previously told Joe Budden that some would be shorter in length, The Allegory features guest appearances from Grafh, Westside Gunn, Kid Vishis, Conway The Machine, Benny The Butcher, KXNG Crooked, CyHi The Prynce, T.I., Vince Staples, and more. As of now, we’ve already heard “Black Savage” and  “Overcomer,” both of which featured Royce showing off his newfound skillset behind the boards.

Look for The Allegory to arrive on February 21st, and check out the tracklist below. In the meantime, check out the brand new video for “Overcomer,” and sound off – are you excited to hear the official follow-up to Book Of Ryan?

1. Mr. Grace (Intro)
2. Dope Man feat. Emanny & Cedric The Entertainer
3. I Don’t Age
4. Pendulum feat. Ashley Sorrell
5. I Play Forever feat. Grafh
6. Ice Cream (Interlude)
7. On The Block feat. Oswin Benjamin & DJ Premier
8. Generation Is Broken
9. Overcomer feat. Westside Gunn
10. Mrs. Grace (Interlude)
11. Thou Shall feat. Kid Vishis
12. FUBU feat. Conway The Machine
13. A Black Man Favorite Shoe (Skit)
14. Upside Down feat. Ashley Sorrell & Benny The Butcher
15. Perspective (Skit)
16. Tricked feat. KXNG Crooked
17. Black People In America
18. Black Savage feat. Sy Ari Da Kid, White Gold, CyHi The Prynce & T.I.
19. Rhinestone Doo Rag
20. Young World feat. Vince Staples & G Perico
21. My People Free feat. Ashley Sorrell
22. Hero feat. White Gold

Royce Da 5’9″ has been one of hip-hop’s most astute lyricists. Whether looking inwardly at his own personal story or observing the antics of the game at large, few can rival the penmanship of the Detroit legend. In 2018, he dropped off Book Of Ryan, which he deemed his most important album yet during our last conversation. A highly personal and occasionally painful reflection of self, lined with detail and beautifully rendered memory fragments, Royce’s opus felt like a breakthrough.

Following Book Of Ryan’s release, Royce returned to his traditional habitat: the studio. Only this time, he was in the process of developing a new craft. After over two decades of rapping, Nickle was ready to produce, following the tutelage of trusted collaborators Mr. Porter, Six July, and DJ Premier. Though I didn’t know it at the time of this conversation, he was already putting in work on The Allegory, a project he’ll be producing in entirety.

At the time, however, the focus of our conversation remained on the past; specifically, his involvement in contributing Dr. Dre‘s 2001, for an extensive deep dive into that album’s twentieth anniversary. Naturally, the conversation shifted to his own storied career, and we explored topics like Book Of Ryan’s creation process, his relationship with Death Is Certain, and the potential for some new Bad Meets Evil music. Check it out below. 

This interview was conducted over the phone in early November 2019, prior to the announcement of Royce’s upcoming album The Allegory. Should you be interested in hearing more from Royce Da 5’9″, including his a detailed insight into his experience working with Dr. Dre, click here. 

Image Tremaine Edwards @ Kardiak Films 

 You recently dropped a phenomenal album in Book Of Ryan. I’ve been listening to your music since the days you were working with Pharrell. Hearing this level of honesty and the fact that it came over a decade down the line…I felt that was very interesting. Did you ever consider writing an actual book?

I had a lot of people ask me that after that album. I was talking to a couple of guys, I didn’t think about it before that. I’m pretty much open to anything as long as I feel it could be good, that it could be a great contribution. It’d have to be at a time I could really concentrate and put all my energy and effort into it. I’m definitely considering it for sure.

I keep circling back to your song “Power.” That song is like a novel in the way it plays out. It must have been an intense one to write, especially with that darker instrumental. Were you nervous to make that track and show it with the people involved in the story itself? 

You know what, I put a lot of energy and effort into the whole album thinking about that. I changed things a bunch of times in a bunch of different ways. I didn’t look at it as finished until I felt in my heart-of-hearts that everybody was fairly portrayed. Nobody would take anything as disrespect. My family, we good, man. We all love each other. 

People had stuff to say [laughs] but that’s every black family. When you air out other people’s stuff, even though it’s your stuff you’re talking about, it’s going to affect them in some way. The good thing about it is that black people aren’t accustomed to therapy. We never grew up looking at it as an option for us. Horrible at communication. Suppressed feelings are a common thing in our community. This was a good opportunity to open up a narrative that was probably necessary.

LISTEN: Royce Da 5’9″ – “Power”

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Are you somebody who enjoys revisiting your older music at all?

I’m actually the opposite. When I’m listening to it, it’s hard to enjoy it without busting it down, breaking it down. Damn, I could have done this better. I could have done this different. I’m analyzing all the time. My second time Death Is Certain, I can’t listen to that at all. It takes me back to a dark place and a dark time. 

I know a lot of people, myself included, would call that a classic album. Is it frustrating hearing something that came from a place of such pain and darkness become so revered? 

Nah, it’s not frustrating. It’s more telling than anything. I like the fact that album happened. It taught me a lot about the creative process. I had no choice but to be honest. I didn’t go into that album the way I go into albums now, where I know exactly what I need to be doing as an artist. I know not to reach for anything, to just be myself. To be honest and be transparent, that’s what I like to do. That’s what I feel will resonate the best.

That’s what I did with Death Is Certain, but I didn’t plan to. It was like I was stuck in that mode. I was going through so much. We actually did that album, me and Six July, we did that album in like two weeks. Six of those songs I did within the first couple of days. That was the first batch of beats he played me. I remember they went to the titty bar, and I was just writing all of them. Knocking them down real quick. It was like, so much on my mind, I don’t even think I was focused on being super lyrical. [laughs] I was just spilling. Just spilling shit. And I was super drunk. 

For the album to have that type of reaction, to resonate with people like that…It just gave me an idea– when we come in the game, everything is trial and error. It’s going to be from making mistakes. Death Is Certain was a situation where I learned from something that was successful. Most of the shit I know now, I learned from making mistakes. Most of my valuable lessons came from making mistakes.

How do you follow up on an album like Book Of Ryan? You’ve opened up so much, told so many chapters of your story. Are there still untold stories?

I never know how my memory is going to work. I’m the type of person to be sitting at a computer and have an odd, bizarre memory pop into my head that I haven’t had since I was a child. If there’s ever anything worthy of writing about or sharing with people, I don’t hesitate. I spend most of my time in the studio anyway. I try not to do too much of that type of thinking, like how do I try to follow up Book Of Ryan. I try not to get in my own head like that. 

Fair enough. 

I like to think I got everything out that I wanted to get out, in terms of myself. The way I was brought up, my whole personal story. You’d hope to nail that if you’re going to go there. Shit, hopefully I won’t even feel the need to get personal no more! Hopefully, you can get everything you need about me from that album if I hit my mark. That was the plan.

I like to move away from the very personal stuff. It’s a good time for me to start being a little bit more informative. Start thinking about the next generation of artists. About things that bother me, things I’m happy about. Things going on in the world. Being a bit more responsible. It’s a time in music, and for anybody with a platform, to be cognisant about being responsible right now. 

Our culture– black people– we have an information problem. There’s a disconnect. There’s a lot of things we all don’t know, especially coming into the music business. People basically monetize off your ignorance, your lack of knowledge. The cycle will continue to repeat itself if the OGs and the people in the know don’t start sharing information. I feel that’s very important right now. That’s where I’ve been mentally.

I’m looking forward to it. I’m always eager to hear new music from you! On that note, it’s safe to say the people are fiending for some new Bad Meets Evil, just going to throw that out there…

[Laughs] Yeah, that’s always fun to do man. I love working with Marshall. He’s just funny. Cool as hell and we always have a great time. Marshall and Preem, those two dudes, I’ll drop whatever I’m doing within reason to get in there with them. It’s always a good time, and we always come up with something. Everybody can’t collaborate. When you genuinely like somebody, it’s way easier. 

Usually, we can come up with something that people really like. I’ve worked with a lot of producers but when I get with Primo, people really seem to like it when I link with him. There’s something about that dynamic. I think the reason why is because the music is a reflection of the vibe, and the vibe is always great.

Especially with you and Em, there’s this mischevious energy. One of my favorite tracks from you guys is “All I Think About.” A great display of your chemistry, hilarious, so many bars. 

We was in there cracking up laughing doing that song. We challenge each other with the back and forth shit. He’ll go in, do a certain amount of bars, and stop. We try to finish connecting each other’s syllables to continue the scheme. You know Marshall — not only is he rhyming the ending syllable of the sentences, he’s rhyming every syllable during the sentence too. Whole lines sound identical to each other. 

You’re just as nice though. You said “sit the fuck down and have some babies” on that track.

[Laughs] Aw man, that’s funny. Yeah buddy!