Bianca Censori has caused quite a stir thanks to her provocative outfits. Whenever she goes out with Kanye West, you can be sure that she is wearing something truly unique. Overall, these outfits are typically extremely revealing. Furthermore, it has gotten to the point where some people are accusing Ye of parading her around and stripping her of her agency. At this stage, it is impossible to say what is going on. We don’t live their lives. However, Censori appears to be doing just fine as she continues to support her husband amid his rollout for Vultures.
Throughout this rollout, the two have been seen out and about in Los Angeles. For instance, according to TMZ, the two were attending some business meetings on Monday. During this run, Ye could be seen wearing a black hoodie and black pants. Meanwhile, Censori had a much more colorful outfit. For instance, she had a faded pink tube top that was extremely tight and revealing. Moreover, she had on some neon green leggings that could be characterized as low-rise.
LOS ANGELES, CA – MAY 13: Kanye West and Bianca Censori are seen on May 13, 2023 in Los Angeles, California. (Photo by Rachpoot/Bauer-Griffin/GC Images)
This is all happening amid the rollout for Vultures 2. The album was supposed to drop on March 8th but it has since been delayed to May 3rd. Overall, it seems like Ye wants to perfect this project and make sure it is the best it can be. However, fans are getting antsy, and it still remains to be seen if the new release date will be respected.
We’re not permitted to post the images directly on HotNewHipHop, but if you’d like to see them, you can do so by clicking the Via link below. Let us know what you think of Bianca’s latest outfit, in the comments section down below. Additionally, stay tuned to HNHH for the latest news and updates from around the music world. We will continue to keep you informed on all of your favorite artists and their upcoming projects.
Kanye West has a lot of unreleased songs in his arsenal. Overall, one of the most beloved unreleased Kanye tracks is “New Body.” This is a song that was supposedly going to drop back in 2018. Moreover, it was going to come with a verse from Nicki Minaj. All of these years later, fans still fantasize about what would happen if this track made its way to streaming services. With Vultures 2 on the horizon, there have been rumors that “New Body” could very well be dropping. However, there are no confirmations that this is true. Instead, fans have been forced to hope and pray that things will go their way.
In the midst of all of this, Kanye is looking to sue YesJulz for $8 million. He has accused her of breaking her NDA, and it has led to a huge fallout on social media. YesJulz has begun leaking texts, and her latest leak speaks directly to the “New Body” hype. As you will see down below, Julz admits to sending “New Body” to both Ice Spice and Doja Cat. Of course, Nicki Minaj is currently refusing to clear her verse, and it seems like Ye wanted to hear other woman artists on it. Whether or not either artist actually sent back a verse, is unknown.
As it pertains to Vultures 2, the album was supposed to come out on March 8th. Now, however, a date of May 3rd is being floated around. It isn’t an ideal situation for all of the fans out there, but such is a life in the Kanye West universe. Delayed albums are par for the course, and you just have to learn to deal with it.
Let us know what you think about all of this, in the comments section down below. Are you excited to hear “New Body” in at least some sort of capacity? Or is the hype dead? Additionally, stay tuned to HNHH for the latest news and updates from around the music world. We will continue to keep you informed on your favorite artists and all of their upcoming projects.
For his song “Easy Dub,” which features Baby Drill from Mason’s latest album, 9, he took a few creative liberties with its official visualizer. Teaming up with director Michael Janey and VFX artist Liam Archibald, Mason puts a gritty spin on the beloved video game series The Sims.
As Mason raps: “N****s is hatin’, that’s part of the growth / Ain’t no complainin’, that’s part of the oath / No, we don’t know where your pack went / Ain’t no arrangement as far as I know / We ain’t gon’ play with this sh*t / I got the power to stay in this b*tch / I got a powerful K in the whip,” his animated mascot carries out the goon-like behaviors outlined in the bars.
The visualizer follows the fictional avatars of Mason and Drill on their wild ridged night. Well, that’s one way to circumvent YouTube’s community guidelines.
Watch Kenny Mason’s official visualizer for “Easy Dub” featuring Baby Drill above.
9 is out now via RCA Records. Find more information here.
Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
The video posted to Instagram caused an uproar online given Cardi’s past advocacy for women’s rights. One user on TikTok found the comments so appealing that they clapped back with a response clip. However, Cardi isn’t backing down. After gaining wind of the user’s disgust, Cardi stitched the video doubling down on her take specifically “going 50-50” in a relationship.
“I didn’t say women have to go 50-50 with a man,” she said. “And let me make this really clear, I wasn’t talking about my situation. Fortunately and I’m very grateful me and Offset we are practically part of the one percent. We don’t have to [follow regular relationship] rules or have regular bill sh*t that a lot of people experience because we are both rich. We both bought our home in Atlanta. We both went 50-50.”
After mentioning how her parents managed their finances during struggling times, Cardi closed with advice to couples in a similar situation. “If you love somebody and you are in a situation you both should work hard together,” she said. “Would you leave somebody that you love because they are not financial stable? But you know that you guys can build and grow?”
Some users agreed with Cardi’s sentiments. However, it is quite ironic coming from the rapper whose song “WAP” popularized the phrase, “Broke boys don’t deserve p*ssy.”
Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
Over the weekend, Rolling Loud Los Angeles took place and some of the biggest names in rap gathered in California. Kanye West, Nicki Minaj, Post Malone, Future, and Metro Boomin served as the headliners. As you’d expect there were guests abound. During West’s listening party Freddie Gibbs, YG, Rich Homie Quan, Quavo, and more joined him on stage. Later in the festival YG was joined by Saweetie during his set. Sexyy Red performed her own set before appearing during Chief Keef’s Sunday slot. And Future closed the festival by debuting new material he has with Playboi Carti and Travis Scott. But one of the guests receiving quite a bit of attention came out during Sukihana’s set.
The provocative rapper and social media figure took the stage on Sunday. The packed crowd in attendance for her performance got something they weren’t expecting when she brought out a special guest. The special guest she delivered was OJ Da Juiceman. It was particularly surprising that he appeared as the rapper was only very recently released from police custody. He was arrested in Georgia earlier this month after a brief chase with police. Following a search of his car he was hit with drug and gun charges. Due to his recent release his Rolling Loud appearance came as even more of a surprise than most special guests. Check out the clip of him on stage below.
OJ and Sukihana are fresh off the release of their new song together “Selling Coochie.” She reacted to his arrest with a tweet referencing how the new song was performing. “Me and OJ is #3 on iTunes hip hop and he just got locked up this so hurtful we supposed to be celebrating this moment” her post read.
What do you think of Sukihana bringing OJ Da Juiceman out during her set at Rolling Loud shortly after he was released from prison? Do you think he was the most surprising guest at the festival? Let us know in the comment section below.
If you were all dolled up and ready for Gag City to breeze through the Big Easy, you’re out of luck.
Tonight (March 18), Nicki Minaj fans based in the greater New Orleans area had their hearts set on seeing her live. However, a post shared on the Smoothie King Center’s official Instagram page revealed that her Pink Friday 2 World Tour stop for this evening had been postponed allegedly due to an undisclosed medical issue.
“Due to doctor’s orders, Nicki Minaj must reschedule her NOLA show tonight,” read the note. “As Nicki is still sick, our team does not want to run the risk of getting others sick, and Nicki would not be able to give NOLA the show they deserve. We are working diligently to find a new date, so please hold onto your tickets, and we will inform you all soon.”
With just hours to spare before the performance was scheduled to kick off, ticketholders were not thrilled. In fact, they’ve begun airing their grievances in the post’s comment section.
“She ain’t just get sick a few hours ago. This should’ve been announced this morning or yesterday. This is extremely last minute, and I’m very frustrated,” one user wrote.
Instagram
“That’s messed up 4 hours before the event,” wrote another.
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“Nobody is mad because she canceled. It’s the fact they waited four hours before the event to tell us officially,” another chimed in.
Instagram
Fans across X (formerly Twitter) defended the “Press Play” rapper, pointing out that Nicki was fighting back a sickness during her headlining set at 2024 Rolling Loud California on Friday, March 15. Nicki hasn’t issued a statement. However, ticketholders are advised to check their email regarding information for the rescheduled date.
You Mfks are weird af..yall talkin like @NICKIMINAJ can control when she gets sick . she still performed at rolling loud in THE COLD when she already felt fucking sick. just because somebody else performs while sick or whatever doesn’t mean she has 2. She also has a baby
just watched @NICKIMINAJ‘s full set at rolling loud & my girl absolutely ΚΙLLED it despite being sick with sore throat. like sick where? breath control, beauty & energy on . the mic was ON & she spit every word. so proud of her!! pic.twitter.com/Xrs4Sh7IKZ
Today marks the 10th anniversary of Freddie Gibbs and Madlib’s first collaborative studio album,Piñata. It was released on March 18, 2014 via Madlib Invazion. The album was preceded by three EP’s that included lead singles “Thuggin’,” “Shame,” and “Deeper.” Although Piñata saw Freddie Gibbs and Madlib as an unlikely pairing, they skillfully blended Freddie’s gangsta rap edge with Madlib’s vintage underground production. Thematically, the album plays like a “gangster blaxploitation film on wax,” as explained by Gibbs during its initial rollout.
Its stacked list of guest features, established hip-hop legends and then-newcomers, joined Freddie and Madlib, resulting in an all-star lineup. Standout appearances included Danny Brown, Raekwon, Domo Genesis, Earl Sweatshirt, Ab-Soul, Meechy Darko, and Mac Miller. A certified classic, Piñata is widely regarded as Freddie Gibbs’s magnum opus and one of Madlib’s greatest full-length collaborations. Today, we are revisiting Piñata for its 10th anniversary.
Piñata Propelled Freddie Gibbs To Hip Hop’s Forefront
Prior to Piñata, Freddie Gibbs was already a rising name in the hip-hop scene. He appeared on XXL’s Freshman cover in 2010. Gibbs also signed with Jeezy’s CTE label, releasing multiple well-received mixtapes. Freddie soon left CTE to start his own ESGN label following a disagreement with Jeezy that turned public. In 2013, he released his debut album, ESGN.
But even as he shaped his underground legend, vengeance remained on his mind after he and Jeezy fell out. Their beef continued well after Gibbs’ departure, resulting in “Real,” a cutthroat diss track that remains a standout on Piñata. ESGN and Freddie’s earlier mixtapes primarily consisted of trap production, so a full-length collaboration with Madlib seemed like a left-field crossover. In 2014, Gibbs told Rappcats, “It was a challenge rapping over beats with chops and changes as unpredictable as the man who created them.” Luckily, the two gelled their sounds together on Piñata so perfectly that it changed the trajectory of both of their careers.
From the cold-hearted “Thuggin” to the vivid “Deeper” and “Shame,” Piñata saw Freddie embracing his lyrical strengths over a sound that he had not yet explored. Both “Knicks” and “Lakers” recall his journey while “Harold’s” is easily the hardest rap song about chicken wings and fries. Gibbs shines amongst his contemporaries and OG’s throughout the album, especially on its closing posse cut. Ultimately, Piñata propelled Freddie Gibbs to hip-hop’s forefront, putting him in the conversation of best lyricists favored by rap purists and publications alike.
A New Phase in Madlib’s Career
In addition to positioning Freddie Gibbs within the stratosphere of hip hop’s greatest artists, Piñata also marked a new phase in Madlib’s career. By 2014, the legendary producer had already amassed a discography of some of hip hop’s greatest collaborations, including his work with Lootpack, J Dilla, Talib Kweli, Strong Arm Steady, and of course, Madvillainy with MF DOOM. He had also ventured into jazz and other genres with his instrumental tapes and released rap albums under the Quasimoto alias.
By working with Freddie Gibbs, Madlib unlocked a new vein of hip-hop that he had not yet tapped into. His vintage, soulful, and off-kilter production sounded fresher than ever with the help of Gibbs and his guests. Piñata set up Madlib to make sizable contributions to hip hop’s new wave of emerging underground talent. He went on to produce for the likes of Your Old Droog, Wiki, Mach-Hommy, and Westside Gunn. The album also expanded his reach beyond the underground, landing credits on albums from Kanye West, Tyler, The Creator and Anderson .Paak.
Piñata Set The Bar For Freddie Gibbs and Madlib’s Future Works
Ten years later, Piñata has a legacy of its own. It set the bar incredibly high for Freddie Gibbs and Madlib’s future works, especially their subsequent collaborations. Though Freddie’s efforts with The Alchemist naturally garnered comparisons to his projects with Madlib, Pinata is the epitome of his peak creativity. On the other hand, the album joined Madlib’s most legendary collabs like Madvillainy and Champion Sound as an indisputable classic. It also set the stage for his future works with Blu, MED, Oh No, and Black Star. Even more than their future works as individuals, Piñata became the standard for Freddie Gibbs and Madlib’s future collaborations as a duo.
With an even larger following and major label support, they unleashed Bandana in 2019 via RCA. It was a worthy successor to their debut, displaying that Gibbs and Madlib are strongest together. Piñata remains a landmark release in hip hop’s modern era, with Freddie Gibbs and Madlib celebrating its 10th anniversary with “Teñata” shows in Boston, New York, and Chicago. Hopefully, they continue their collaborative winning streak with Montana, the supposed third and final album in a trilogy.
Back in February, J. Cole used a burner account, @mightdelete_26 to tease a new song, presumably from his long-awaited seventh studio album The Fall Off. Buried amid a mid-90s-esque, ‘zine-style vlog, Cole secreted away a snippet of the track, which featured a new direction for him sonically. It looks like he’s going to continue to use the account to preview new music despite its handle, as he returned with another new post today.
Once again, the post included grainy, low-fi footage interspersing behind-the-scenes vignettes with ’90s CD-ROM UI graphics, Cole’s workout, skate-video fisheye lenses, and infomercial-style advertising. This time, he snuck a couple of snippets into the video, one a mellow banger with fellow Dreamville rapper Bas and the other, with an aggressive beat. At the end, an infomercial graphic gives out “Lil Cole’s burner” phone number next to a spinning Nokia brick phone (indestructible!) as a clip of The Diplomats’ 2002 Diplomatic Immunity track “I’m Ready” plays in the background. Check the video out below.
Fans have been impatiently waiting for The Fall Off since Cole first teased its existence at the end of his fifth album, KOD. Since then, he’s released another album, The Off-Season, and shared his “to-do list” revealing a loose timeline of when fans can expect The Fall Off. However, he still has yet to provide a proper release date, preferring to bait fans with teasers and release rumors. But there are signs its coming; while on tour with Drake, J. Cole said the album is nearly nearly done, telling concertgoers, “Right now, I’m at the tail end of working on this album.”
Over the weekend a bizarre story emerged online. Claims circulated that Bruno Mars owed a shocking amount of money in gambling debts. The report claimed that the “That’s What I Like” singer owed MGM Resorts a debt of nearly $50 million. If the story sounds farfetched, that’s apparently because it isn’t true. The casino giant came to the singers defense in a newly released statement denying the rumors. I
n a statement they denied the claims while also plugging his upcoming performances. “We’re proud of our relationship with Bruno Mars, one of the world’s most thrilling and dynamic performers. From his shows at Dolby Live at Park MGM to the new Pinky Ring lounge at Bellagio, Bruno’s brand of entertainment attracts visitors from around the globe. MGM and Bruno’s partnership is longstanding and rooted in mutual respect. Any speculation otherwise is completely false; he has no debt with MGM. Together, we are excited to continue creating unforgettable experiences for our guests, the company said. Bruno Mars has an upcoming residency at the resort.
Last month, Bruno Mars was in Las Vegas alongside dozens of other celebrities for the Super Bowl. But he wasn’t just there to enjoy the big game or even to perform. Instead, he opened up a Cocktail Bar called The Pinky Ring. It serves as both a bar and a jazz lounge inside the Bellagio. It opened up with a stunning lineup including Lady Gaga, Janelle Monae, and T-Pain in attendance.
It’s been 8 years since Bruno Mars dropped his last solo album 24k Magic. He followed that up in 2021 when he formed Silk Sonic alongside Anderson .Paak. The pair released their debut album An Evening With Silk Sonic which spawned the mega-hit “Leave The Door Open.” What do you think of the rumor about Bruno Mars owing $50 million in gambling debt? How do you think the rumor started when it was so swiftly debunked? Let us know in the comment section below.
Even though their flagship artist happens to be the most streamed artist on Earth, OVO Sound has benefited from obscurity. PartyNextDoor, Roy Woods, and even DVSN emerged from the shadows of the Toronto area, helping fortify and develop the distinctly eerie R&B sound that emerged from the city in the past decade.
Although it’s no secret that the OVO sound largely caters to women, Naomi Sharon became the first woman signed to the label. The futuristic R&B star hails from Rotterdam, Netherlands, where she got her start in theatre. However, Sharon became a breath of fresh air in R&B since the debut of singles like “Celestial” and “Another Life.”
Much like how PartyNextDoor helped expand Toronto’s R&B sound, and Roy Woods’ intrinsic ability to fuse Caribbean production into his music helped usher in a new sound of pop music, Obsidian felt like it strengthened another era in OVO’s history, one where Drake leaped out of his comfort zone to release, Honestly, Nevermind. As Naomi explains, it was more of a coincidence than a deliberate sonic in-house decision. This is largely due to the contributions that her producers, Beau Nox and Alex Lustig, had on Honestly, Nevermind.
Like Sharon, Nox and Lustig are both European with fundamental understandings of the electronic genre overseas. However, their expertise ultimately helped Naomi Sharon create a body of work that feels timeless. Obsidian strikes deep emotional resonance through her heavenly vocals and trance-like production choices. A primary influence was the sounds that shaped her growing up. Her father was a DJ who spun plenty of deep house. At the same time, her household was filled with plenty of jazz and global sounds, which formed her foundation. These sounds evoke a warm sensation of nostalgia, a delicate emotion she describes as equally complicated and beautiful.
“I grew up listening to Sting, a lot of jazz, and a lot of world music, so I try to put everything that I have from that era of my life into my music because it gives me this nostalgic feeling which is very important for me when I make music,” Naomi Sharon told HotNewHipHop in February. “Because whenever I listen to music from back then, it does a lot for me. And where nowadays, we have a lot of songs that kind of sound the same. No disrespect, but I think that people hold this like formula, and they want to make music with that only in mind, you know, instead of really creating something. You can craft something and you can create something and I love to create something.”
As Sharon prepares to kick off the 7-city Obsidian Live tour, we caught up with the OVO songstress to dive into her latest project, spirituality, 40’s mentorship, and why she chose to perform in smaller venues on her first-ever headlining tour.
This interview has been edited and condensed for clarity.
HotNewHipHop:What about the production on Obsidian made you open up emotionally in such a way? The songwriting and vocals are very intimate yet the production itself is very inviting.
Naomi Sharon: I think, you know, whenever I make songs I create it for people that hold that space as well. You know, like a vulnerable, safe setting where we can talk about life. And so the people that were on the production, they’re my friends, and they know what I like, I know what they like, and we have our own kind of like world or something. We tried to make something timeless, minimalistic. And I think that by doing that, you have a lot of room for vocals and all these important things. I mean, at least to me to build on, and, you know, to create.
How does having that group of trusted collaborators around you help you strike a balance between indulging in this safe space you created emotionally and delivering songs that feel a bit more danceable?
Like I said, when you have a safe space, you feel way more comfortable [sharing] things about your life. And, of course, when you know these people already, it’s easier to just talk about anything in general. I think that we did a really good job at making timeless music. I just hope that this music reaches a lot of people of every age. It’s beautiful when that happens. Also, the more danceable songs were all kind of inspired by the early 2000s and things that I grew up with. And yeah, they hold so much nostalgia.
Can you describe some of those sounds you grew up with? Popular music in Europe is obviously different than in the States but the European vibes are prevalent across this album.
Yeah, I mean, my dad has always DJ’d and he loves house and deep house and whatever. And I think yeah, it’s such a European vibe, as well, and we really grew up with that. And we have some amazing DJs from the Netherlands, as well, so it’s not that hard to, you know, create something in that world. So we took some inspiration from that and also, [the duo] Everything But The Girl. They have some really crazy tunes that inspired us sound-wise, but then also like, just the aesthetics that it gives off. I grew up listening to Sting, a lot of jazz, and a lot of world music, so I try to put everything that I have from that era of my life into my music because it gives me this nostalgic feeling which is very important for me when I make music.
I think nostalgia is complicated but it’s also very beautiful, almost, like, emotion, you know? And I think that if I evoke that in people whenever I make these types of songs, it’s something that makes me really happy. Because whenever I listen to music from back then, it does a lot for me. And where nowadays, we have a lot of songs that kind of sound the same. No disrespect, but I think that people hold this like formula, and they want to make music with that only in mind, you know, instead of really creating something. You can craft something and you can create something. And I love to create something.
Naomi Sharon via Brandon Bowen
There’s clearly a spiritual aspect to your artistry. From your perspective, how does the songwriting process allow you to unlock and discover parts of yourself and your spirituality?
I mean, it’s kind of like his shadow work. You know, like, whenever I write something, it’s like, it always comes out or it’s like something that I can resonate with. And like, a different period of time in my life. And whatever I’m writing is very truthful. It’s like something that I am going through at that time, or, you know, like, it’s a diary for me, really. And I think it’s important, because whenever I want to tell a story, because I think that making a movie or making music or whatever, we all tell a certain story, right? And I think it’s important that it’s truthful, and that maybe my audience can resonate with it.
Does it get emotionally difficult during that process at all?
I don’t want to say emotionally difficult. I think it’s just part of life to talk about these things. And I think it’s really important to me to talk about whatever I’m going through, and I can do that with my friends or my family, or I can do that on paper, you know? And create something with a melody and give it something special.
But of course, it’s not the easiest thing when you’re going through a difficult time in your life and you have to write about these things. I would say, maybe, challenging to keep it also positive and lighthearted. And I think with Obsidian, I didn’t want it to be an album with with with [heartbreak as its theme]. I think that whenever you have a heartbreak or you’re going through a difficult time, there’s always a bright side to it or something that you can learn from.
Was there any particular song that kind of felt like a breakthrough, whether emotionally or musically?
I feel like “Another Life” was a very special one. When we made that in a studio, I remember I was very happy with it. We were playing the song and we were just sitting on a couch listening to it and it got to us. And yeah, there are some other songs, as well. Like for instance, a very vulnerable one is “Regardless.” Like I said, you know, every song I tried to put my all into it and like, give it a truthful story. So every song has something that can touch me but the songs in particular, I guess. And “Myrrh” as well “Myrrh” is a raw one, as well.
What was the process like recording “Myrrh”?
It was the first song actually that we made for this album. And I was not in a very happy place and I was just sitting with my producer Beau Nox. He writes, as well, and he comes up with this chorus. And immediately, I fell in love with it. And I don’t know, it touches me so deep, that I was like, this is incredible. This is so beautiful. It’s such a spiritual song to me. Right away, I was caught in it and we wrapped it up in like such a short amount of time that day. Whenever that happens, it kind of shows me that it had to be done like that. You know, it was meant to be.
You’ve mentioned how the album’s title is a reference to the obsidian necklace you wore that you felt getting heavier each day. Does the necklace still carry the same weight these days?
I haven’t worn that necklace in a while but I do have an obsidian next to my bed so, I don’t feel like it’s the same energy. I think that back then, I was in a very different place. And right now, I really embrace all these things from life, even when it’s getting darker or whatever, where maybe back then, I was walking away from it. I mean, I’m always very confrontational but I think I am more now than ever. So I think that the obsidian stands for that, as well. You confront your trauma with it. I mean, it’s also a protective stone, but you know, the meaning behind it, it’s going deeper and having this introspective moment with yourself where you can find all these blind spots or whatever. And I feel way more comfortable doing that now.
In the press release for “Nothing Sweeter,” you describe the record as “a vulnerable song that captures the fragility of falling in love. There’s an indescribable magic in the first kiss with the one you love. Regardless of what follows, that initial kiss remains unmatched and unforgettable.” What’s the importance of living in the moment during the creative process? You know, a lot of people exist with heartbreak for so long that it makes them jaded.
You can feel it in your body when you don’t move on. It’s like, you know, you’re keeping yourself hostage, it’s so important to free yourself from that negativity. It’s not that I’m saying negativity is not a part of life, or it shouldn’t be. Because it is. It’s yin and yang. It’s so important to just realize that everything comes to an end, and also, all these feelings and whatever you have. I wanted to just break free from that and live my life instead of looking back at everything and [feeling] sorry for myself. And there’s so much to enjoy in life, you know? So that keeps me really in the moment and present.
What I just described about shadow work that I mentioned is – it’s so important that if I can look back at it and be like, “Hey, you survived that.” I think it’s important for me to send that same message to other people who go through the same thing. I think it’s a very beautiful thing if you can inspire people to look a little bit deeper into themselves and, you know, break their patterns for themselves.
You can only do that by analyzing what’s going on in your life and analyzing what the situation is and then you know, to figure out how to break the patterns that you have in life and that are holding you hostage because it’s such a waste of your time, you know? Like, of course, you can be sad or mad or whatever but it’s such a waste of your time to be mad for 30 years or something. People hold grudges all the time. So if I can, if I can do that for myself, I hope that I can do that for someone else as well.
FLORENCE, ITALY – JANUARY 09: Naomi Sharon attends the GUESS JEANS “The Next 40 Years Of Denim” launch dinner at Teatro Del Maggio on January 09, 2024 in Florence, Italy. (Photo by Vittorio Zunino Celotto/Getty Images for GUESS JEANS)
On that note, what do you think your purpose in life is beyond releasing music?
Making music, to me, is what I need to do for myself because it heals me. And I think if you’re coming from a healed place, you can do that for others as well. Or, I mean, inspire them, right? Of course, there’s much more than a career. I really believe in a spiritual life or if you want to call it a spiritual career, maybe. But for me, music is spiritual. For me, music is everything that gets me through the day.
I don’t want to sound – it’s not a cliche or something. I really try to explain why it’s so important because it’s also frequency. It’s so much more than just the things that we put out. Okay, that’s nice, a music video, we look at it. Okay, on to the next one. Or the formulas that I was talking about. People want to make hits. Okay but with these hits, is it another tune that we don’t need to think about and it’s just like a nice melody, and that’s it? Or is it something with a message? And is it something that I can give to people to think about? I don’t want to call it, like, my job but I think it’s something that I need to do in this life.
I think we have our own responsibilities as well. I’m not a guru, I’m not an activist, I’m not all these things. I’m just me, I’m Naomi, and I sing and I make music and if it resonates and if it heals people, I think that’s a wonderful thing. It’s not something that I need to force. It’s something that happens naturally because it’s meant to be.
Obsidian, in my opinion, sounds like a sonic extension of Honestly, Nevermind in a few ways. I was just curious whether you had any involvement in Drake’s album.
Well, no, but my producers had. They were working for me. And then Drake was listening to the album and he was impressed by Beau Nox, who’s one of the producers, and Alex Lustig. They’re both from Europe as well, you know, they really understand that type of music. And Drake already had like a beautiful, beautiful body of work. But he wanted to have some special things on it with the other people who helped create this album for Drake as well. Alex and Beau really contributed their thing on it, for sure.
Ah, that’s interesting. I thought there may have been an overlap between when both projects were recorded.
I mean, Obsidian was made, like, two years ago, two and a half years ago. At the same time, he was making his album but it was already kind of finished. He already had like a skeleton of it. I was starting at the time but at the end of my album, that was the time that I listened to his album because we exchanged that while sitting in the room with each other in the studio with 40. But it was like, my album was already kind of done so we were both like presenting each other a raw body of work.
How’s the chemistry like with 40 in the studio? As much as Drake helped introduce you to the masses, 40’s been the mastermind behind the sound at OVO.
40 is amazing, just want to point that out. He is such a beautiful human being, who is also a genius musically, but also in life, in general. He has such an interesting persona or has such an interesting character. And he is open to a lot of things, you know like he doesn’t really push me into a direction. It’s just like, “Hey, look at this,” or “Maybe, you want to look at that.” And I’m open to that.
We always have these beautiful conversations about music and what it does. You know, he is definitely a mentor to me. And I’m very glad that he’s part of my world as well because he did so many amazing things. And of course, also for Drake, he had played a big role in his life to get them where they are right now.
You’re heading back to Toronto during this tour – one of a few select dates. Since you recorded a lot of the album in Toronto, I wanted to know about your first time in the city and how you’re feeling about returning.
Yeah, I mean, I made the album in Toronto so it really is a special place for me. I was there for two months back then, and I love Toronto. It really reminds me of my own city but like on a bigger scale. I think it’s way bigger and whatever, but really reminds me of the city that I come from, Rotterdam in the Netherlands. And I’m so excited. I feel like people over there, the love that I’m receiving from them, and the support is so beautiful. So it really feels like a warm bath, you know, to come there and to play my album for them. I’m really looking forward to it.
PARIS, FRANCE – MARCH 03: Naomi Sharon attends the Ottolinger Womenswear Fall/Winter 2024-2025 show as part of Paris Fashion Week on March 03, 2024 in Paris, France. (Photo by Francois Durand/Getty Images)
I’m looking forward to seeing how your aesthetic with this album translates to the live performance. What colors would you use to describe this album or tour in its totality?
Hmm, I would definitely say black, although it’s not a color. You know, it’s just the stone obsidian and even the latex dresses that I’m wearing right now. To me, when I had that idea in mind, I was like, yeah, I want to have something that resembles the stone. And on stage, latex it’s like a glass stone. It’s obsidian for me.
Black is a really important color, tint, whatever you want to call it. I think overall, I’m just like a very simple girl, kind of blues and grays. And you know, like, yeah, watery. I’m in a watery team, as always, because it’s my element. No surprise. I think the other day, I saw a comment. Someone commented, “Are you ever going to change your aesthetic to a warmer tone?” And I was like, “No, no, no.”
With this tour, you’re hitting much smaller venues that I think have a capacity of about 150-200. Why did it feel important to hit more intimate settings during your first run?
Because, you know, it’s my first run. Of course, I have some amazing fans, but you never know. You want to take it step by step, at least I want to do that. I just want to take it step by step, and see where we’re going. Of course, I can go to a larger venue but I can say that right now because everything was sold out. I didn’t know that that was going to happen, to be honest with you. It’s beautiful. I’m very lucky that it happened, and now we know that in the future, we can go to a larger venue and do more dates.
I think it’s really important to just take it step by step and see what you can do and know where you’re at. It’s a good thing. It’s not a big tour, it’s like a mini tour and it’s perfect right now. And, also, it’s good to see that people get greedy for the tickets as well *laughs*. You know, it’s a good thing. I’m like, “Oh, it’s in high demand.” It’s beautiful, it’s perfect.
I think it’s dope, especially for where you’re at right now in your career. Once you hit the bigger venues, I think the people who see you now will be so much more grateful for being able to see you play these more intimate spots. Like, I remember seeing Drake 12-13 years ago performing a daytime slot at a festival, and look at him now, you know?
That’s beautiful. Also, you know, in a few years still – I mean, I hope that I’m bigger than I am now. But like, it’s still, for me, so important to have these intimate moments because then you can connect. I don’t think you can really connect with people in a stadium. It’s beautiful but it’s more like – when people are in your face, and you can see their eyes and their smiles or their tears or whatever is going on, that really elevates me as an artist. That really brings my performance to a higher level. So I think aside from being big, or whatever I’m going to be in a few years, I think it’s still something that I would do occasionally to just have that connection because it’s so important to me.
(@KinnggJayv) 
. the mic was ON & she spit every word. so proud of her!! 
(@seasonmaraj) 
