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25 Musical Acts You Need to See Live

[Image via]
Jean Grae
You probably already know that rapper Jean Grae rocks the mic like nobody’s business. But did you realize, as social media manager Russ Marshalek points out, that “she’s fucking hilarious and self-effacing live”?
Radiohead
Sales manager Michael Orell understands that Radiohead are another platinum-selling gang of white dudes, but he still loves them after all these years: “The hallucinatory yet intimate sound that made me a fan in the first place never faded or diminished in the slightest, even though I was all the way in the back of Madison Square Garden. My firstborn to whomever the fuck does their sound.” His colleague, Dave Coll, adds: “Radiohead’s most amazing achievement in concert is that time and time again they play songs that the crowd can recognize 100% and yet has never heard before. They take a synth-based song like ‘Spinning Plates,’ and do the whole thing on the piano. They get the crowd dancing to ‘Weird Fishes,’ zoning out to ‘Everything in Its Right Place,’ and holding up cellphones to ‘High and Dry.’”
The Books
Social media intern Sophie Weiner can’t recommend this experimental act highly enough: “The Books are a pair of artists who mix audio samples, including everything from 1980′s hypnotherapy videos to thrift store voice mail cassettes, with gorgeous, intricate cello and guitar compositions and vocals. Seeing The Books live elevates their music from intriguing, if a bit inaccessible, to a realm of brilliance inhabited by only the greatest multimedia artists. Every song is paired with a video, many of which use the clips that their samples were originally from. The mesmerizing visuals and words illuminate a multitude of possible meanings for every song, while they play their instruments flawlessly over the top. As if that wasn’t enough, The Books prefer to play in unorthodox concert spaces, like art museums or churches, so when you have a religious experience, you know you’re in the right place.”
Four Tet
“It’s always hard to imagine how a man who looks like Skeletor can keep a crowd fixated with balloons, a sampler, a laptop, and a big smile,” writes Flavorpill London contributor Oliver Spall. But don’t let appearances fool you — we guarantee you’ll be riveted.
Leonard Cohen
Sometimes, you just have to give it up for a 20th-century master. “Leonard Cohen was also one of the best shows I’ve ever seen,” says Patrick Letterii, who works with Flavorpill’s venue partners. “He did like four encores, and he kept dancing the jig offstage and then dancing back on. This was last year. I think he’s like 80.” Close enough: he’s 76, so… yeah. Impressive.

[Image via] Beach House Listening to a Beach House album, you’d think the production was too complex to replicate live, writes Dave Coll. But you’d be wrong: “Legrand has such an amazing voice that it actually can be amplified in concert to change the entire dynamic of their sound. Instead of going with the pleasant album sound mixture of equal voice, melody, harmony, and bass, in concert Beach House will amplify Legrand’s voice as well as the bass line to make an entirely new sound that feels as if it resonates through you.” Prince A recent Prince show at Madison Square Garden prompted our books editor, Kathleen Massara, to send an ecstatic email to some friends, which she’s kindly permitted us to excerpt: “Without notice, the lights cut out and all you could see was a fine mist surrounding a darkened stage. His band filed in from inside the symbol, taking their places in the pit of the circle, which was the cue that people needed to start screaming like the place was on fire. And then, out of nowhere, Prince was illuminated, standing on top of a piano like it was no big deal. He almost looked bored. How the hell did he do that? The only explanation is magic, and I don’t use that term lightly. The man has powers.” Ashley Waghorne, repping our sales department, agrees: “You get fabulous wardrobe changes, and he is an amazing guitar player, too. I can’t ask for more from a show.” Le Tigre Russ Marshalek captures the wondrous experience of attending a Le Tigre show in the early ’00s: “I hate hate hate that they didn’t really do much after the perfection of their This Island tour, because it was… amazing. Slideshows, weirdly synchronized boy-band dance moves, and the encore was them coming on holding umbrellas to the sound of thunder and launching into ‘Deceptacon.’” Since they’re still technically “on hiatus” and are releasing a new tour DVD, we still hold out hope that we’ll see Le Tigre live, at least once more before we die. Owen Pallett “My friend and I kept turning to each other throughout the set going ‘Can you believe this guy?’ and ‘This is incredible!’ and “He is so good! Pinch me, is he really this good? You’re seeing this, right?’ The cool thing was, everyone around us was doing the same thing,” says Flavorpill NY managing editor Leah Taylor of the man formerly known as Final Fantasy. Daft Punk Oliver Spall succinctly breaks down the appeal of a Daft Punk show: “Everyone wants a glossy silver visor and helmet and the ability to make thousands of people lose their self control.” [Image via] Man Man “Not only do they look like they’re having the best time of their lives, but they throw spoons at bowls and use plastic toys as instruments and have dubious costume changes and Honus Honus and Pow Pow jump on their chairs in tandem and make faces at each other,” writes Flavorwire weekend editor Emily Temple of indie rock’s rowdiest tribe, Man Man. “Also they have been known to reach out and ruffle the hair of any concert-goers pressed up to the front who are singing along. Just saying.” Fever Ray Allow sales pro Nate Hageman to sell you on the mysterious alter ego of The Knife’s Karin Dreijer Andersson: ”Transcendental shaman spooky light show AWESOMENESS.” Lambchop Lauren Epstein calls alt-country vets Lambchop “a band so simultaneously understated and dynamic that you literally feel like you’re hearing music for the first time. Their set at XX Merge left everyone dazed and blissful.” The Roots The Roots are so legendarily good live that it’s cliche to mention them,” says Russ Marshalek, “but there’s a reason for that and it’s because the hype is 100% legit. They bring the steady-handed stage mastery of some of the world’s oldest and most classic rock bands with brash hip-hop bravado that ensures electricity from start to finish.” Sonic Youth A few staffers suggested Sonic Youth, and we couldn’t agree more. Kathleen Massara recalls a particularly wonderful performance of Daydream Nation at Brooklyn’s McCarren Park Pool: “That was such a good outdoor concert. Kim Gordon’s bangs were in full force as she bounced up and down with her heavy bass.” The entire band is wonderful, but we’ve seen Sonic Youth more times than we can count, and Kim is always the highlight.

[Image via] Dâm-Funk Flavorwire contributor Tom Hawking sings the praises of funky Stones Throw stalwart Dâm-Funk: ”He is always great live, especially when he plays solo. No one rocks the keytar quite like he does!” Damien Rice Irish singer-songwriter “Damien Rice was unreal live,” writes Patrick Letterii, who works with Flavorpill’s venue partners. “I saw him at L’Olympia in Paris, which is huge, and at one point, he walked downstage sans mics and played this song ‘Volcano,’ filling up the whole house with his voice. It was pretty incredible.” Janelle Monáe and of Montreal Confession: We tried to choose between high priestess of neo-funk robotics Janelle Monáe and her friends and frequent tour mates, the shapeshifting pop act of Montreal, but the truth is, you’ve got to see both of them. Now. Preferably on the same night. One of the most charismatic performers of all time, Monáe takes the stage in a suit and dares you not to dance along. Meanwhile, of Montreal shows often involve a stage full of dark fantasy characters, lurid pantomime, multiple costume changes, live horses, full-frontal male nudity… and, once, Susan Sarandon spanking some pigs. The Mountain Goats If Grateful Dead fans are Deadheads, then can we call Mountain Goats fans Goatheads? Sophie Weiner writes: “Whether you’re part of the Mountain Goats’ cult-like hardcore fanbase, or you just like a few songs off The Sunset Tree, their live show is not to be missed. John Darnielle, who is the Mountain Goats with or without a backing band, can talk onstage in a way that makes other bandleaders seem like kindergarteners. It’s as if he’s not capable of saying something that isn’t simultaneously profound and hilarious. The camaraderie/competition between the serious fans requesting their favorite obscure songs inverts the usual dynamic of that one obnoxious dude yelling ‘Freebird.’ When he does play with a band, they know how to seriously rock out: their drummer Jon Wurster, of Superchunk and that one New Pornographer’s video fame, consistently kills it. And you never know when they’re going to throw in an Ace of Bass cover.” Andrew W.K. “Setting up a live show with the premise that you’ll party till you puke is adventurous to say the least,” writes Oliver Spall. And while vomit is optional, the party is mandatory.

[Image via] LCD Soundsystem “They’re the only band that can make super jaded New Yorkers dance for five nights in a row,” says Nate Hageman, and if you’ve ever been to an indie rock show in this neck of the woods, you’ll understand that this is quite a feat. Flavorpill general manager Aaron McClain co-signs: “Fucking amazing live show.” Too bad they only have a few performances left before calling it quits forever. Gogol Bordello Dave Coll can’t get enough of Gogol Bordello’s gypsy-punk frontman, Eugene Hutz: “This guy is simply the king of concerts. He is a maniac. He crowd surfs on a drum. He gets hipsters to mosh. His songs like ‘Start Wearing Purple,’ ‘Wonderlust King,’ and ‘Tribal Connection,’ seem to be built for getting a room full of young, anarchic kids on their feet and having an amazing time. I was not a huge fan before I saw him in concert. He is the only live performer who has ever ‘converted’ me into a fan only after seeing him perform live.” Patti Smith As we’ve said before, there is no other performer quite like Patti Smith. She’s smart, earnest, affable, and unaffected. Each song is an invocation. And even if she’s played something thousands of times before, she puts the whole weight of her emotion and meaning behind it. If you see her live and aren’t riveted, then you must be doing something wrong. Atmosphere “Atmosphere’s a hip-hop band for sad-eyed girls and the guys that want to write them poetry but don’t know how, and they know it,” Russ Marshalek says. “Frontman/emcee Slug’s been known to encourage a boy standing next to a girl to buy that girl a drink and put his number on a napkin… and then take the drink from him when he brings it. Atmosphere has evolved, but I still recall the 7′s Travels tour, when they’d break out a cover of Rage Against the Machine’s ‘Killing In The Name,’ when Slug would encourage the audience to scream back the ‘Fuck you, I won’t do what you tell me’part, stop everyone mid-chant just as as mosh pit began and ponder aloud, ‘Wait… does anyone get the irony here?’ before returning to the thrash.” The Avett Brothers Emily Temple recommends the melting pot that is your average Avett Brothers gig: “They have this uncanny ability to get hipsters and frat guys and teenage girls and everybody’s parents dancing together all at once. They are also incredibly sweet and earnest live, with good Southern manners, and their infectious gratitude makes you feel like you’ve just done them a huge favor by coming to see their show, and also that you’re best friends. And they are very good looking to look at.”

Rare Footage Of 2Pac On The Set Of Juice With Omar Epps

How to Deal with Writer’s Block

It's inevitable; if you're a songwriter, at some point you're going to face the dreaded "writer's block".  You're going to feel uninspired, you're going to feel pressured to create something and come up empty-handed.  Or would that be "empty-headed?"
Anyhow.
The symptoms of writer's block are not limited just to songwriters, or even to writers in general. What it boils down to is a lack of creativity.  Whatever it is you create, you just don't feel like doing it.  You feel like you shouldbe creative, maybe you even want to be creative, but for some reason you just can't be.  And the longer it goes on, the more disconcerting it is.  After all, when you're the creative type and you feel like you can't create...?  At times, it can be enough to make you feel like you're losing more than just your edge.  We chuckle about it, but in reality it can be downright tormenting at times.
So how do you deal with it?  How do you get past writer's block, and get the creative juices flowing again?
The main thing to remember is that for most of us, anyhow, the harder we try to be creative, the less creative we become.  So the first step in overcoming writer's block, in my opinion, is to relax.  Take the pressure off.  Step away from the keyboard, put the guitar down, go to the mall, go see a movie, go hiking.  Whatever you do to unplug--do it.  Just breathe.
The next thing to remember is that while you can encourage inspiration, you can't force it. A songwriter friend of mine described his songwriting process: he says it starts with some sort of inspiration, which he can't take credit for, and then he takes that idea and works the f*** out of it.  A stark way of putting it, but it gets the point across.  Most creative people will attest that however we want to describe it, inspiration comes from outside ourselves--we can't conjure it up, we can't take credit for it, and we can't work ourselves hard enough to make it happen.  Inspiration comes to us first, THEN the work begins.  When we try to work that hard without the seed of inspiration--poof.  Writer's block.  Every time.
So...the bad news is, because we can't control when inspiration comes, we really have no way to make writer's block go away.  But the good news is--it's not our fault.  It's not something we're doing wrong--although we can certainly make things harder on ourselves.  And it does not mean we've lost our touch.
The other good news is that while we can't force inspiration, we can certainly put ourselves in a better position to find inspiration.  So when writer's block strikes, here are some practical things to do to help get through the process:

1. Relax.  I said this before, but it's worth repeating.  The more you clench, the worse it's going to get, and the worse it's going to feel.  Take the pressure off your own shoulders.  No matter what deadlines you face, you do not have to "get creative" right this minute.  Relax.  I mean it.
2. Find a change of scenery. By this, I mean shake up your routine.  Go do something you enjoy that you don't do that often.  Or literally, find a change of scenery--go take a day trip, or take three days if you can.
3. Get around beauty. If you live near beautiful scenery (like I do, in Colorado), go find the beauty. Go to the mountains, or the ocean, or wherever you think it's beautiful.  Lots of creative people live in beautiful places, simply because beauty inspires us!
4. Immerse yourself in the creativity of others.  Go to the museum, or take in a concert.  I, for one, know I'm hearing a good performer or songwriter when their music gives me ideas.  Creativity breeds creativity, and inspired work breeds inspiration.  Your soul needs this, so feed it.  This is one of the best ways you can treat writer's block.
5. Live in the moment.  The thing about fighting writer's block is that it makes us lose perspective; we get so focused on accomplishing this one thing that we miss moments, and we stop living life.  Inspiration is all around you, but you won't perceive it if your attention are simply fixed in one direction.  (Not seeing the forest for the trees is a good analogy.)
6. Finally--be patient.  Inspiration will come--maybe not right when you want it to, but it will come.  Wait for it patiently.  Easier said than done, I know.  But try.

The best news I can give you is that writer's block is not a permanent condition.  Inspiration will come back eventually, and you'll come up with great stuff again, maybe better than before.  By simply relaxing, taking the pressure off, and embracing the life and creativity around you, you might even hasten its return.
-Jeff McQ

8 Things That Are Working For Hip Hop Artists

1. Social Networking
Sites like Twitter, Facebook, and even Youtube, when used correctly, are proving to be the most effective ways to build your fan base and keep them updated. Make it a point to follow other successful artists to see how they are using these tools to their advantage.
2. Creating An Artist Concept
What do you represent? What are you about? The answers to these questions are key to finding a fan base. Whether it’s connecting with avid weed smokers or others who share your political philosophy, being consistent with your message helps attract fans to you because you become a spokesman for their lifestyle. Trying to be everything to everybody never works. And if you haven’t already noticed by now, lyrical skill and banging beats are not a sure winning formula for success. We now live in an era where J.Cole and Lil B can coexist and be successful in hip hop. Just make sure you’re not being boring.
3. Video
Audio is good, visual is better. It stimulates an extra sense. This is a good thing when done well. Fans are more likely to pass around something visually entertaining than something that’s just audio. You don’t need a big budget to create something visually clever and entertaining to accompany your music.
4. Mixtapes
Free mixtapes and EPs are still proving to be effective for artist. These are done best, in my opinion, when the performances are mostly over original beats. Keep in mind that your beats are an important part of establishing your signature sound as well.
5. Frequent Releases
Release music and release it often! People have a short attention span and short-term memory. Keep them engaged. Don’t let them forget about you.
6. Physical Products
Tangible products are still cool. True fans still want to have something physical in their possession. CDs still sell. I’d personally like to see usb flash drives fully replace the CD format. It’s a great way give your fans extra media such as videos, pics, and higher quality files of your music. There are a lot of cool ways you can distribute them too. There are customizable usb wristbands and other cool things you can do with them. Hip hop has been the setting the trends for a long time and I believe that if our community started to collectively support a different and better format for the music, that it would no doubt become the standard for the industry as a whole.
7. Collaborations
We’re now starting to see artists from different sides of track doing more collabs these days. Why? Because they’ve figured out that it’s more productive than beefing and hatin’. You may think that other artist is garbage, but he could have and audience that’s not familiar with your music and one that would most likely become fans of yours if you two did a joint together. Beefs don’t have the shelf life they used to. Hip hop is evolving and there’s more benefit in making allies instead of enemies
8. Live Shows
I always tell artist. When you hit the stage, make sure the audience remembers you afterwards. I don’t care what you do, but leave an impression. Get your performance tight. Most of the time, this is your best opportunity to sell your music and merch. This is the time to make that audience become a believer. Do your homework. Go to Youtube and search for the live shows of other artists. Study how they put it together and work the crowd. Then make the proper adjustments and tweaks to your own show..

50 Cent- Ghetto Like A MotherF**ker prod by. JS aka The Best

 

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J. Cole Talks Producing, His Inspirations & Working With No I.D.

First introduced to his lyrical talents through his mixtapes, the sporadic releases from J. Cole over the last year have revealed a lot about the man himself, from his utter disdain for Sallie Mae to his Illmatic yearnings. However, even more glaring has been his ascendancy to the upper echelon of the genre’s best producers. Personally, it was hearing “Blow Up” blaring out of a car stereo outside of Grand Central where the mass effect of hand claps and guitar riffs produced my most recent “Dirt Off Your Shoulder” moment.
And then I knew.
The records might fill you in on what makes him tick as a persona and emcee, but in a sit-down conducted a couple of months back, Jermaine offered up a crazy amount of insight into his work behind the boards, from his inspirations, his cratedigging tendencies, and even the role genetics may have played in it all.

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6 Major Trends That Will Change Radio Forever

6 Major Trends That Will Change Radio Forever

Radio hasn't changed much in the last ten years. In fact, radio hasn't changed much in the last twenty years. The single most impactful change in radio happened with the passing of the Telecommunications Act of 1996. It deregulated media ownership, allowing a company to own more stations than previously.

Most famously, Clear Channel went on a buying spree, purchasing hundreds of radio stations over that next few years.

This changed the "who" of radio. It changed programming. Made stations more homogenized and centralized. It shifted the social ecology and dismantled the culture of radio, replacing it with the shell of corporatism. These radical shifts in the media landscape changed the "who" of radio, but they didn't change the "what" of radio, i.e. what listeners think of as radio, that remained the same.

In the next five to ten years, the "what" of radio is going to be flipped on its head and transformed into something that's fundamentally different. The young and the digital are going to live through the greatest transformation that traditional radio and in-car music have ever seen. In this post, we'll talk about the democratization of radio, the app revolution, the personalized music experience, e-commerce on wheels, real-time station analytics, and the creative destruction that will ensue.

Here are six major trends that will change radio forever:

1) The Democratization of Radio. Right now, we take it for granted that we can only access the radio stations that exist in the places where we live.

Local radio is local because we don't have the ability to tune into much else.

In as soon as four years' time, experts argue we will see "near saturation" in the connected, Wi-Fi enabled car market. What this means is that the tyranny of geography that defines the current radio landscape will be lifted indefinitely.

Listeners will gain access to stations on the web and across the country. The amount of options available will be unprecedented. Given how rigid most single-format, local stations are, those without a connection to their audience will die.

The carbon copy, dime a dozen classic rock and top 40 local stations will be disrupted. Those without a voice will lose. Soon, radio will cannibalize itself.

All stations will be at war, everywhere; they'll steal listeners from each other.

2) The In-Car Music App Revolution. In-car radio is a fact of life. The few competitors to challenge the mindshare of traditional radio have been the cell phone, the social phenomenon of the iPod, and satellite radio, i.e. SiriusXM.

The connected car will bring forth the availability of apps like Pandora and MOG, as well as, ones that we haven't even anticipated yet. Once traditional radio is just another app, rather than a stand-by, it shifts the landscape. The selling point of radio has always been that it's free, it works, and it's just there. In the future, that proposition won't hold as strongly in the minds of listeners. The notion of tuning into an personally irrelevant and banal local station will seem dated and contrived once listeners have more personalized experiences available to them.

News and weather updates, as well as, celebrity gossip can be delivered more efficiently though other in-car apps. Once the personalized, on-demand music experience takes hold, traditional radio will increasingly lose listener interest.

3) The Personalized Music Experience. There's nothing better than hearing a personalized music experience while driving. Something about the act of driving – and our built-in expectations of it entails – heightens the pleasure derived from hearing a personalized playlist. Hearing song after song of music that we love has a certain blissful, euphoric feeling to it. We've all jammed out when one of our favorite songs played on the radio, but few of us have had the chance to jam out to every one of our favorite songs. Yes, a person can create aplaylist or shuffle their iPod, but the randomness and discovery elements are what make the personalized music experience so special. Our brains have a prediction mechanism and when a song plays that we love, yet hadn't quite anticipated, it's flooded with dopamine. It's like winning at a slot machine.

Playlist music doesn't have that effect. There are no pleasant surprises.

The second thing to consider is that the data that can be collected to determine the nature of a personalized music experience is vaster. Voice recognition can pick up on a listener's tone, i.e. mood, GPS knows their location, and in-car apps know what the weather is like. All of this can be used to create a unique playlist.

Added to this is also the fact that personalized, ad-supported services will take user profiles into the car and serve up highly targeted ads. Rather than being hit with ads from car dealers and insurance providers, listeners will hear targeted ads that are relevant to them. At present, traditional radio can't offer these things.

4) E-Commerce on Four Wheels. Think about it. Everything is for sale.

Every song played on radio will be available to be purchased while people drive. It will download directly to their car. No driving to the store. No visiting iTunes.

Now. You hear a song you like and purchase it at the moment of discovery.

By the time things get to this point, some have argued that listeners will have shifted from an ownership to access model. There's truth to this, but trust me, everything changes when everything is for sale. When a song can be bought mindlessly with a single voice control or press of a button, listeners will buy.

The identity of every song will be known and various types of dynamic pricing can be integrated. At various times of the day, a song may cost $1 or it may drop to 50¢. When every single listener is a potential buyer, when every recommendation is more personalized, it changes the entire face of music marketing. For a fee, listeners may be able to send songs to their family members and friends during their morning commutes. Once everything is for sale, radio stations could may evolve into the largest, most profitable affiliate marketers ever. All songs are ads.

5) Real-Time Listener Analytics. Tim Westergren, the founder of Pandora, imagines a day when every car has "Thumbs Up" and "Thumbs Down" buttons installed on the steering wheel. And if you think about it, traditional radio hopes for the same thing too. Not only would such a feature provide real-time listener analytics, but it also would help prevent listener turnover. When a listener puts effort into making a station better and feels like their votes matter, they will be much likely to stick with a station when a song comes on that they don't like.

Instead of calling a station to request a song, voice recognition will analyze a listener's request and send it to a station in real-time. This will be the first time that traditional radio will gain insight into their listening audience. Stations will know more quickly when a song is falling out of favor and when a new one is on the rise. Once traditional radio transitions into a user-controlled format, rather than a data driven spreadsheet, stations will be able to adjust playlists daily.

6) Infinite Creative Destruction. Now, stop. Connect the dots. What happens next? War. There will be blood. A handful of corporations control what listeners hear. They decide what programs receive syndication. They own hundreds of radio stations, billboards, and venues. And you know what?

It doesn't matter. None of it. Once anyone can launch a station from anywhere, make it available on the web, and listeners can access it in their connected cars, the entire landscape of radio shifts. The start-up costs of a radio station plummet.

Waves of would-be radicals and entrepreneurs can rethink radio, recreate it.

Licensing will be a barrier for some, but with the right strategy, they can rise from the bottom-up. Radio is a legacy institution. It's there because it's there. No one has been able to challenge its dominance. You can't beat radio at its own game, but once the rules change, you can create a new one. Once the barriers fall to offering in-car programming, an era of infinite creative destruction will commence.

Clear Channel's monopoly exists due to the curvature of the media landscape.

The rules changed in 1996 and it created a new game. Once those rules change again, entrepreneurs will create a new game and the winners and losers will differ.

This means...

-Kyle Bylin

Dreamville invades 3 Little Digs Headquarters

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Just Blaze Speaks On XV, Saigon, Detox & More (Video)

Maestro Knows - Special Edition (Hit-Boy)

Maestro Knows - Special Edition (Hit-Boy) from Maestro Knows on Vimeo.
In this episode check out Maestro & his friend Hit-Boy as they make their way from NYC to LA to Fontana, CA. From making stops at Famous Dave's, to playing football in the front yard, to breaking down the making down the making of Kanye West's "Christmas In Harlem" this episode serves a true depiction of young men hard at work.

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Brian Michael Cox Talks Production Opportunities

Music producer Brian Michael Cox talks about alternate ways to make money as a producer. He has worked with some of the biggest artists of all time. His work with Mariah Carey, Destiny's Child, and Mary J. Blige are among his most notable production credits.

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Video: Young Chris – The Process (Album Trailer for "ALIVE")

The Process with Christopher Ries aka Young CHRIS from Sil 'Spike Jordan' Beyah on Vimeo.
here’s a clip of @YoungChris working on his Division 1/Universal debut album, ALIVE. Directed by Sil ‘Spike Jordan’ Beyah..