Nowhere in the rap star manual does it say that a guaranteed formula for success is to “make psychedelic rock album with almost no rapping.” Yet that is exactly what Lil Yachty did with “Let’s Start Here,” his fifth full album but first rock project, after years as a top rapper with hits like “One Night,” “Minnesota,” “Oprah’s Bank Account” and guest spots on Kyle’s smash “iSpy,” Dram’s “Broccoli,” Calvin Harris’ “Faking It” and others.
While Yachty’s new era was teased late last year with the trippy, 83-second-long single “Poland” (which isn’t on the album), at a listening session for “Let’s Start Here” in New York last December, a number of hip-hop journalists seemed perplexed by the new sound, which most directly evokes Pink Floyd, Funkadelic and other sounds from the early ‘70s. But when Yachty played his third headlining gig with his all-female new touring band at Central Park’s Summerstage last month, he basically split the difference. The crowd responded enthusiastically when Yachty and the band opened and closed the show with songs from “Let’s Start Here,” but they went bonkers for his hip-hop set in the middle, where the mostly Gen Z audience rapped along loudly with his late 2010s hits like the above. While the reactions might have seemed outsized, it’s actually appropriate: “Let’s Start Here” isn’t an album you rock a party to —it’s something you listen to, an immersive album that you let take over, and it’s “authentically” rock enough to be in the running for Grammy awards in alternative categories.
On a rainy Saturday afternoon, the day after the Central Park show, Yachty, 26 —clad in an orange button-down, camo shorts and fuzzy pink slides, with elaborately painted nails — sat down with PvNew to talk about the album, the tour, his new song with J. Cole, plans for the hip-hop album he’s already recorded, and what’s coming next.
Are these the first dates you’re playing behind this new album?
I did three festivals, so it’s not the first time ever, but it’s the first time I’ve gotten to play them how I want to — in the dark, at night, in the proper setting, not at a festival at like 6 p.m. With a [full set] I can really stretch it out and make it interesting.
At the album listening session, people did not seem to know what to think.
No! I didn’t know what people would expect, but I knew they wouldn’t expect that. I’ll be honest with you, I’ve never been more confident with a body of work, so my chest was out. I didn’t think anyone would be like, “Oh, this sucks.” I genuinely felt like even if you didn’t like it, if you’re a music head, you’d have some kind of respect for the body of work itself, and for an artist to pivot and make something in such a complete, utter, opposite direction from what came before.
You said the people you played the album for included Drake, Kendrick Lamar and Tyler, the Creator — all of whom have made moves something like that in the past.
I’ll tell you, Tyler was a big reason for this album. He’ll call me at like eight o’clock in the morning — for no reason — and we’ll talk for hours. I was such a fan of [Tyler’s Grammy-winning 2019 album] “Igor,” his character and his way of creating a world —the color palettes, the videos, the billboards, the fonts. It’s all together. And I was like “How do you do that?” Because I was trying to figure out how to make a pop-funk-psychedelic-rock album cohesive, without it sounding like someone’s playlist. Then I started working on the visuals, and what I wanted to do was extremely expensive. To be quite honest, I don’t think my label believed in it enough to give me the budget that I truly needed for the visuals to bring this album to life, so I just made two videos.
Tyler and Drake both called me before my first show — I didn’t even tell them the show was happening but they both called me. That means something to me, because those people are my idols. I remember the day Kanye tweeted [Tyler’s 2011 single] “Yonkers,” I was in eighth grade. So them checking on me means a lot.
Is it a lonely feeling, sticking your neck out creatively like that?
Yeah, at first it was, but another thing Tyler taught me was not to be afraid of that. I was so scared before those first shows, like, “What if they don’t wanna hear it?” Tyler would always say, “Fuck it, make them feel you.”
Like, on the first show of this tour, I told the [sound crew], “Play psychedelic music before I go on, don’t play hip-hop” —but right before I went on they played a Playboi Carti song and I heard the crowd turning up and I was like, “Oh no, they’re gonna hate me!” And when I came out, I have in-ears [onstage monitors] and I have them set so you can’t really hear the crowd, it’s like dead silence. But I just kept going, and then my rap set comes and they go fucking crazy and that gives me confidence, and when I did the big rock outro on “Black Seminole,” they all started clapping. And for me it was the biggest “Oh, thank God,” because I couldn’t tell if they were fucking with it.
Is it exciting being in such a risky place creatively?
No! [Laughter] Absolutely not! Maybe it is if you’re an established artist — and I’m an established artist, but something I battle with in hip-hop is that I’m just now starting to get respect as a rapper. You know, for the longest time I’ve had to deal with, like, “SoundCloud rapper,” “mumble rapper,” “one-hit wonder,” so I never really felt like I just was respected.
You were a teenager.
Exactly, But I still wanted respect, you know? I cared! My career was never solidified, I felt like folks were writing me off, so when I was making “Let’s Start Here,” I was at a point in my career where I did not have a hit rap record — it was like, “Man, this could really go left!” But I didn’t start thinking about that till I got deep into it. When I started, I was just like, “Man, I really love this stuff. Why don’t I hear anything like this now? No one makes psychedelic songs anymore.” I do psychedelics and I knew I wanted to make a psychedelic album. I love long songs, I love to just get deep into them —that’s why I love [Pink Floyd’s 1973 classic] “Dark Side of the Moon.”
I was on psychedelics when I first heard it and I would listen and just be like maaan. Like, bro, how can music make me feel like this? How can music make my brain just go to a new dimension? And how did you do that in 1973? I was like, can I do this? And obviously my answer was no. I mean, no offense, but how many rappers successfully made a rock album?
Almost none.
That’s what I’m saying. I think one of them was Kid Cudi’s rock album — I love it but a lot of people hated it. It’s not a full rock album, but it has a strong rock element to it.
Where did the rock influences come from, your parents?
My dad played a lot of Coldplay, a lot of Radiohead, John Mayer, Lenny Kravitz, a lot of John Coltrane, and I’m named after Miles Davis. My family loved James Brown, my dad loved Pharrell. He actually didn’t play Pink Floyd to me, but I’m glad I heard it as an adult.
I tried to make “Let’s Start Here” five years ago —“Lil Boat 2” was supposed to be “Let’s Start Here” with teenage emotions, but I was too young. I got too nervous to experiment on my rap record, and I didn’t have much experience or knowledge in alternative music. I met [“Let’s Start Again” collaborator] Jeremiah Raisan and tried again with the next album, but I chickened out and made another rap album. But when I had that conversation with Tyler, I was like “I’ve gotta do this, let me get that guy back.”
You had a hit with “Poland” —why isn’t it on the album?
That’s what I battled with, but at some point, you have to trust yourself. In the middle of making the album, “Poland” was a huge Internet hit and people were like, “You gotta put it on the album.” But I was like, it doesn’t fit! Just because it’s a hit record doesn’t mean it makes sense anywhere on this record. I was so focused on making my Black “Dark Side of the Moon.” And there is a small rap verse on the album, at the end of “Drive Me Crazy.”
You’ve said you recorded a hip-hop album after you finished “Let’s Start Here,” what’s it like?
Sick stuff, it’s all over the place. In maybe a week or two, off the record, I’m gonna drop a song with J Cole [“The Secret Recipe”]. It’s so left, because we’re just rapping. Me trying to keep up with J Cole sounds like a death sentence [laughter], but I’m rapping my ass off, trying to keep up. It’s almost like he was trying to give me a whooping.
What do you want to do next?
I get off tour around Christmas, and in January I’m starting a new album. I don’t know what it is yet, I don’t want to say “alternative.” I have rap album, but I just decided I’m gonna keep dropping songs [from it] until my next [non-rap] album is done.
Do you know who you want to work with on the next album?
So many people, obviously I want to do it on mostly with the band I made the record with, [writers/producers] Justin and Jeremiah Raisen, Jake Portrait and Patrick Wimberly. But I want to work with Donald Glover, I really want to work with Florence from Florence and the Machine. Sampha, Frank [Ocean], Buddy Ross, who worked with Frank. Chris Martin, Bon Iver, Solange, Mike Dean.
I’ve just been exploring, doing things that people wouldn’t expect. Even if I’m not the best at something, let’s just try, let’s explore, let’s create new things.
