What was the transition like going from artist to producer and songwriter?

The transition kind of happened unexpectedly. I was living in Minnesota at the time, dating this girl, and her friend knew Troy Taylor — a legendary songwriter and producer. He said, “Yo, we should go to Atlanta and meet Troy.” This was after “Crank Dat Batman” had died down. I was depressed, thinking, Man, is it over? Nobody was doing crank dat dances anymore, and the music scene was shifting. I didn’t know what to do.

So I drove to Atlanta, met Troy Taylor, and he introduced me to songwriting and producing for other artists. I didn’t even know that was an option. But once I saw what it was, I knew that’s what I wanted to do. I wanted to write and produce for others too. Troy actually gave me my first songwriting placement with Trey Songz, the song is called “Outside.” Big shoutout to Troy Taylor U The Goat.

What’s something you’ve learned from Troy Taylor?

One thing I learned from Troy Taylor that I still carry with me is what to do when I hit writer’s block. Whenever I feel stuck, he told me to go back and listen to the music I grew up on, like the songs that played while I was sitting in the back seat as a kid, staring out the window with the radio on.

Even cartoon theme songs — anything that brings you back to that time. It jogs your memory and reconnects you with why you started doing music in the first place. So whenever I get writer’s block, that’s what I do. It’s a great trick for any songwriter going through it.

What’s your creative process like these days when you’re starting an idea from scratch?

For me, it’s always about the feeling. I see music in a cinematic way, like a movie. When I hear a beat, the first thing I do in a session is paint a scene. I’ll say something like, “Guys, this feels like summertime on a yacht, pretty girls, blue skies,” and everyone in the room is like, “Yeah, it does feel like that.”

From there, I just start throwing out ideas. I lead with the feeling and the vision, and I try not to overthink it. I’ll close my eyes, and whatever I see, I start writing from that. I pay close attention to the small details in what I’m envisioning, like a movie director setting up a shot.

In a film, the camera might slowly pan to the rearview mirror and show a girl in the backseat, staring out the window, looking hurt. That kind of subtle detail. I write songs the way a director shoots a scene — if that makes sense.

Do you have any creative routines before starting a session? Like, do you listen to music to get in the zone, or treat it more like a 9-to-5?

A lot of artists, songwriters, and producers get it twisted sometimes. Sure, we’re having fun and catching a vibe, but it’s still a job. It’s also a sport. There’s competition, and you can’t afford to slack off. You have to treat it like a job, even while being creative. For me, I do a little of both, depending on the session. When I’m working on my own stuff, I have a routine — I like to meditate, sip some tea, work out, and just start my day right. I’ll listen to songs from my childhood. Then when I go to the studio, I’m relaxed and I let the music guide me. I never go in thinking, “I’m gonna make this kind of song today.” I just let it flow.

But when I’m writing for someone else, it’s a whole different approach. I study — I’ll go to their Instagram, read the comments, watch how their friends interact with them. I’ll go back and listen to music they made 10 years ago. I’ll watch interviews. I really try to embody who they are. So when I walk into the session, I already know what they need, what they’re missing, and how I can help level them up. I’m very strategic when it comes to working with other artists — it’s two completely different mindsets depending on the session.