Feature Image Credit: Joey Edehomon
KOLO’s Still Making Beats Like He Was in the Basement
By the time we start talking, KOLO has probably gone viral again. That’s become just another Tuesday. At this exact moment in time, a new beat is circulating around TikTok, Instagram, and YouTube. It’s like the kind of sleeper hit finally finding its audience, an overlooked record that has been rediscovered by a new generation of listeners. But, what those breakout moments don’t reveal is that the man behind them spends far more time thinking about creativity, fulfillment, and longevity than he does about fame.
Born in Japan, raised in Belgium and Nigeria, and later settled in Atlanta, Georgia, it’s perhaps unsurprising that he would become an artist whose creative instincts rarely recognize borders. The videos tell you plenty about his curiosity. They reveal a producer with an ear for appreciating music that is missed by other people and an intuition necessary to connect sounds across cultures, genres, and generations. But they’re only a glimpse of the artist who is behind them.
The algorithm rewards temporary moments. KOLO wants to build something of permanence. In an evolving hip-hop conversation, one thing becomes clear: the numbers are a byproduct of the work; it’s not the mission. As a recording artist and producer known for his lyrical prowess and exceptional production skills, he opens up about the difference between attention-grabbing and forming a real bond with the audience, the quiet fear of losing his creativity, and the belief that success means very little if it becomes the foundation of your life rather than an addition to it. The videos tell one story. The conversation tells another.
MCLAUDE: Most people first discovered you through your sample-flip content, but what’s something important about Kolo the artist that those videos completely fail to capture?
KOLO: I would say those videos capture a lot about my joy for making music and show my passion for music discovery in general, but they are only a small glance into who I am. I feel like the music I put out gets a lot deeper into who I am as a person. I have deep fears about whether I’ll be who I want to be in this. I have an enormous desire to overcome in life, but especially in my music journey. And I struggle with the everyday stresses of being an independent musician, whether it be emotionally, physically, etc. There’s definitely a lot more to who I am.
MCLAUDE: “Lonely Dreams” reimagines Laghonia’s “My Love” through the lens of ambition, sacrifice, and the isolation that can come with pursuing your goals. As you prepared to release the record, what emotions or ideas were most important for you to convey, and what are you most excited for listeners to experience when they hear it for the first time?
KOLO: I was writing a song that is closely connected to a specific time in my life. The basement era was one of intense focus and self-imposed isolation. On the journey to being our highest selves, we make certain sacrifices. The sacrifices brought pain, but they also created the fuel that has pushed me forward. I hope people hear the desire to be more and the yearning that comes with putting your all into something.
MCLAUDE: With “Lonely Dreams” arriving this month, what does this release represent for you creatively? Is it a glimpse into the next chapter of your music, or is it meant to stand on its own?
KOLO: It’s definitely a bit of both. It stands on its own as a testament of the basement era, even with the vintage sample. It also ushers in a new era. One that reflects on what was so that I have a better understanding of where I’m going.
MCLAUDE: At what point did you realize that going viral and building a lasting audience are two very different things?
KOLO: I think you might have a little instinct of that from the beginning, but the more you continue to do numbers, you see large growth, but not entirely in the way you expected. The growth I was experiencing was real because my reach was expanding and, on a general level, people knew me as the rapper that sampled music from everywhere in the world. But that doesn’t automatically lead to a large increase in streams or people being entirely invested in your artistry. I think I fully noticed that about a year into my viral content series.
MCLAUDE: You’ve generated hundreds of millions of views online. Has there ever been a moment where the numbers looked incredible on paper, but the reality felt different behind the scenes?
KOLO: Of course. Social media is powerful in its own way, and it’s created a life in which I get to make money doing what I love. So the benefits are real, but there’s so much more to it. Having a well-performing post does not always translate fully in real life. So on paper you could be doing numbers on a viral piece of content, but that alone doesn’t make you an artist with an established fanbase. The same way that an artist can have a lot of buzz or be talked about incessantly but can go on tour and struggle to sell tickets.
MCLAUDE: What’s the biggest misconception people have about artists who built their audience through social media?
KOLO: That it’s easy to do. Because the internet increased access to everything and everyone, people think that it’s easy to put something on social media and everything will click. In reality, it’s obviously not that simple. Building an audience through social media takes a lot of hard work and consistency because a lot of these moments or virality are not mistakes. Sometimes you learn trends over time. Sometimes you stumble upon something because you kept on trying things. The internet is a tool, but it’s a very competitive space. Everyone is trying to stand out. So as much as it’s expanded our ‘possible’ reach, it cannot guarantee you eyes, attention, or momentum.
MCLAUDE: If TikTok, Instagram Reels, and YouTube Shorts disappeared tomorrow, what parts of your career would survive?
KOLO: I would still be able to make music, which is the most important thing. I’ve connected with people on a social media level, so instead I would take that model and do it in person, creating experiences in which people see me create unique songs and beats. I would be wherever people are trying to find new music and art. In this day and age, it just so happens to be the internet. The medium helps, but your tools and skill set determine your trajectory.
MCLAUDE: Is there a moment where you consciously chose long-term artistic growth over a short-term viral opportunity?
KOLO: Honestly, not a single moment, but continuously over my career. I think there are times even in my career right now where I consciously know what will make for a more “viral” video, but a lot of my music that I put out isn’t in line with that material. You have to take the risk continuously to not just chase a viral moment because then you create the possibility of creating in an even bigger way.
MCLAUDE: What’s the biggest lie the internet tells young musicians about success?
KOLO: That success will fulfill you. Sure, it can bring some happy moments and alleviate some stresses. We all want success, so it’s natural to chase it. But that alone can’t bring fulfillment. Success must be in addition to your life, not the foundation of it.
MCLAUDE: You were born in Japan, raised between Belgium and Nigeria, and later spent formative years in Atlanta. When people hear that story, what assumptions do they make that are completely wrong?
KOLO: They assume that I speak multiple languages. I don’t speak French or Japanese. I’m half fluent in a Nigerian language called Hausa, but I’m not very proficient at all. I’m hoping to change that, and even if I didn’t learn languages, all those places had/have a significant impact on the person I am today.
MCLAUDE: Of all the places you’ve lived, which one still shows up in your music in ways listeners might not immediately recognize?
KOLO: To be honest, my music taste can be pretty sporadic. Obviously America has had the biggest influence because I’ve spent the most time here, but I think they all inform my subconscious curiosity about music globally.
MCLAUDE: Have you ever felt like your global background gave you a unique perspective, or has it sometimes made you feel like an outsider looking in?
KOLO: Both. I think it’s natural to feel like some sort of an outsider at some point in life. Growing up as an immigrant, you always have a phase of being in the grey area. Feeling a little like everybody else but also feeling like you can’t relate to people around you because of your unique upbringing. As you grow into yourself, you learn to see it more as positive than negative, and the positive is that you subconsciously embrace other people from all different cultures and walks of life. Definitely an overall positive.
MCLAUDE: What’s a lesson from one of those cultures that has directly shaped how you navigate the music industry?
KOLO: I don’t think there’s a direct lesson from any one culture I can reference. I think if anything, you learn that there is power in learning from those that are different from you. And there’s a great camaraderie that comes in celebrating our differences. It makes everything better.
MCLAUDE: As someone who works both as a producer and an artist, do you hear music differently than most listeners?
KOLO: I think I do. I’m the person that listens to music sometimes, and in my head I’m saying, “that snare is 1dB too loud!!” Often I can enjoy music for what it is, but I hear a lot. The background vocals, the reverb choices, the percussion tucked in the back. I love everything about music, so I love to understand and analyze why I love a certain song.
MCLAUDE: What’s something listeners think matters in a song that actually doesn’t matter very much?
KOLO: I actually think everything matters. It just doesn’t matter all the time, and it’s more context-dependent. But every detail matters in general. A different kick could change the feeling of the song. Using or not using auto tune can change the feeling of the song. All these artistic decisions matter.
MCLAUDE: On the flip side, what’s something listeners rarely notice that can completely change the impact of a record?
KOLO: The placement of a drum sound. Sometimes you can place the hi-hat a little early or a little late. Same with the snare. That little difference can really change the feeling of a song and make it feel more human/laid back or more urgent.
MCLAUDE: You’ve worked behind the scenes as well as in front of the spotlight. What’s something about the music industry that became obvious once you saw both sides?
KOLO: Hard work and consistency. Those two things are non-negotiable. Two qualities that can take you a long way because it’s a marathon for everyone involved in this industry.
MCLAUDE: You’ve gotten co-signs from people across different corners of entertainment, from Idris Elba and Russ to Eric Andre, Gary Vee, Genius, and J.R. Rotem. What did that validation actually change for you, if anything?
KOLO: There were some cool moments. Specifically meeting up with Idris Elba to record the video for my song “Pendulum” was special. First time in London and obviously a big fan of him as an actor but also impressed with his multi-faceted creativity. I’m grateful to get recognition from people I love. I don’t think I need validation to feel confident as an artist, but nice words from people you admire will always fill me with gratitude.
MCLAUDE: Last year, you contributed production to BK’s Diamantes, Lágrimas e Rostos para Esquecer. What did that experience teach you about your own ambitions as an artist?
KOLO: It taught me how deeply vintage music from a specific country can resonate with people. The way people emotionally connect with Evihna’s words from her son, “Esperar Pra Ver” is pretty amazing. The way BK and his team put the record together was so intentional. I definitely plan to be increasingly more intentional with my future material.
MCLAUDE: What’s the closest you’ve ever come to walking away from music altogether?
KOLO: There was a time like that in about October 2018. I tell that story of going to music conferences and being excited to show my music, just to end the conference week extremely sad and pessimistic about how hard it’s going to be to make it in this industry. That would be the day I would have quit because I finally started to wonder, “maybe this isn’t for me.” Glad I could keep pushing through cause I haven’t had a moment like that since.
MCLAUDE: What’s a fear about your career that never fully disappears, no matter how much progress you make?
KOLO: The fear of losing creativity. It’s a quiet fear in the back of my mind that one day I’ll try to make beats and I just won’t have it anymore. Thankfully, it’s only a quiet fear, and most times my confidence is resolute. Over time and extended evidence, it becomes harder for this fear to materialize..
MCLAUDE: What’s something you’ve changed your mind about over the last few years?
KOLO: My need to be so tunnel-visioned that I don’t stop to appreciate life. I used to think being so hyper focused on nothing else but music was good, but it has some negatives. You often aren’t in the present (always something to chase so you don’t appreciate it now) and you don’t live a fuller life (which in turns lead to great music). My balance will always tilt towards extreme hard work but that doesn’t mean I shouldn’t be present and enjoy their journey.
MCLAUDE: What’s a question nobody asks you that they probably should?
KOLO: What do you think about the most in your quiet times?
MCLAUDE: If your audience stopped caring about streams, followers, and numbers tomorrow, what would you want them to remember about your work?
KOLO: That I was someone that put my all into a craft and dedicated my life, and in that I was fulfilled.
MCLAUDE: Imagine we do this interview again five years from now. What would have to happen between now and then for you to feel like you fully lived up to your potential?
KOLO: I believe I will have a home to call my own, have gone on multiple world tours, have billboard-certified hits, be at peace with myself, still be making beats like I was in the basement, a few directorial credits to my name, and would have made a philanthropic/mentorship difference for young and impoverished people globally.
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Photographer and Editor/Founder of AllMusicMagazine.com. My love of live music has taken me to incredible experiences with the top bands of all time in stadium shows to the smallest venues with equally inspiring musicians. Using the medium of photography and my publication, these memories will last forever.