From reveling in digital anonymity to claiming international stages and garnering superstar acclaim, Queens-born, Houston-raised alternative-pop artist d4vd dives into the audiovisual and philosophical universe backgrounding his long-awaited debut album, ‘WITHERED.’

Stream: ‘WITHERED’ – d4vd

Luck and happenstance are inherent parts of life; for d4vd, however, it was less luck and happenstance, and more realizing that words, intention, and frame of mind have power to shift reality overnight.

WITHERED, the debut album of the now-20-year-old artist, gives a glimpse into his world as he discovers strength in vulnerability and explores personal growth through artistic identity. Bedroom pop meets ’90s rock and indie sensibilities as he departs from the superficial and channels the personal in what he now proudly deems “fully and unadulteratedly” his.

Born David Anthony Burke, d4vd far from saw himself as a musical artist in the early stages of his career, much less, landing collaborations with some of the most iconic musicians, video games, and programs of the decade before even exiting his teens. From what began as a simple way to bypass copyright strikes on Fortnite montages to a seemingly instantaneous explosion across the Zoomer landscape, Burke’s music career gradually transformed from a flippant side hustle into a nuanced and deeply resonant passion project.

Drawing from a vast array of comics, films, video games, and soundtracks, it’s no surprise that d4vd’s music nurtures a cinematic universe in and of itself. With characters and subplots driving musical themes and chronicling personal tales — specifically, the motif of a wilting rose — the artist takes immense pride in how he’s crafted his world sonically, visually, and symbolically.

“I feel like my music can be viewed as myself talking to somebody, or myself talking to myself,” d4vd explains how he manifests in his fictional characters. “It’s a love-hate relationship between the mindsets that I have, like how my brain switches, or the evolution of my personality, and how I’m growing and maturing. It’s like growing out of certain things and approaching situations differently.”

Maturity and reality are recurring subjects in our conversation — they’re entangled, and they’re never easy to grapple with, but they’re things we eventually undergo and come to terms with. In d4vd’s case, maturity came in the form of love found, love lost, and love found again. WITHERED crosses the peaks and valleys of interpersonal relationships in all their forms, and d4vd recounts his takeaways from such lived experiences.

“When you view love, it’s all ups and downs. It’s never a solid, flat line. If it’s all straight, that means you’re dead,” he gestures a zigzag with his arms. “It’s gotta fluctuate. It’s gotta have life. It’s gotta have some moments where you think it’s over. It’s gotta have moments where it sparks up again. I want the album to feel like that, especially when it dies in ‘Afterlife.’ It’s kind of like a send off to me instead of the actual relationship or lover — whatever people want to call it. It’s the closing of a chapter.”

Through it all, d4vd realized one thing: There’s not much of a difference between his real world and his fictional one.

Most artists today disassociate from the culture of social media in the name of preserving artistic integrity. There’s an unexplainable, looming shame that typically comes along with gaining online virality, especially when TikTok is involved, but that isn’t the case for him. A gamer-streamer by day and a multi-billion streaming musician by night, the artist unapologetically wears any and all labels on his sleeve. Being superficially perceived doesn’t mean much, when it’s just about the music at the end of the day.

“At this point, I embrace the impostor. I am the impostor! On some Among Us, you feel what I’m saying?” he chuckles, rejecting the weight of impostor syndrome. “I am a TikTok artist, I am an Instagram artist, I am a Fortnite artist, I am a whatever kind of artist you want to associate me with, whatever platform you found me on. I’m okay with being whatever I am to you… I like to speak through the music. I don’t care what kind of title you put me in, as long as the music is good.”

I had the opportunity to sit down with d4vd an hour ahead of his cancelled facial appointment to talk about WITHERED in late-March; navigating the ups and downs of his first heartbreak, sharing newfound knowledge, and narrating the intricacies of his fictional universe, here, d4vd closes the gap between the human experience and the realm of fantasy in conversation with Atwood Magazine.

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:: stream/purchase WITHERED here ::

:: connect with d4vd here ::

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A CONVERSATION WITH D4VD

ATWOOD MAGAZINE: WE'RE A MONTH AWAY FROM THE RELEASE DATE OF WITHERED, WHICH TECHNICALLY ISN'T THAT FAR AWAY, BUT IN GEN-Z TIME, THAT'S KIND OF A LIFETIME. IT MIGHT BE TOO EARLY TO ASK AT THIS POINT, BUT WHAT ARE YOUR FEELINGS SURROUNDING THE RELEASE RIGHT NOW, AND HOW HAS THE RECEPTION BEEN TO THE SINGLES THAT YOU'VE DROPPED SO FAR?

d4vd: You know what? The reception has been great! I have dropped maybe too many sad songs! We’re going on the fourth single right now. The reception’s been pretty good. “One More Dance” has been amazing. “Crashing” with Kali Uchis. She is a cultural phenomenon. It was amazing. Full circle moment there. I’ve got a single dropping this week — “What Are You Waiting For.” That is going to be crazy. The reception on that one’s been exceptional because of the gamers, and summer’s coming up. We got the post-punk, indie vibes. It’s looking great! I’m enjoying it.

WHAT MAKES RELEASING THIS DEBUT ALBUM FEEL DIFFERENT THAN RELEASING THE PAST TWO PROJECTS THAT YOU'VE DROPPED?

d4vd: I guess with it’s just a whole new world! Coming out of a bunch of tours, touring with SZA, all the success with the syncs I’ve been doing for Invincible and Arcane — just the types of music that I’m making, the intention behind it. This process has been a much more of a learning experience than an executing experience. When I was making Petals to Thorns, and I was doing everything on BandLab before I got signed to the label, and everything like that, everything was by myself. I was like, “Okay, I’m just gonna do whatever I want.” But now, I think about three months ahead. I gotta think about the tours, I think about Coachella, I just gotta think ahead now. It’s a blessing and a curse. When I was thinking in the moment, I was able to make sure my ideas were fully formed, but now that I’m having to plan for today and tomorrow. Sometimes what I’m doing tomorrow can be done today, and it’ll be better if I did it today than tomorrow. I love it though, it’s exciting!

SOMETIMES PEOPLE FEEL LIKE PLANNING KIND OF DISRUPTS THE NATURAL FLOW OF THEIR WORK. DO YOU EXPERIENCE THAT?

d4vd: I hate planning, bro! I like just doing things as they come to me.

MOST OF YOUR WORK SO FAR HAS BEEN PRETTY DIY. YOU'RE KNOWN TO RECORD ON BANDLAB IN YOUR SISTER'S CLOSET, BUT FOR THIS RECORD, I KNOW YOU WENT TO LONDON AND LA TO RECORD WITH ALL THESE DIFFERENT PEOPLE. HOW WAS THAT EXPERIENCE FOR YOU? DID YOU LIKE THE MORE COLLABORATIVE ELEMENT OF THAT, OR DO YOU PREFER WORKING BY YOURSELF IN A COMFORTABLE SPACE?

d4vd: That was also a learning experience for me, because I went to London for two weeks with the same people that I made most of the project with. I made “My House Is Not A Home” with them, I made, “There Goes My Baby” with them, I made “Leave Her” with them. These were my people at this point. You know, once you learn it with them, you’d make one song a day for two weeks. I was kind of just like, “What can I do by myself? What can I not do by myself? What is there to learn here?” So I did that.

I made all those songs, I went back to Houston after that, and I made the rest of the album on my phone by myself. We recorded the whole process too. I found myself even taking songs from the studio in London and remaking them on BandLab, just to see if that magic was brought and breathed extra life into those songs. It’s more of just finding my flow and how I work with different people, and by myself, too. I’ve been working on the album for two and a half years, but we came together in three and a half weeks. I made an R&B Album at first, and then I made a pop album, and then I had to take a step back and be like, “Yo, that’s not me.” This last iteration of the project is d4vd.

I WANT TO TALK ABOUT SOME SMALLER DETAILS I NOTICED IN THE RECORD BEFORE WE GO BROAD. I LIKE THE VOICEMAIL IN ''YOU LEFT ME FIRST,'' BECAUSE I FEEL LIKE IT TIED THE TRACK TOGETHER REALLY WELL. TELL ME ABOUT YOUR DECISION TO PUT THAT IN. I THOUGHT IT WAS REALLY FUN.

d4vd: I kind of wanted to bring an extra level of depth to the project. I had never done anything spoken in my projects before, especially in the last two EPs. It was very much, “Here’s the music, leave me alone.” With me being fully involved in the creation of this album and putting my own experiences into it, my own life, my own vulnerability, and my own emotions, it was more than just making songs for Fortnite videos like I did in 2022. It’s my life in the form of music. I had to include some things that happened in reality, to give the fans the extra insight and feel another layer of relatability and reachability to me, and not just be an untouchable figure. I’m pulling myself back down and grounding myself in this album’s world and this presence, and really making it feel like a project and a fully thought out idea, rather than a collection of songs.

d4vd 'WITHERED' © Max Durante — d4vd ‘WITHERED’ © Max Durante

IT IS VERY GROUNDED AND RELATABLE, BUT THERE’S A FICTIONAL ELEMENT TO IT TOO. I ALSO WANT TO TALK ABOUT YOUR WORLD BUILDING, AND I HATE USING THIS WORD, BUT LORE.

d4vd: That’s my favourite word!

RIGHT! YOUR LORE IS SO EXTENSIVE AND MASTERFULLY PUT TOGETHER. I WANTED TO ASK ABOUT IT4MI, BECAUSE, IF I'M RIGHT, THIS ALBUM KIND OF EXPANDS ON HIS JOURNEY AND STORY. TELL ME MORE ABOUT THAT.

d4vd: IT4MI has been a character that I had for years, even before music. I wanted to put him in comic books. I was writing manga and comic books when I was in middle school. Now, through music, he’s been like the alter ego and the antagonist of this entire thing. Since “Romantic Homicide,” he made his debut being the evil version of me, and now he kind of just is woven through my music videos, my art, my visual identity — even the songs! At some points, I’m even experimenting with the idea that IT4MI is writing some of the songs on the project as well. I just like having the extra interpretation of the music. I feel like my music can be viewed as myself talking to somebody, or myself talking to myself. It’s a love-hate relationship between the mindsets that I have, like how my brain switches, or the evolution of my personality, and how I’m growing and maturing. It’s like growing out of certain things and approaching situations differently, and how I would do it versus how IT4MI would approach it. I’m level-headed as myself, but then super impulsive and hot-headed as IT4MI. It’s just a cool thing for me and the fans to kind of interact with and experiment with, like on a character-to-character basis.

SINCE IT4MI IS LIKE THE ANTAGONIST VERSION OF YOU, DO YOU NOTICE HIM MANIFESTING IN THE REAL WORLD?

d4vd: Absolutely, yeah. I’m experimenting with that as well — with him being able to manifest himself in different people. I did that in “One More Dance,” as his cult was dragging me through the trunk and to my burial. But yeah, he can manifest in different people, cause them to be chaotic, influence their bad decisions, and fuel their flame to do bad things. It’s going to be an ever-growing thing. I want people to come to the shows as IT4MI; who’s on d4vd’s side, who’s on IT4MI’s side, you know? I just want to give a whole thing to play with.

OBVIOUSLY IT'S NOT JUST CONSTRAINED TO IT4MI, THOUGH. I THINK IN THE PAST, YOU SAID THERE ARE FOUR UNIVERSES IN THE D4VD CINEMATIC UNIVERSE?

d4vd: I’m thinking about retconning that, because it’s hard to make one thing make sense, and then you’ve got to make three other things make sense. It’s in the process. It’s in the works. I want to continue to build it out and maybe put it on paper. Maybe I’ll have the other four characters live on in a book or a comic rather than being the music. It’s kind of hard to make another version of myself for an album, then another version. Tyler, The Creator is really good at doing that, but I gotta figure out how to not feel like I’m copying somebody better. It’ll happen eventually!

ON KIND OF THE TOPIC OF ANIME: THE DIALOGUE IN “INVISIBLE STRING THEORY.” I THINK YOU LOOSELY TOUCHED ON IT IN THE PREVIOUS QUESTION; IS IT THE SAME GIRL AS THE ONE IN “YOU LEFT ME FIRST?” YOU WERE TALKING ABOUT THE INVISIBLE STRING THEORY, WHICH IS THE IDEA THAT TWO PEOPLE ARE DESTINED TO MEET, AND THERE'S AN INVISIBLE STRING THAT BINDS THEM TOGETHER. I KNOW THE RED STRING OF FATE IS A TRADITIONAL PART OF JAPANESE FOLKLORE, BUT I WAS PARTICULARLY REMINDED OF THE ANIME YOUR NAME. WAS THAT SOMETHING THAT YOU THOUGHT OF WHEN YOU DECIDED TO ADD IN THAT ONE MINUTE RECORDED DIALOGUE?

d4vd: It was actually from this movie. Oh my God. It’s an A24 movie. It’s leaving me right now.

PAST LIVES?

d4vd: Yes, yes, yes! That and Donnie Darko gave me the idea for that. As soon as I had that conversation about the invisible string theory with that person, it was like, “Yo, this clicked for me. I gotta put it on the album. This has to be the entire theme of the project.” But, yeah, Past Lives and Donnie Darko for that one!

WAS IT A REAL CONVERSATION? OR WAS SOMETHING THAT WAS SCRIPTED AND ADDED IN?

d4vd: It’s real. I had to rerecord because of copyright issues, like having somebody’s real voice in there. But, there was a real conversation! I was also inspired by Your Lie in April, Erased for “Friend Again” and “Afterlife,” and then Death Note for “Atomic Land” and “Say It Back.”

WE’VE BEEN TALKING ABOUT THE MORE LIKE EXTERNAL FACTORS, LIKE YOUR FICTIONAL CHARACTERS AND WORLD ON THIS ALBUM, BUT HOW DO YOU SEE YOURSELF WHEN YOU HEAR YOUR NEW ALBUM? WHO IS D4VD AND WHERE IS HE ON WITHERED?

d4vd: That’s a good question, man. I don’t even know. I feel like everything is constantly changing, and everything is constantly moving. It’s kind of hard to pinpoint myself in a specific place in this album. I can’t tell you where I am, but I can tell you where I was. This album is a compilation and a collective of all my thoughts and ideas: going through my first relationships, first friendships, falling out with people, losing friends, gaining friends, all these different types of things. I was homeschooled for my first two projects. I was playing Fortnite every day. I was making music for superficial reasons. Now, the amount of vulnerability and the actual emotion portrayed is fully and unadulteratedly mine. In this project, I’m just very proud of myself taking the first step to actually letting people into my head. I was so scared. That’s why I went through so many phases of making this album; I was just so scared to make it me.

I was so used to listening to music and living my life through artists, living my life through other people, and living my life through songs — having things soundtrack my life. I didn’t have to express myself. Expression came from the outside world. Nowadays, I’m really looking inwards instead of trying to reach outwards. I’m pulling inspiration from inside myself instead of movies and TV all the time. I have much more to say in interviews. I got much more to talk about. I got much more insight to give. I got advice to give. People used to ask me, “Oh, how do you deal with this?” I had never gone through a breakup before. At that point, they were asking me, “How did you write ‘Romantic Homicide?’” I don’t know! I didn’t even have a girlfriend at that point. I just love the process of growing. I love the process of developing as a person more than an artist, too. This album is like the personification of that, for sure.

SO YOU’VE STRAYED AWAY FROM DRAWING INFLUENCES OUTWARDLY. THAT’S INTERESTING, BECAUSE TWO YEARS AGO, YOU SAID THAT YOUR SONGWRITING IS KIND OF INFORMED BY PUTTING YOURSELF IN DIFFERENT PEOPLE'S SHOES; YOU DIDN'T EVEN KNOW IF YOU HAD BEEN IN LOVE AT THAT TIME, BUT YOU WERE REALLY LOOKING FORWARD TO EXPERIENCING HEARTBREAK.

d4vd: Ah, I know exactly when I said that.

IT WAS A BIT OF A SELF-FULFILLING PROPHECY. WHAT WAS YOUR EXPERIENCE WITH THIS HEARTBREAK?

d4vd: I lowkey wish I didn’t say that. I manifested it into my own life. When I did, it was kind of cool to kind of be saying that in hindsight. Then, I prophetically spoke that over my own life and got to experience it firsthand. It’s so crazy, because then once you actually start to deal with that and are living the things that you wanted to live, you sometimes forget that you said you wanted it, and you’re asking all these questions. Like, why is this happening to me? Then, you gotta take a second and be like, “Wait, I asked for this.” It’s one of those things where it’s like, “I gotta be grateful for the experience that I prayed for, and I can’t be approaching the doors that I open for myself with malice.” That experience made me make this great album, so I’m grateful for that. I’m grateful for the opportunity to be able to understand myself more and my own emotions, and taking the steps to continue moving forward. But, I am never getting into another relationship again. I can tell you that!

WAS THAT SOMETHING YOU REALIZED WHEN YOU WERE GOING THROUGH THE BREAKUP? LIKE, “OH MY GOD, I SAID I WANTED THIS TWO YEARS AGO, AND NOW I’M GOING THROUGH IT!”

d4vd: I realized my words have so much power, and I can’t be just saying whatever. I can’t speak this loosely about such a sensitive topic, because love is a very sensitive thing, and I can’t just be all willy-nilly with the fact that I want to have my heart broken. Like, who says that? But it was something!

THE NATURE OF SOCIAL MEDIA, AND YOUR COMING UP FROM IT, FROM THE FORTNITE MONTAGES, THE CHIPMUNK REMIXES, TO EVERYTHING ELSE IS SOMETHING LIKE A LOT OF PEOPLE CAN ONLY DREAM OF. IT'S AMAZING TO SEE YOUR MUSIC CONNECT WITH PEOPLE OUTSIDE OF JUST OUR GENERATION. NATURALLY, THERE'S ALSO THAT STIGMA OF BEING A TIKTOK ARTIST. HAVE YOU DEALT WITH IMPOSTOR SYNDROME, GIVEN ALL THAT YOU'VE DONE AND THE CAREER MILESTONES THAT YOU'VE REACHED AT THIS POINT IN YOUR LIFE?

d4vd: No. At this point, I embrace the impostor. I am the impostor! On some Among Us, you feel what I’m saying? I am a TikTok artist, I am an Instagram artist, I am a Fortnite artist, I am a whatever kind of artist you want to associate me with, whatever platform you found me on. I’m okay with being whatever I am to you. I have never been the type of person that’s trying to push this agenda that I am not. Everybody has a different view of you in their head. I like to speak through the music. I don’t care what kind of title you put me in, as long as the music is good. I don’t mind being called a TikTok artist with a billion streams. People can call me whatever they want! I call myself a TikTok artist because I promote my music on TikTok. I am a TikTok artist, but I definitely take my art seriously. I don’t take myself too seriously. I like to make jokes and be fun, but I do take the art very seriously. I believe that if the art is good, I can do whatever I want. The album’s great. The songs are great. My fans are great. TikTok is great!

I WANT TO TALK ABOUT “CRASHING,” BECAUSE YOU TALKED ABOUT THAT BEING A FULL CIRCLE MOMENT. IT'S ALSO HAVING A MOMENT ON TIKTOK RIGHT NOW. YOU SAID THAT KALI UCHIS HAS BEEN ONE OF YOUR FAVOURITES FOR A LONG TIME, AND I'M SURE SEEING THE SONG TAKING OFF IN THE WAY THAT IT HAS BEEN SURREAL. WHAT WAS IT LIKE WORKING WITH HER? WAS A COLLABORATION ALWAYS IN THE CARDS FOR THE SONG, AND HOW DID EVERYTHING KIND OF COME ABOUT?

d4vd: Working with Kali was an amazing process. I had been a fan of hers for a really long time. She was one of the first big artists who actually co-signed me in 2022, before anybody even knew about my music. We had a few studio sessions. We got connected from a mutual A&R of ours, we got in the studio, we worked on some ideas for her upcoming album, and mine as well. I was just in awe watching her work. We were just going melody for melody. She works so fast. Usually when I get in the studio, I hate working with people in person, because they take so long to get an idea. I have so much respect for artists who come with a notebook. Everything’s gotta be spontaneous for me. Kali is one of those artists that is… she is the song.

I had the opportunity to go to Houston and work on my craft by myself, and then, based off of what we had already worked on in the studio, I was able to form some more ideas, and I came up with this idea called “Crashing.” I made it on BandLab, on this beat I found on YouTube. I was like, “It would be the funniest thing in the world if I got this superstar artist on a song that I made on my phone, on a YouTube beat.” I sent it to her, and she loved it! She sent the verse back the next day — she works that fast. I was like, “Yo, this is crazy. Can I please put it out? Please, please, please!” She was like, “Okay, yes.” Then, I was like, “Can you please do a music video too?” She said, “Okay, yes!” Got the song, got the music video! Everything came out. It was perfect. It was such a flawless experience.

THAT’S INCREDIBLE! I KNOW YOU SAID YOU LIKE WORKING SPONTANEOUSLY, BUT IT SEEMS LIKE YOU KIND OF PREMEDITATE THESE THINGS AND THEY SOMEHOW COME INTO FRUITION, WHICH IS REALLY COOL. WERE THERE ANY MORE PLANNED, CALCULATED PARTS OF MAKING THE ALBUM, OR WERE MOST THINGS DONE ON A WHIM?

d4vd: Every single part of this project was spontaneous. I had to be forced to go to London. That wasn’t even my idea, because I just came off the Arcane collab, I just came off the Invincible collab, and I just came off the SZA tour. I thought I was on top of the world at one point; I was like, trying to make all this music that was just gonna go viral. I went through the whole phase of trying to catch a hit when I had never really done that before. I kind of turned into a TikTok boss — level 100 TikTok merchant. My team was like, “Nah, you gotta stop. You gotta hit the brakes on that one. We’re gonna send you to London for two weeks.” I was like, “I don’t want to go! I don’t want to go!”

As soon as I landed and we got in the studio, I was like, “Okay, it was worth it.” The first day, we recorded the whole process. Had a bunch of cameras set up, we had camera guys there. If that didn’t happen, this album wouldn’t even be here, so it was just having to mature, taking input, and being able to be teachable in that moment. I got some great songs out of it and a great album too!

LISTENING TO THE ALBUM, FRONT TO BACK, START TO FINISH, WAS A GORGEOUS EXPERIENCE IN AND OF ITSELF. I FEEL LIKE “ATOMIC LIFE” STARTS OFF KIND OF MELANCHOLIC, BUT IT'S STILL A LITTLE BIT UPBEAT, AND THEN THE ORCHESTRA IN “AFTERLIFE” CLOSES EVERYTHING OUT SO GORGEOUSLY AND CINEMATICALLY. HOW DID YOU CONCEPTUALIZE THE TRACK LIST AND FIGURE OUT WHERE EVERYTHING WENT?

d4vd: It was hard. It was really hard. In terms of instrumentation and vibes, I wanted it to, like you said, start out with energy, then slow down, and then pick back up. When you view love, it’s all ups and downs. It’s never a solid, flat line. If it’s all straight, that means you’re dead. It’s gotta fluctuate. It’s gotta have life. It’s gotta have some moments where you think it’s over. It’s gotta have moments where it sparks up again. I want the album to feel like that, especially when it dies in “Afterlife.” It’s kind of like a send off to me instead of the actual relationship or lover — whatever people want to call it. It’s the closing of a chapter. We started with Petals to Thorns, which was the blooming of the rose. In The Lost Petals, the petals fall off, kind of like when you reach autumn and the leaves fall off the trees. Then, you’re laying it to rest, and then we have to find a new flower after that. This is how I’m probably gonna go about my eras: with a different flower every time. It’s the ending of the rose.

THAT’S A GORGEOUS METAPHOR. I FEEL LIKE IT’S FITTING TO CLOSE OUT BY MENTIONING YOU TURNING 20 IN FOUR DAYS. NEW ERA!

d4vd: No, don’t remind me!

HAPPY EARLY BIRTHDAY! WHAT ARE YOU MOST LOOKING FORWARD TO IN THE NEXT DECADE OF YOUR LIFE AND OFFICIALLY EXITING YOUR TEENS? DOES IT FEEL LIKE THERE'S MORE GRAVITY TO IT? MORE CONSEQUENTIAL?

d4vd: I haven’t really celebrated my birthday in like four years. I haven’t had a birthday party in four years. I made a birthday post on Instagram, but my team had to tell me to post that last year. For the next 10 years, I want to be able to inspire the next generation of musicians. I’m one of the first people that came up on BandLab, which is an app I still use to this day to make my music by myself. I’m seeing all the other kids just follow after this and be able to chase the dream they didn’t even know they had — to be able to express talents that they wouldn’t have been able to otherwise because of the availability of resources, money, studios, equipment, and stuff like that. You can make everything right on the phone.

I want to keep inspiring the next generation of musicians. I want to keep making the best music that I can make. I want to keep making an impact in my genre. I want to make bedroom pop and indie. I want to put that back on the map. You know, there’s a lot of music going around right now that doesn’t have a specific place, and you can’t tell what it is, which is cool, but I want to solidify myself in this genre and be at the same level as Steve Lacy and Dominic Fike in indie culture. That’s where I want to be in the next couple of years for sure.

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