Artist Interviews

Mar 3, 2025

Produced by: Tadeáš Jánoš

Edited by: Rudy Manager & Andrej Aroch

A$AP Twelvyy – “This right here is everlasting. It could never be over, so I’m not trippin’”

In this exclusive Studio Talks interview, A$AP Twelvyy opens up about his journey through hardship, resilience, and the creative process that drives his music. A key member of the legendary Harlem collective A$AP Mob, Twelvyy has built an impressive career as an artist and visionary with accomplishments across multiple creative fields. Throughout the conversation, he reflects on his personal growth, discusses the impact of A$AP Mob, the rising talent from Harlem, and the invaluable lessons he's learned along the way. This interview was conducted by Tadeáš Jánoš via video call on January 17, 2025.


Twelvyy, you often talk about hardship and resilience—about tough moments. How do those experiences inspire you both as a person and as an artist to create music and stay creative?

Life isn't easy. We all have our hardships, our trials and tribulations. It might sound cliché, but if it were easy, everybody would have it, everybody would obtain it. I took the road less traveled to get what I wanted. And it's not even just about being completely consumed by hardship or struggle. It's really a universal language—me speaking on what I see and feel. I'm pretty empathetic, so I understand when other people are going through things. I'm not only a voice; I'm also a vessel to communicate what's happening in life—my life, the lives of my friends, my family, and my community. So that's really it: I'm a voice, I'm a vessel. And that inspires me to create.

What message would you give to the young people coming up from Harlem right now?

Protect your energy. Take care of yourself, and understand the business. Learn and grow—keep learning forever. Learn about yourself, life, and everything around you. Be aware of your surroundings. It’s more than just music. Everything you do in life contributes to the music. Value life. When you do, you'll find value in whatever you create—whether it’s music, art, film, or any path you choose.

Is there a track from Kid$ Gotta Eat that stands out to you, one that takes you back to a special moment in the studio?

I’m not even gonna lie, the whole project feels special to me. Kid$ Gotta Eat was one of my best projects. Every project I put out feels like my best, but this one stood out because it was a stronger independent effort for me. I did a lot. I always put in the legwork, but this time I was fully present—really in the moment and enjoying it.

The process behind the track “Yams day” was especially meaningful. Being with my bros, recording with the homies, felt special. That record almost didn’t drop because the session was stolen from the studio. I finished a tape in late 2019 when I was about to release a project called Noon Yung. We wrapped it up in the early morning hours, and when I went home and took a nap, my engineer Zeke called me: “Yo bro, somebody ran into the studio and took the computer and hard drives.”

At that time, I was just getting back into recording—really stepping into the journey of being a solo artis for the first time. Even with 12, it was still within the A$AP Mob system, where all decisions went through us collectively. But after that, I had to think for myself and make my own moves. I had put together a whole tape, and it got stolen. “Yams Day” was one of the lost sessions, so I held onto it for four years. That made it even more important to me.

Then there’s the Kid$ Gotta Eat track itself. I recorded that during a crazy two-day creative session with Jay Worthy and my guy Justise Winslow. Shoutout to Jay Worthy and Justise Winslow. That last song we made in that session was Kid$ Gotta Eat, and it was just wavy. I was just in the studio with Justise the other day, and I talked to Jay Worthy this morning. I’m like, “Damn, they were there when I cooked that up.” That’s kind of crazy.

Is there a track from Kid$ Gotta Eat that stands out to you, one that takes you back to a special moment in the studio?

I’m not even gonna lie, the whole project feels special to me. Kid$ Gotta Eat was one of my best projects. Every project I put out feels like my best, but this one stood out because it was a stronger independent effort for me. I did a lot. I always put in the legwork, but this time I was fully present—really in the moment and enjoying it.

The process behind the track “Yams day” was especially meaningful. Being with my bros, recording with the homies, felt special. That record almost didn’t drop because the session was stolen from the studio. I finished a tape in late 2019 when I was about to release a project called Noon Yung. We wrapped it up in the early morning hours, and when I went home and took a nap, my engineer Zeke called me: “Yo bro, somebody ran into the studio and took the computer and hard drives.”

At that time, I was just getting back into recording—really stepping into the journey of being a solo artis for the first time. Even with 12, it was still within the A$AP Mob system, where all decisions went through us collectively. But after that, I had to think for myself and make my own moves. I had put together a whole tape, and it got stolen. “Yams Day” was one of the lost sessions, so I held onto it for four years. That made it even more important to me.

Then there’s the Kid$ Gotta Eat track itself. I recorded that during a crazy two-day creative session with Jay Worthy and my guy Justise Winslow. Shoutout to Jay Worthy and Justise Winslow. That last song we made in that session was Kid$ Gotta Eat, and it was just wavy. I was just in the studio with Justise the other day, and I talked to Jay Worthy this morning. I’m like, “Damn, they were there when I cooked that up.” That’s kind of crazy.

Is there a track from Kid$ Gotta Eat that stands out to you, one that takes you back to a special moment in the studio?

I’m not even gonna lie, the whole project feels special to me. Kid$ Gotta Eat was one of my best projects. Every project I put out feels like my best, but this one stood out because it was a stronger independent effort for me. I did a lot. I always put in the legwork, but this time I was fully present—really in the moment and enjoying it.

The process behind the track “Yams day” was especially meaningful. Being with my bros, recording with the homies, felt special. That record almost didn’t drop because the session was stolen from the studio. I finished a tape in late 2019 when I was about to release a project called Noon Yung. We wrapped it up in the early morning hours, and when I went home and took a nap, my engineer Zeke called me: “Yo bro, somebody ran into the studio and took the computer and hard drives.”

At that time, I was just getting back into recording—really stepping into the journey of being a solo artis for the first time. Even with 12, it was still within the A$AP Mob system, where all decisions went through us collectively. But after that, I had to think for myself and make my own moves. I had put together a whole tape, and it got stolen. “Yams Day” was one of the lost sessions, so I held onto it for four years. That made it even more important to me.

Then there’s the Kid$ Gotta Eat track itself. I recorded that during a crazy two-day creative session with Jay Worthy and my guy Justise Winslow. Shoutout to Jay Worthy and Justise Winslow. That last song we made in that session was Kid$ Gotta Eat, and it was just wavy. I was just in the studio with Justise the other day, and I talked to Jay Worthy this morning. I’m like, “Damn, they were there when I cooked that up.” That’s kind of crazy.

You’ve been in the game for a while now—both as part of A$AP Mob and as a solo artist. Has your definition of success evolved over the years?

We came into the game so crazy that, over the years, you become numb to certain things. You build a kind of callous—some things don’t excite you as much anymore, and some things get simplified or minimized. But I feel like what’s been amplified for me are the simple things. Just being able to interact and engage with my fans means a lot. Having a solo show, hosting meet-and-greets, hopping on Twitch or Discord, and engaging with your platform and others—that's important.

I’m still here, still able to do this. People will try to write you off after a while, saying, "Oh, this isn’t this" or "That’s not that," and I’m like, yo, shut the f**k up. We gotta make it happen.

Now, I see success as simply waking up. That’s success to me. Being able to move your body, breathe, see, hear, smell, eat, feed yourself, and take care of yourself—that’s the most successful thing. Because like I said earlier, when you can do that, then you can go to the studio.

You’ve been speaking about A$AP Mob in the present tense, but in a recent interview, Ferg mentioned that A$AP Mob is a thing of the past. Is that true?

I have no idea about that. I could never downplay the impact A$AP had on my life. Ferg, Nast, Addie, Rocky, Illi—everybody played major roles in my life, and they still do. So I wouldn’t say that. I feel like maybe Ferg was so focused on the future during that interview that he wasn’t thinking in the moment. Sometimes you’re not fully present, and you might feel a certain way—but emotions are temporary.

This right here is everlasting. It could never be over, so I’m not trippin’. You see how much music I’m putting out. I’m dropping fire music all the time. Ant is dropping fire, and Nast is about to drop. I can’t see any other outcome.

Honestly, it’s not a good movie if the superhero is always winning. In Batman, Bane messed up that movie. You watch Spider-Man, Norman Osborn is on his head. In The Meteor Man, the Golden Lords are after him. It doesn’t matter— you have to face adversity to prosper. I’m always trying to prosper—that’s how I feel.

Is there one artist who has influenced you, not just creatively, but in understanding the life of a famous person?

Aside from A$AP, I’d say the Flatbush Zombies —they played a major role in my personal development. They took me on the road countless times, put me on stages, and helped me get my message heard and seen. They embraced me like I was one of them. Back in the day, some people even thought I was a Flatbush Zombie. I wanted that same love for them too—I wanted people to see them as part of the A$AP Mob. Juice and Yams had their own relationship back in the day, and I still have a relationship with the guys. I just spoke to Erick and Juice this week—it’s crazy. I need to check in on Meechy.

Those guys showed me how to move on the road and monetize momentum. Especially with fashion—right now, I’m wearing a FYBR sample from my own brand.

Danny Brown also played a major role. When we first started touring, he was the OG—the big bro. It’s been crazy watching his growth. I still play 2K with Danny, and he tells us stories—like how he used to be signed to G-Unit. He was putting me on to Westside Gunn back in 2011. Danny Brown is a great person.

If you could turn back the clock 15 or 20 years, what advice would you give your younger self before all the fame and success in music?

The first thing I’d tell myself is to take better care of my teeth—and my body too. Because when you take care of your temple, you have the energy to do everything else. I think all of us, at some point, take our life and health for granted, and that’s major.

I’d also tell myself to keep playing basketball every single day. Alongside making music, I’d stay active with sports. Now, I barely play, even though I really love it. If I’d kept it up, maybe I could’ve become a basketball coach—maybe even be on the Knicks coaching staff one day. Stuff like that.

I’d also tell myself to learn how to code. If I’d started coding when I was younger, who knows? I could’ve made Spotify or Apple Music. It’s not too late now, but getting into that mindset early would’ve opened up so many doors. Lately, I’ve been studying different things to prepare for when the music recording slows down for me. I want to have options. Different paths to elevate and grow.

I would’ve told myself to really work on my body, prioritize my health, take the internet to another level, and just be a better person. There were people in the past I might’ve upset or hurt unnecessarily, and while everything happens for a reason, some people didn’t deserve that. But you live and grow from it.

Can you tell us a bit about the newcomers in Harlem? Has anyone caught your attention recently—someone you’re really vibing with?

Starting with Harlem, I gotta shout out the Nailers—Zay Nailer and Lago 2.0. Their energy is crazy. M Row, R2R Moe, Lunchbox, Dave Billz, and SuuYung.

In New York, names like E Millz and Billz are doing their thing. There’s a lot of talent coming up, and it’s dope to see.

That’s a lot, Twelvyy.

That’s all I’m saying. This is music. It’s not like the early ’90s, when you had one or two CDs—maybe three—and you’d run through the whole album. Nah, this is a new era. People got playlists now—with a hundred new artists you’ve never even heard before. So it’s easy to be like, “Yo, I’m f**kin’ with this, I like the vibe.”

Honestly, there are even more artists I probably haven’t even mentioned. But yo, I just love music. I’m a musician.

Is there a message you’d like to share with your fans?

Yes, Always Strive and Prosper.

Follow A$AP Twelvyy on Instagram: @asap12vy

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