Exclusive Interview
Nov 7, 2024
Produced by: Andrej Aroch
Edited by: Rudy Manager & Andrej Aroch
Hitkidd – “Understanding the energy in the studio is key”
In an exclusive interview with Studio Talks, we sit down with the legendary Memphis producer HitKidd. Known for his powerful beats and collaborations with top artists like A$AP Rocky, Megan Thee Stallion, and Lil Uzi Vert, HitKidd shares insights into his early beginnings and creative process, as well as his work with A$AP Rocky on the new single "Tailor Swif" and his album Renegade. Join us as we delve into the mind of this highly influential producer in the game, exploring his journey from the studio to becoming an established figure in the industry. The interview was conducted by Andrej Aroch and recorded on October 24, 2024.
Can you share how you first became interested in music and how that led you into music production?
I was basically born into it. My dad does music production and recording—he does everything, really. From the time I was born, I was probably in the studio. But I kind of found my own way with the help of my neighbor, whose brother had FL Studio. Discovering that was huge for me because it gave me a way to produce on my own, to have my own DAW system. It was easier for me to work with compared to what my dad had in his studio. He wasn’t trying to push me into becoming a producer or anything, but since I already had an interest, finding FL Studio and getting to work with it is really what got me started.
Would you say your dad was a mentor who helped you improve, or was there a different process you followed to develop your skills back then?
My dad was definitely an influence, but I also spent a lot of time on SoundClick. I watched other producers there—guys like Lex Luger and Southside, and Three 6 Mafia. They were the top three people I looked up to outside of my dad. I’d study how they put things together, how they sequenced everything, trying to figure out those techniques for myself.
When you start producing a new beat from scratch, do you have a specific formula you follow?
It’s kind of a fun process. Sometimes I’ll just find a random sound by clicking around and running my fingers across the keyboard to see if I really like it or if I’m in the mood to use it. If I like the sound, I start with it, but I usually begin with melodies in general. Once I find a sound I like, I play around with it on the keyboard, and if it clicks, I go from there. I never start with the drum patterns first, though.
Are there any new technology tools or techniques you’re currently experimenting with to push your production style further?
I want to get into using AI for creating reference tracks, but I haven’t quite found the right approach. I think some styles I was interested in have been restricted, though my friend has had a chance to work with them. Still, it’s something I’d like to explore. Beyond that, I want to get back to producing with live instruments myself. I don’t know how to play an instrument yet, but that’s something I’d like to learn.
Do you think AI will change how music production is done in the coming years?
Yeah, a little bit. I think it could potentially devalue music, in a sense. It might not feel the same. But like any major shift in history, I think over time people will move away from AI in music and come back to more traditional methods. For now, though, it’s definitely useful and has a lot of potential.
I’d like to talk about your album Renegade. What inspired you to focus on elevating female rappers from Memphis on this project? Was it always your plan to spotlight these particular artists, or did something lead you to it?
I just felt there was something missing in the music industry, especially with not many women from Memphis making it big. This idea actually started for me back in 2019, but it really took off around 2021. I wanted to fill that gap with women doing gangsta rap, with a hard, gritty sound. A lot of what was out there felt a bit too “princessy” or pretty—I wanted something more raw. And honestly, what better place to find that sound than Memphis? So, I started right here at home with a few women I already knew. I was familiar with two of them already. I reached out, and we set a day to get in the studio. From there, things just took off. It went crazy from that point forward!
Do you approach your production differently when working on your own albums compared to when you're producing for specific artists?
Yes, a little bit. When I’m working with other artists, I’m producing, but I’m more heavily involved in the post-production for my own projects. I like to take charge because I don’t want to have to go back and track down an artist later if something isn’t right. If necessary, I would, but a lot of artists are just going through the motions when they’re making songs and don’t always pay attention to the details. So, while I still produce as I should, I don’t dive as deeply into their work as I do with my own.
With my projects, if I hear an ad-lib that shouldn’t be there or if the vocals are too loud, I handle all of that myself. I definitely take a different approach with my stuff compared to what I do for other artists. It also depends on the artist; some give me the creative freedom to go as in-depth as I want.
When you’re in a studio session working directly with artists, what do you think is the most important aspect for producers to keep in mind to foster a creative environment?
Understanding the energy in the room is key. You need to have the ability to read the atmosphere, especially when you're working with the engineer, the artist, and anyone else involved, like writers. It’s important to study the artists you’re working with—understand what they want to achieve and what they were working on before you joined the session. Look at the type of music they’ve been making and adapt your approach accordingly.
You want to mix things up based on that understanding when you're in the studio. Ultimately, the big thing is the energy. I believe you can create just about anything or navigate any situation if you understand the mood the artist is in. That’s the number one priority—energy is definitely something to consider when approaching a studio session.
One of your newer major placements is with A$AP Rocky on his single "Tailor Swif." Can you share how this track came together?
I want to say it was November 2021 when he DMed me. The day after, I went to New York. I spent a couple of days there before we even met up. Eventually, I went to his place, and he was freestyling over a lot of beats. One of them was the "Tailor Swif" beat. I was sitting on the couch with my phone out, recording with the voice memo app.
The engineer, Zack Fogarty, pulled up, and we ended up recording some of the stuff we had done over the phone on the actual beat. I think we finished about 80% of that song that day. Afterward, he shot the video when he was out of the country. It was actually during the war, which made it crazy for him to shoot such a wild video at that time. But it turned out to be dope—one of the craziest videos I’ve ever seen, if not video of the century!
Unfortunately, the track leaked, and I was worried he might never drop it. I think I asked him about it a few times, but I hadn’t seen him again after that. I even tried to put it out myself, thinking, “Hey, since you’re not using it, let me have it!” I felt there was no way he could waste such a great video.
Then, a few months later, he told me he was going to drop it, and I was like, “No way!” I couldn’t believe it, especially after what he was saying about the leaks. But he put a lot of work into the song and especially the video, so I was really excited. That was actually the second song I recorded with him that night, so it was cool to see everything come together—from meeting him to creating the song the same day to then filming that incredible video.
What advice would you give to up-and-coming producers trying to build a name for themselves and start working with artists?
I know I say this everywhere, but find an artist you resonate with and make sure you're on the same page regarding how you want to work and approach music. Once you establish that connection, focus on building your brand in addition to your music. You need to stand out—don’t just send beats.
Think about what your brand looks like. It should represent you. People don’t just see me as a producer; they see me as Hitkidd. You have to stamp yourself as a brand to gain respect as both a brand and a producer. That’s how you build your name and reputation.
When you collaborate with others, it’s all about building your resume. Every artist you work with should feel like you’re creating something magical together. So definitely find an artist, but also work on your brand independently of them. I’m not the type to think of myself as just “the producer.” That’s how you know you’ve established your brand—when people start recognizing you as just yourself, rather than just another producer.
What are your long-term plans? Where do you see yourself in five to ten years?
I see myself becoming a mogul, like 50 Cent, Kanye, Master P, or Jay-Z—a real mogul. I want to elevate my brand and expand it into other ventures outside of music, like clothing, liquor, shoes, and even nonprofits and foundations.
My goal is to make it all look cool and interesting, not just going through the motions. I want to inspire people, especially those coming out of Memphis, by showing them what’s possible. So, yeah, I see myself as a mogul, and I'm figuring it all out along the way.
Follow Hitkidd on Instagram: @hitkidd
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