Late into the festivities at the 66th GRAMMY Awards, an African giant took the stage. 

Burna Boy — the king of Afrobeats, a massive star of the continent’s pop music industry, and a national hero of his home nation of Nigeria — brought down the house at Crypto.com Arena with a formidable show that bridged the cultures of Africa and America. 

With backgrounds inspired by the streets of Lagos, the GRAMMY winner began the set surrounded by drummers and dancers in colorful traditional clothes, jamming to his Afrobeats hit "On Form." 

Then, he switched things up, transitioning to two ‘90s hip-hop-influenced cuts from his recent album I Told Them… As the background shifted to Brooklyn brownstones, the Timbaland-inspired bump of "City Boys" gave way to "Sittin’ On Top of the World," during which featured rapper 21 Savage and sampled artist Brandy, appearing live for the first time in years, came out to perform alongside Burna. 

That Afrobeats finally reached the GRAMMYs stage made Burna Boy’s performance a milestone for African pop music. And while Burna prefers to label his own work "Afro-Fusion," any Afro pop representation is considered a major coup. 

The performance marked a triumphant culmination for African artists at the GRAMMYs, and for the African music industry as a whole. Its explosive global growth in recent years is something that even GRAMMYs host (and two-time GRAMMY nominee) Trevor Noah remarked upon before Burna Boy’s set. Noah, comedian and former host of "The Daily Show," was probably the biggest African presence at the GRAMMYs — himself being a South African who has discussed his own mixed-race heritage in standup and his memoir. 

Noah shouted out his country’s amapiano scene, joking, "You know people say Afrobeats is new and personally growing up in South Africa, I would get Afrobeats all the time for my mom every time I came home past my curfew." 

Read more: 10 African GRAMMY Winners Through The Years: From Miriam Makeba To Angélique Kidjo & Burna Boy

But the proceedings had an even more significant backdrop. Earlier in the day, the GRAMMYs handed out the first-ever Best African Music Performance award. The category, one of three new prizes added for the 2024 GRAMMYs, was conceived of and designed as a way to honor the massive, burgeoning African music industry as it continues to expand globally. Ultimately, it was rookie pop singer Tyla that took the heavily contested golden gramophone for her song "Water." 

The South African starlet faced stiff competition: Burna Boy ("City Boys") and fellow Afrobeats legend and first-time GRAMMY nominee Davido ("Unavailable" feat. Musa Keys) were nominated in the category, along with rising Nigerian stars ASAKE ("Amapiano" feat. Olamide) and Ayra Starr ("Rush"). Burna Boy and Davido both received multiple nominations this year — four and three, respectively — and Burna had already triumphed at the 63rd GRAMMY Awards, winning Best Global Music Album for Twice as Tall. 

But none could compete with the behemoth hit that is "Water." The sultry, Amapiano-influenced vocal pop song entered the Billboard Hot 100 in October of last year, in the process making 22-year-old Tyla the first South African on the chart since Hugh Masekela in 1968, as well as the youngest South African to ever reach the chart. It also topped Billboard’s US Afrobeats Songs chart, reached No. 5 on the US Hot R&B/Hip-Hop Songs chart, and finally peaked at number seven on the Hot 100. 

As Tyla accepted the award during the GRAMMYs Premiere Ceremony, even she was surprised at her victory, saying "I never thought I’d say I won a GRAMMY at 22 years old….I know my mother’s crying somewhere in here." 

As the South African made her way to the stage, legendary Nigerian musician Fela Kuti’s classic Afrobeat tune "Water No Get Enemy" soundtracked her moment — Tyla’s "Water" and Fela’s "Water" linking the two major musical nations. Coincidentally, the two countries’ soccer teams play each other this week in the Africa Cup of Nations tournament, and fans are already preparing for a rematch between the two rival nations. 

As the BBC noted from one commenter after Tyla’s victory, "South Africa won today but Nigeria will win on Wednesday where it matters most." It’s a moment that wouldn’t have been possible only a year ago, but thanks to the GRAMMYs, it is now.

2024 GRAMMY Nominations: See The Full Winners & Nominees List

To say that the past year has been an eventful one in the dynamic world of Afrobeats would be, at best, a gross understatement. The genre's list of global accolades has continued to swell in size, including multiple nominations at the 2024 GRAMMY Awards, expansive cross-border collaborations, and inaugural appearances on some of the world’s most coveted stages.

Simultaneously, Afrobeats has been undergoing something of an identity crisis, in which listeners have criticized sonic monotony and Western pandering of some artists. In the immediate wake of this criticism, as though on cue, came a slew of forward-thinking projects from the genre’s biggest stars, igniting the mainstream scene’s creative progression. Among these stars is 23-year-old Afrobeats sensation Anthony Ebuka Victor, known widely as Victony.

His debut album, Stubborn, is barely two months old yet has already received high acclaim from top Afrobeats pundits and laymen alike. Therein, Victony tells his life story for the first time, complete with vivid songwriting that delves into themes of childhood, romance, and dogged resilience. With features from Nigeria’s Asake and Shallipopi, as well as American acts Teezo Touchdown and Saint JHN, Stubborn's sonic meter explores Afrobeats with unending - and unmatched - innovation.

Victony, however, is no novice when it comes to putting out pristine bodies of work. His 2020 EP Saturn sounded nothing like a 19-year-old’s debut; singles “Jo Riddim” and “Space and Time” revealed serious sonic maturity. His subsequent EP Outlaw, which followed his breakout as the feature on Mayorkun’s “Holy Father,” included addictive hits “Apollo,” “Jolene,” and “Soweto.” The latter, of course, took the world by storm and led to a remix featuring Don Toliver and Rema, which peaked at No. 5 on the Billboard Afrobeats chart.

Between this, his debut on the ColorsxStudios platform, his assist on Burna Boy’s “Different Size,” and his record deal with the L.A.-based Encore Records, it is difficult to tell just when this young boy from Ojo, Lagos became a continental and global star. What’s more, he’s soon to push his story outside of Nigerian borders, kicking off his Stubborn North American tour on Aug. 6. 

Ahead of this tour, Victony sat down with GRAMMY.com to discuss his creative process, the importance of telling his story, and all things Stubborn.

'Stubborn' features excellent songwriting about your life experiences, though it's not the first time you've done so. What makes 'Stubborn' different from the other work in your discography?

Stubborn has my story; it’s where I get to properly introduce myself. The [Outlaw] EP is like Yeah, this guy can sing, he knows all this Afrobeats stuff. Let’s put a good body of work together for people to enjoy. The Stubborn album is saying, This is Victony. This is where he’s from. This is what he’s about.

You’ve mentioned before that veteran Nigerian rapper Olamide encouraged you to make 'Stubborn' a full-length album as opposed to an EP. Had you been ready for an era shift at the time that you spoke to him?

I was prepared for an era shift, but my mind was just stuck on an EP because that was the plan since last year. Sometimes, you can’t even see what everything looks like when you’re really in it. You have to extract yourself from the situation and really look at it. But speaking to Olamide, once he mentioned the album, it felt possible. I was like, Why am I not even thinking about an album? 

'Stubborn' is an incredible testament to resilience, but you also explore other themes like love and betrayal. What is the overarching message that you wanted the project to convey?

Resilience is the boldest statement that the project has. But within all that, there are other things that I’ve been through, like the stuff that you mentioned, that didn’t change me as a person.

I still have the ability to love, and I still have the ability to receive love. So obviously, that reflected in a few songs on the project because I still go through those emotions. I’m still human regardless of everything I've been through.

Your feature list is quite expansive — we have Shorae Moore, Shallipoppi, Saint JHN, Teezo Touchdown, and Asake. Did you have an idea of who you wanted on the project beforehand, or was your feature selection process more organic?

I’m always curious to see what this and this will sound like, or what doing this and this will look like. So I just make songs and think about who will be perfect on those songs. I didn’t think of it as, I want an album, who are the guest features? 

One thing that the features all have is authenticity. These people have a voice, they have a style, they have something that they stand for. And that is something that Stubborn is also preaching — authenticity. So collaborating with these people helped to bring very interesting ideas to life. Because one wouldn’t ordinarily imagine a Victony and Asake feature, or a Victony and Teezo feature. But when somebody who is authentic collaborates with somebody who is authentic, something has to happen. We were just trying to create something, and I love creating. 

Learn more: Meet The Latest Wave Of Rising Afrobeats Stars: AMAARAE, BNXN, Oladapo & More

You have a U.S. tour coming up which is extremely exciting. You’ve toured with Rema before, but this will be your first-ever solo tour. How are you feeling? 

I’m actually very excited. We’ve been planning what we want the tour to feel like, because it’s important to think about the feeling that you want to leave people with. I think that this tour is the biggest opportunity to showcase what the album is really about. Having to go on stage, perform for an hour plus. I don’t think I've ever done that nine times in a row in nine cities. So we’re planning everything to make that all come to life.

What do you want your U.S. audience to take away from your tour?

I want my U.S. audience to feel the essence of my journey and connect with my music. This tour is a journey through my experiences and my evolution as an artist. You'll get the party anthems as well as the soul-stirring ballads. I want them to leave each show thinking, This is what that Victony guy is about: raw talent, authenticity, and a sound that resonates deeply.

Give us your Afrobeats predictions for the year — what should we expect from the scene?

I just feel like it’s about to be a madhouse. Tems just dropped, Ayra Starr just dropped, Ruger & BNXN just dropped. And Wizkid is yet to drop, Davido is yet to drop, Fireboy DML is yet to drop. I don’t think we’ve had a year like this. Ever. It’s like everybody is dropping a project this year.

Read more: Tems On How 'Born In The Wild' Represents Her Story Of "Survival" & Embracing Every Part Of Herself

My prediction is that this is the start of something for Afrobeats. Before now, what people would tell you is that Afrobeats artists all share one fanbase. But everything is about to change because of the volume of music coming out. It’s going to really push structure with the fans.

Looking back from your debut EP to the present day, what comes to mind? Did you foresee yourself becoming what you are now?

I always knew that everything that’s currently happening would happen. I just didn’t know what was going to make it happen. I didn’t know that this was the direction. It’s been interesting because at one point, you just have life experiences that influence your art, and then the direction changes. That’s what it’s been for me because I like my art to reflect who I am at any given time.

So, who knows what’s going to happen next? After Saturn, I didn't foresee my story changing. And now new experiences have come, and those have also changed me. I don’t know what’s going to happen next, but one thing’s for sure, the journey is just beginning. I’m excited to see where this path leads and to continue sharing my story with the world.

This year's Lollapalooza is set to electrify Chicago's Grant Park from August 1-4, showcasing stellar performances from music's top talent. Headliners include Megan Thee Stallion (replacing Tyler, The Creator for the first night), The Killers, Blink-182, SZA, and Future x Metro Boomin.

Founded by Jane's Addiction lead singer Perry Farrell, Lollapalooza has evolved from a modest alternative musical gathering in 1991 to a cultural phenomenon with international editions in Argentina, Brazil, Chile, Germany, Sweden, India, and France.

Read more: 'Lolla: The Story of Lollapalooza' Recounts How An Alt Rock Fest Laid The Blueprint For Bonnaroo & More

Beyond the headliners, Lollapalooza's eight stages will feature an array of other incredible artists over the four-day festival. Here are 10 must-see acts you shouldn't miss:

FLO

Thurs., Aug. 1 at 7:45 p.m. (Bacardi Stage)

The London trio, FLO, is revitalizing R&B with slick, catchy songs saturated with '90s nostalgia. Consisting of Renée Downwer, Stella Quaresma, and Jorja Douglas, FLO debuted in 2022 with the hit song "Cardboard Box." Since then, they’ve garnered praise from the likes of SZA, Missy Elliot, and Victoria Monét. FLO has seemingly achieved the impossible — reviving the girl group concept. 

"We definitely want to be the face of the resurgence of girl groups," Douglas told Variety in April. "It's all healthy competition, we want there to be girl groups that can exist in the same space. For now, at least." Last year, the group won the Brits' Rising Star Award and the BBC's Sound of 2023. FLO took Coachella by storm in April, and their Lollapalooza performance promises to be no different.

d4vd

Thurs., Aug. 1 at 3:45 p.m. (Tito's Homemade Vodka Stage)

This prodigious talent is becoming known for genre experimentation as well as expressive lyrics. The innate melancholy on d4vd's single "Romantic Homicide" resonated with the masses in a major way when it was released in July 2022 and has garnered over 1 billion streams across various platforms. Since then, the artist has become known for crafting vulnerable love ballads with a tinge of potency as heard on tracks like "Here With Me" and "There Goes My Baby."

On the songwriting process for "There Goes My Baby," d4vd stated: "This is a song I wrote about letting go of someone you love and letting them become their own person. Watching them become that person and realizing that you may have been the problem, but also being happy for the person they've become." After completing his fully sold-out "My House Is Not A Home" international headline tour, d4vd's presence at Lollapalooza is a welcome one. 

Tyla

Thurs., Aug. 1 at 3 p.m. (T-Mobile Stage)

The GRAMMY-winning South African singer has had an epic year following the immense popularity of her amapiano-infused hit "Water." Tyla's self-titled debut album, released in April, became the highest-charting album on the US Billboard 200 Albums Chart by a female African soloist in history. Over the years, the star — who is of Indian, Zulu, Mauritian, and Irish descent — amassed an impressive following on TikTok with her dance routines and song covers going viral. 

Tracks like "Jump" (featuring Gunna and Skillibeng) and "On My Body" (featuring Becky G) showcase Tyla's versatility and her ability to bring her distinct sonic style to life. Tyla's catalog also shows that music found in the African diaspora also contains elements of pop. Her infectious energy will light up not just Lollapalooza, but festival stages all summer long.

Kevin Abstract

Fri., Aug. 2 at 7:45 p.m. (IHG Hotels and Resorts Stage)

The wildly imaginative and talented emcee — who also served as the frontman of the hip-hop group Brockhampton — reminded audiences of his solo capabilities with last year's "Blanket." While that project saw Kevin Abstract experiment with darker and heavier rock sounds ("When the Rope Post 2 Break," "Blanket"), his first love was and will always be hip-hop, as evidenced on his 2014 debut album MTV1987.

In addition, Abstract has been passing his time recently with some stellar collaborations. After teasing his song featuring Lil Nas X, "Tennessee," at Coachella earlier this year, Abstract officially released the track in May (the pair attended the same high school in Georgia before they knew each other.) He was also featured alongside Lev on Toro y Moi's latest single "Heaven." Abstract's sonic malleability has always been his greatest and most exciting strength.

Stray Kids

Fri., Aug. 2 at 8:30 p.m. (Bud Light Stage)

This K-pop band — often abbreviated as SKZ — formed on a reality show back in 2017. Stray Kids have had a slew of hits, including 2019's "MIROH" and 2020's "God's Menu," which showcased the group's pop proclivity and unrelenting fan base. Their fourth studio album, 5-Star, was released last year and was a huge commercial success, reaching number one in the U.S., South Korea, France, Austria, Greece, and Portugal. Their latest album, ATE, released on July 19, marks the next chapter of the band's evolution. Member Bang Chan stated that on ATE, "a lot of the songs [are] all very different…what we recorded, it's just showing a different side of Stray Kids."

Read more: K-Pop Sensation Stray Kids On Their New LP, 'Go Live': "We Wanted To Show Everyone What Our True Colors Were"

SiR

Sun., Aug. 4 at 5:45 p.m. (IHG Hotels and Resorts Stage)

SiR released his fourth studio album, Heavy, earlier this year, cementing the Inglewood, California R&B crooner as a bona fide star. The GRAMMY-nominated singer is a proud Top Dawg Entertainment (TDE) stalwart, with 2019's Chasing Summer being acclaimed for its musicality, joviality, and warmth. On Heavy, SiR — who has been open about his past struggles with addiction — bravely puts his demons on wax as he tells the story of how he became a better man. 

Featuring appearances from Anderson .Paak, Ab-Soul, Ty Dolla $ign and Isaiah Rashad, the project is a beautiful testament to the "John Redcorn" singer his devotion to the depth of his artistry. "With this album, I feel like I was under so much pressure as I was writing the songs — all I could do was make diamonds," he told GRAMMY.com earlier this year. SiR’s Lollapalooza performance is a stop mid-way through his “Heavy” tour, which runs through late August.

Read more: On 'Heavy,' SiR Wants People To See The Weight Of His Humanity

Slow Pulp

Sun., Aug. 4 at 2:45 p.m. (T-Mobile Stage)

Slow Pulp — consisting of Emily Massey, Henry Stoehr, Teddy Matthews, and Alex Leeds — specialize in the kind of syrupy and saccharine melodies that launched them straight into the indie-rock stratosphere. Their sophomore project, Yard, was released last year and blissfully combines elements of shoegaze with Massey's somber lyricism. The frontwoman often lets themes of reflection bleed into her work. 

On "Doubt," the second single from Yard, Massey confessed that insecurity is at the core of the track. "I wanted people close to me to validate the things I hated about myself," Massey wrote in a statement for Consquence’s “Track by Track” series. "Self-doubt had found a home in me, it felt safer to stay in this familiar negative space than to like myself. I thought if others shared that with me I wouldn't have to do the work to change." Slow Pulp's weepy yet addictive catalog is sure to stand out over the weekend.

Dominic Fike

Sun., Aug. 4 at 6:45 p.m. (T-Mobile Stage)

Dominic Fike released his debut EP in 2018, Don't Forget About Me, Demos, featuring  viral hits with Halsey and Brockhampton. Fike's debut album, What Could Possibly Go Wrong, followed two years later. On tracks like "Good Game" and "Politics & Violence," Fike takes a somber look at his reality while perfecting his hip-hop influenced brand of pop. 

In 2022, he was cast on Season 2 of the HBO hit series "Euphoria" where he played Elliot, a drug user who finds himself in the middle of a love triangle between Rue (Zendaya) and Jules (Hunter Schafer). Last year, his sophomore LP, Sunburn, explored addiction, heartache, and remorse. Fresh off his biggest headlining tour, Fike dropped the visual project "14 Minutes" in May, proving that the phrase "tortured artist" can very much be a real thing.

Huddy

Sun., Aug. 4 at 2:10 p.m. (BMI Stage)

This viral TikTok sensation has managed to stand out from his pop-punk peers with a pulsating, upbeat sound that transports listeners back to the early aughts. Huddy's 2022 hit song, "All the Things I Hate About You," dominated social media, reaching #1 on TikTok and YouTube. It also became his first entry on the Pop and Alternative radio charts. 

The California native's 4-track EP, Love Bites, was released on May 15 (his 22nd birthday) and embodies his feelings on romance. "The title 'Love Bites' is a double entendre: it not only alludes to a hickey, but it also means that love can bite you in the ass if you let it," Huddy explained to Ones To Watch. "With each track, I dig deeper into my emotions, unafraid to embrace the raw and the vulgar, because that's what love is — messy, unfiltered, real."

The Last Dinner Party

Sun., Aug. 4 at 5:15 p.m. (Bacardi Stage)

This British rock quintet became quite the sensation after the viral success of their explosive track "Nothing Matters," released in 2023 (garnering over 26 million streams on Spotify). 

The Last Dinner Party — consisting of Abigail Morris, Aurora Nishevci, Emily Roberts, Georgia Davies, and Lizzie Maylan — released their debut album earlier this year titled Prelude to Ecstasy, which contains the same infectious fervor heard on their breakthrough hit. The influence of '90's alt-rock can be heard on another one of their singles, "Sinner." Additionally, "My Lady of Mercy" contains a wispy, ethereal ambience that could very well become their signature sound. The refreshing nature of The Last Dinner Party is as empowering as it is fun — their theatrical reverie is sure to translate to the stage.

It’s officially awards season! Today, the nominees for the 2024 Emmys dropped — and, happily, the 2024 GRAMMYs telecast received a whopping five nominations.

At the 2024 Emmys, the 2024 GRAMMYs telecast is currently nominated for Outstanding Variety Special (Live), Outstanding Production Design for a Variety Special, Outstanding Lighting Design/Lighting Direction for a Variety Special, Outstanding Sound Mixing for a Variety Series or Special, and Outstanding Technical Direction and Camerawork for a Special.

Across these categories, this puts Music’s Biggest Night in a friendly head-to-head with other prestigious awards shows and live variety specials, including the Super Bowl LVIII Halftime Show starring Usher as well as fellow awards shows the Oscars and the Tonys.

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2024 was a banner year for the GRAMMYs. Music heroes returned to the spotlight; across Categories, so many new stars were minted. New GRAMMY Categories received their inaugural winners: Best African Music Performance, Best Alternative Jazz Album and Best Pop Dance Recording. Culture-shaking performances and acceptance speeches went down. Those we lost received a loving farewell via the In Memoriam segment.

The 2025 GRAMMYs will take place Sunday, Feb. 2, live at Crypto.com Arena in Los Angeles and will broadcast live on the CBS Television Network and stream live and on demand on Paramount+. Nominations for the 2025 GRAMMYs will be announced Friday, Nov. 8, 2024.

For more information about the 2025 GRAMMY Awards season, learn more about the annual GRAMMY Awards process, read our FAQ (Frequently Asked Questions) section, view the official GRAMMY Awards Rules and Guidelines, and visit the GRAMMY Award Update Center for a list of real-time changes to the GRAMMY Awards process.

If you were online during the summer of 2022, chances are you’ve heard Pheelz’s viral hit single "Finesse." The swanky Afro-fusion track (featuring fellow Nigerian artist Bnxn) ushered in a world of crossover success for Pheelz, who began his career as a producer for the likes of Omah Lay, Davido, and Fireboy DML.

Born Phillip Kayode Moses, Pheelz’s religious upbringing in Lagos state contributed to his development as a musician. He manned the choir at his father’s church while actively working on his solo music. Those solo efforts garnered praise from his peers and music executives, culminating in Pheelz's debut EP in 2021. Hear Me Out saw Pheelz fully embrace his talent as a vocalist, songwriter, and producer. 

"I feel important, like I’m just molding clay, and I have control over each decision," Pheelz tells GRAMMY.com about creating his own music. 

2022 saw the release of the first two tapes in his Pheelz Good trilogy: Pheelz Good I and Pheelz Good (Triibe Tape), which was almost entirely self-produced. The 29-year-old's consistency has paid off: he produced and sang on Usher’s "Ruin," the lead single from his latest album Coming Home, and also produced the album's title track featuring Burna Boy. But Pheelz isn't only about racking up big-name collaborators; the self-proclaimed African rockstar's forthcoming projects will center on profound vulnerability and interpersonal honesty. First up: Pheelz Good II EP, out May 10, followed by a studio album in late summer.

Both releases will see the multi-hyphenate "being unapologetically myself," Pheelz tells GRAMMY.com. "It will also be me being as vulnerable as I can be. And it’s going to be me embracing my "crayge" [crazy rage]...being myself, and allowing my people to gravitate towards me."

Ahead of his new project, Pheelz spoke with GRAMMY.com about his transition from producer artist, designing all his own 3D cover art, his rockstar aesthetic, and what listeners can expect from Pheelz Good II.

This interview has been edited for clarity.

What sparked your transition from singing in church to realizing your passion for creating music?

For me, it wasn’t really a transition. I just always loved making music so for me I felt like it was just wherever I go to make music, that’s where I wanna be. I would be in church and I was the choirmaster at some point in my life, so I would write songs for Sunday service as well. And then I would go to school as well and write in school, and people heard me and they would love it. And I would want to do more of that as well. 

A friend of my dad played some of my records for the biggest producers in Nigeria back then and took me on as an intern in his studio. I guess that’s the transition from church music into the industry. My brothers and sisters were in the choir, but that came with the job of being the children of the pastor, I guess. None of them really did music like me; I’m the only one who took music as a career and pursued it.

You made a name for yourself as a producer before ever releasing your music, earning Producer Of The Year at Nigeria’s Headies Awards numerous times. What finally pushed you to get into the booth?

I’ve always wanted to get into the booth. The reason why I actually started producing was to produce beats for songs that I had written. I’ve always been in the booth, but always had something holding me back. Like a kind of subconscious feeling over what my childhood has been. I wasn’t really outspoken as a child growing up, so I wouldn’t want people to really hear me and would shy away from the camera in a sense. I think that stuck with me and held me back. 

But then COVID happened and then I caught COVID and I’m like Oh my god and like that [snaps fingers] What I am doing? Why am I not going full steam? Like why do I have all this amazing awesomeness inside of me and no one gets to it because I’m scared of this or that?

There was this phrase that kept ringing in my head: You have to die empty. You can’t leave this earth with all of this gift that God has given you; you have to make sure you empty yourself. And since then, it’s just been back-to-back, which just gave me the courage.  

How did you react to " Finesse" in former President Barack Obama’s annual summer playlist in 2022?

Bro, I reacted crazy but my dad went bananas. [Laughs.] I was really grateful for that moment, but just watching my dad react like that to that experience was the highlight of that moment for me. He's such a fan of Barack Obama and to see that his son’s music is on the playlist, it just made his whole month. Literally. He still talks about it to this day. 

Experiences like that just make me feel very grateful to be here. Life has really been a movie, just watching a movie and just watching God work and being grateful for everything.

At first he [my dad] [didn’t support my career] because every parent wants their child to be a doctor, a lawyer, or an engineer. But when he saw the hunger [I have], and I was stubborn with [wanting] to do music, he just had to let me do it. And now he’s my number one fan. 

Your latest single, "Go Low" arrived just in time for festival season. What was it like exploring the live elements of your art at SXSW and your headlining show in London at the end of April?

I have always wanted to perform live. I’ve always loved performing; Pheelz on stage is the best Pheelz. Coming from church every Sunday, I would perform, lead prayers and worship, so I’ve always wanted to experience that again.

Having to perform live with my band around the world is incredible man. And I’ll forever raise the flag of amazing Afro live music because there’s a difference, you know? [Laughs.] There are so many elements and so many rhythms and so many grooves

I’ve noticed that much of your recent cover art for your singles and EPs is animated or digitally crafted. What’s the significance, if any, of this stylistic choice?

It still goes back to my childhood because I wasn’t expressive as a child; I wouldn’t really talk or say how I felt. I’d rather write about it, write a song about it, write a poem about it, or draw about it. I’d draw this mask and then put how I’m feeling into that character, so if I was angry, the mask would be raging and just angry.

The angry ones were the best ones, so that stuck with me even after I started coming out of my shell and talking and being expressive; that act of drawing a mask still stuck with me. And then I got into 3D, and I made a 3D version of the mask and I made a 3D character of the mask. So I made that the main character, and then I just started making my lyric videos, again post-COVID, and making them [lyric videos] to the characters and making the actual video mine as well.

In the future, I’m gonna get into fashion with the characters, I’m gonna get into animation and cartoons and video games, but I just wanna take it one step at a time with the music first. So, in all of my lyric videos, you get to experience the characters. There’s a fight [scene] among them in one of the lyric videos called "Ewele"; there is the lover boy in the lyric video for "Stand by You"; there are the bad boys in the lyric video for "Balling." They all have their own different characters so hopefully in the near future, I will get to make a feature film with them and just tell their story [and] build a world with them. I make sure I put extra energy into that, make most of them myself so the imprint of my energy is gonna be on it as well because it’s very important to me.

You and Usher have a lengthy working relationship. You first performed together in 2022 at the Global Citizen Festival, then produced/co-wrote "Coming Home" and "Ruin." Take us through the journey of how you two began collaborating.

It started through a meeting with [Epic Records CEO] L.A. Reid; he was telling me about the album that they were working on for Usher and I’m like, "Get me into the studio and lemme see what I can cook up." And they got me into the studio, [with Warner Records A&R] Marc Byers, and I wrote and produced "Coming Home." I already had "Ruin" a year before that. 

["Ruin"] was inspired by a breakup I just went through. Some of the greatest art comes from pain, I guess. That record was gonna be for my album but after I came home I saw how L.A. Reid and Usher reacted and how they loved it. I told them, "I have this other song, and I think you guys would like it for this album." And I played "Ruin," and the rest was history.

Before your upcoming EP, you’ve worked with Pharrell Williams, Kail Uchis, and the Chainsmokers in the studio. What do you consider when selecting potential collaborators?

To be honest, I did not look for these collabs. It was like life just brought them my way, because for me I’m open to any experience. I’m open to life; I do it the best I can at any moment, you understand? 

Having worked with Pharrell now, Dr. Dre, Timbaland, and the Chainsmokers, I’m still shocked at the fact that this is happening. But ultimately, I am grateful for the fact that this is happening. I am proud of myself as well for how far I’ve come. Someone like Timbaland — they are literally the reason why I started producing music; I would literally copy their beats, and try to sound like them growing up. 

[Now] I have them in the same room talking, and we’re teaching and learning, making music and feeding off of each others’ energy. It’s a dream come true, literally.

What's it like working with am electro-pop group like the Chainsmokers? How’d you keep your musical authenticity on "PTSD"?

That experiment ["PTSD"] was actually something I would play with back home. But the crazy thing is, it’s gonna be on the album now, not the EP. I would play it back home, like just trying to get the EDM and Afrohouse world to connect, cause I get in my Albert Einstein bag sometimes and just try and experiment. So when I met the Chainsmokers and like. "Okay, this is an opportunity to actually do it now," and we had a very lengthy conversation. 

We bonded first as friends before we went into the studio. We had an amazing conversation talking about music, [them] talking about pop and electronic music, and me talking about African music. So it was just a bunch of producers geeking out on what they love to do. And then we just talk through how we think the sound would be like really technical terms. Then we get into the studio and just bang it out. Hopefully, we get to make some more music because I think we can create something for the world together.

I’ve noticed you dress a bit eccentrically. Have you always had this aesthetic?

I’ve always dabbled in fashion. Even growing up, I would sketch for my sister and make this little clothing, so like I would kick up my uniform as well, make it baggy, make it flare pants, make it fly. 

I think that stuck with me until now, trying different things with fashion. And now I have like stylists I can talk to and throw ideas off of and create something together. So yeah, I want to get into the fashion space and see what the world has in store for me. 

What can fans expect as you’re putting the finishing touches on your upcoming EP Pheelz Good II and your album?

Pheelz Good II, [will be] a close to the Pheelz Good trilogy of Pheelz Good I, Pheelz Good Triibe Tape and Pheelz Good II. The album is going to be me being unapologetically myself still. But it will also be me being as vulnerable as I can be. 

It’s going to be me embracing my crayge [crazy rage]. Like just embracing me unapologetically and being me, being myself, and allowing my people to gravitate towards me, you get me. But I’m working on some really amazing music that I am so proud of. I’m so proud of the EP and the album.

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