Interview: GoldLink Talks London Vs. America, Industry Plants, And His Life Highlights

"I like being on my own, building on my own, and standing on my own."

goldlink

Images via Ashley Verse

goldlink

The upward trajectory of GoldLink over the last 18 months speaks as an open demonstration on the far reaching power of music. With a reputation initially built around the keen reception of his signature sound, "future bounce", and furthered by the initial mystique surrounding his profile, word of mouth was seemingly enough to ignite the GoldLink train in motion. Noted by hallmarks of his wide-ranging influences, from traditional Go-Go music to experimental electro and R&B, the DMV rapper appears to be a student of several classes with top grades right across the board. Meeting the well-spoken artist at his hotel, as he prepared for his biggest London show to date (Dec. 3), I found him oddly observant and refreshingly straight to the point. The scattergun bounce and flow of his music was replaced by considered speech and a confident, steady gaze.

Interview by Tobi Oke
​Photography: Ashley Verse


Coming out of the DMV, how did you manage to make yourself stand out so quickly?
I guess it was the sound. I mean, Iguess it was that—just trying to expand the sound and not make it sound so territorial or regional, and more international. To stand out? I have no idea. One thing that helped me stand out, I guess, was to not attach an image to the music and make the best music you possibly can. With that, people are like: "Yo! You heard about this kid? You know what he look like?" That just starts the conversation from there.

What would you say was the major factor?
The sound, for sure. Just the bounce.

How important is the Go-Go influence to your sound? Is it strictly a DMV (DC, Maryland, Virginia) thing?
Yeah, it's regional—it's more like that's all we had growing up. We weren't, like, massive hip-hop fans. They weren't really... well, they were, but they were going to the clubs and we were too young to attend. So the Go-Go's was the only music we had. It was always there.

You put music out, then toured almost immediately. Do you feel it worked better that way? I mean, you've been to Australia70% of Americans probably couldn't even point that out on a map [laughs].
[Laughs] It's honestly from where we're just so forward-thinking; it's reminiscent of what's been happening here in the UK with garage and deep house. There's just a real appreciation for it in London and Australia, and I just think it's still very new for people in America. There's more of a feeling for it overseas. 



In looking at your rise in 2015, people who weren't aware of you previously started to assume that must have been an industry plant. I know Raury gets the same thing. How do you deal with the accusations that you must've had industry help behind the scenes. 
[Smiles] I think it's cute, man. It's funny, though: people associate hard work with an industry plant... I never knew what that was until a few months ago when I read an article about it. I mean, I understand what it is, but the difference between an industry plant and an authentic artist is that you can see the growth. It wasn't like we started hot. We started with 15,000 plays, then 20,000, then 50,000—we climbed. It didn't take us as long, but it did take a while. It's a real process! We just happened to be in the new internet wave of artists that used it correctly. I just don't get it. 

You must have had interest from majors almost instantly. What made you want to do it on your own?
I saw a lane and just stuck to it. It wasn't like there was a crazy formula—it was just make great music and put it on a platform so that people can find it. And if it works out for you, then it works out for you. That's just one part of the process. After that, you've gotta figure out how to get it off of SoundCloud, and then after that...

Get people to the shows.
Riiight! Exactly. It's a whole process.

On And After That..., the first track opens up with the crash that ended The God Complex, thematically. How do the two link together?
The God Complex was like chapter two to a book and I wanna say that this is chapter one. The God Complex pretty much explained the product of a breakup; nobody knows where this came from, but this is the outcome. I used this second album to explain why I do the things that I do, why I say the things that I say, and react to the things that I react to. If you listen to the second album, listen to the first line and it all co-exists better.

The features on the album are really minimal. What made you decide to go this route? I'm sure you've got impressive numbers in the phonebook right now.
Errr, yeah, there's a couple [smirks]. It is tough, but yeah, I just try and do it whatever way it works. But I think I prefer working on my project, my way. 

What's your favourite track on the album and how do you go about picking singles? 
For now, it's "Palm Trees". It changes from time to time, though. At first, it was "Zipporah"! When it comes to singles, I work on picking the ones that have the most appeal and not just the ones that are the most personal. For example, to me, I feel like "Dark Skinned Women" could be a single, just with the topic and the catchy hook. 

And the Soulection connectionhow did that come about? 
They've been supporting me for the last year and a half and we've just become a family. I wanted to release this second project with them, simply because we never actually did anything and we've been so closely affiliated. Before that, it was just pop up at a show or do a show type of thing and I wanted to give them something they could hold on to. Lakim (Soulection producer), he showed my music to Joe Kay (Soulection founder) very early on and I'd probably put out only three or four songs at that point. 


Would you consider joining them or any other collective?
I like being on my own, building on my own, and standing on my own. I prefer owning something and partnering with other people, instead of like joining something.

What's been a memorable highlight of 2015?
When I performed at the 930 Club in DC. We sold it out in advance. That was the first time Soulection came to Washington DC, and I think I was the first artist from my hometown to do 930 and sell it out. That was the highlight of my life.

GoldLink's new album, 'And After That, We Didn't Talk', is out now on Soulection.

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