#spacegodapollo

Interview occurred on “No Pulp Radio Show” with DJ Odyssey, Ishaan Pota and Lily Frankel

This interview has been edited and transcribed for concision with some questions edited for clarity by Lily Frankel

DJO: So for those who don’t know you are, like where are you from?

SGA: Oh shit, alright, so I was born in Houston. And then honestly my childhood roots were all based in Pasadena, my grandparents, and like my sister and shit. And then, uh, shit, after that, that’s when I started living with my dad, uh, in Missouri City. And uh, yeah, shit was kind of rough in the beginning though, cause when my parents got a divorce, I didn’t see my dad for like, four years. So I was with my grandparents and like shit was always rough over there cuz like my family, like, they kind of fucked up. And there’s some shit I had to go through and I had to see and it fucking sucks, but if I didn’t go through that shit I wouldn’t be where I am today, representing my grandparents the way I am today.

DJO: Would you say music is kind of like an escape for you?

SGA: Definitely, man. I think music, for anyone that’s like depressed out there and they don’t have an outlet where they can seek help, it’s like, music is something that can be personal to them, and only them. And they can carry that with them for life. And it’s like, there’s artists that have affected me, that are going to affect me for life. And I’m always going to be so grateful that... God put them along my path, because it truly did help me and guide me as a person.

DJO: So when did you decide that being an artist is what you wanted to do as a career?

SGA: Damn, man. I remember when I was like 11, 12, I started DJing, and I wanted to make like dubstep because skrillex was hype. And I made like a badass, like, remix of Ellie Goulding, her cover of “High for This” by the weekend. That shit was fire, bruh [laughs]. And I was like 12. And I actually got it up on youtube right now, to this day, but uh, shit after that I was like uh, no, what am I doing, I’m young as hell [laughs], like I’m trippin’ thinking I’m finna be some kind of DJ. And then uh, I started getting really into RNB Music, and I really really started getting into like, just vocalists in general, that shit, it just amazed me how some people’s voices could be so powerful that it can affect millions and millions of people. And that shit really inspired me and it made me want to do something in my life that would benefit, like, more than I could ever imagine. And It was probably around like eighth grade, freshman year that I was like, yo, like, I want to be involved in music. I’m not sure how yet? But I’m going to start trying. And I spent a good ten to like, twelve months, just writing every single day song, song, song after song. I missed days of school cause I kept getting in trouble just sitting on my phone with earbuds, like writing lyrics because I was fucking addicted. And uh, I’d miss school and like, literally the whole eight hours of school that’d be going on? I’d be in my room just going off writing and writing and writing perfecting my craft. Studying wordplay, rhyme schemes, all the cadences, everything. And eventually I was like, yo, like, I’d never sing in front of nobody but when I was young my sister used to get singing lessons? And so I would always, you know, that’s my sister, I looked up to her, I would want to hang out with her and see her do her shit. And uh [laughs] I actually learned a lot from it. I would go, like, my own private, when I’m in my room, like really young, I’m talking like five or six? And I would take what she would learn from her instructor and like apply it to myself, but in secret, for so many years. And uh, shit, that’s when I met Christian, freshman year, like first day of school, and like, we just became boys. He tells me he wants to be a photographer, I’m like bro, like, I kinda want to be like, some kind of artist, whether it be singing or rapping, I don’t know yet. And then he was like bet [laughing], I’ll be your photographer, let’s do it. And I was like... It just naturally came together.

DJO: So my next question is, with the music scene so saturated with new up and coming artists, what do you do to separate yourself from everybody else?

SGA: Listen to all types of different music and find a way to respect it, and each its own. Like I will pull up, like, 40s, songs, from like, the war. And sad songs that were like, made to be sad, and try to understand what attracts people to sad songs. And it’s like, when it comes to me, I feel like every song I’ve put off out the jump has been extremely different from the other. And I feel like for me it’s all been, like, just how I’m feeling in the moment, how I’m feeling in my life. I take time dropping my tracks because I want to live different chapters of my life before I put out something that’s like, my baby, you know. That baby is developing while I’m developing as a person too. And it’s like, forever evolving. But then it’s also just like my sound is just like, forever evolving. I’ve got songs coming out like, if you want to find something that sounds like that, there’s only one place you can go. And it’s like, that’s what I’m trying to make the gold-standard for all my shit. Every song, I want it to be unique and where it’s one of a kind.

Ishaan: Who are some artists today that you draw inspiration from?

SGA: Artists today I draw inspiration from, man. Alright, like, no particular order, but like: of course, Kendrick Lamar, King Kendrick pulls true to me and a lot of like where my... my work ethic comes from, I see his wordplay and I’m like, man, this guy is a monster, he’s a freaking beast, he’s not from here [laughs]. Like, how can I compete with that. And I’m like, the only way I can compete with that is focusing on myself, keeping to myself and working fucking hard. But along with Kendrick Lamar, shit, I got, Future. Young Thug. Travis Scott of course. Shit, he went to, we went to the same school, uh, knew him way back, my sister was tight with him way back. And uh, one of the big things, also, about, you know, staying lengthy, is like, I could have been that person, you know, knowing his siblings and stuff, and been like, hey, please show Travis Scott my music, we went to the same high school, we’re friends, blah blah blah. But it’s like, I ain’t ever do that. I ain’t ever tell my parents about my music, I ain’t ever tell my sister about my music. I wanted this to be something that I accomplish on my own. And it would really make me feel complete in my life and everything and it’s something I love and want to do forever. And uh, Travis Scott definitely showed me that music can definitely be more than a hook and a verse. You know, he showed me the future and the way sounds are evolving, and you know, the way softwares and things like that, midis, are evolving, shit can get ridiculous [laughs] in the future. And it’s like, I just want to become one of the greatest artists of all time, that’s definitely the ultimate goal.

Lily: Do you think that, for you, that comes from lyrics?

SGA: For me? I think a lot of it—I feel like it’s all one big, not necessarily formula, but everything has to like, it has to fit, it has to make sense. It’s like, if I’m going to have a beat that sounds like it’s retro, it sounds like I’m taking you back to a different time, I’m going to rap in a way, or sing in a way, that’s from that time. I’m going to pay homage to that and respect it, and also put my own swagger to it and my own... my own generational sound to it and really make it my own. And like I’ve done covers of songs by like, Billie Eilish, and I’ve like completely altered them and changed them and made them completely different.

DJO: So you’re performing at Complex Con this year. How did that even go down? How did the booking go down, what are the details behind that if you can elaborate?

SGA: Yeah, basically, this past year, like, my dad, uh... He had gone to a Jamba Juice and like, in the nearest town center, and he had heard my song playing in Jamba Juice. But he didn’t know it was me. But he liked the song. And so he had the workers, cause he goes there, he’s like a daily person, and so he had asked the workers, like, what song is this? I’ve never heard this on the radio. And they were like, oh, it’s this guy named Ricky Apollo, he graduated from Elkins recently—my school—and he’s like twenty-something, but he makes really cool music. And my dad was like, Ricky Apollo? And I’m sure he like was like, that voice sounds familiar, there was no autotune or nothing. And just so everyone knows, it was my song “Feel.” It was actually my second song I had ever written... yeah, ever written, ever released, ever. And uh, thankfully, by like, the graciousness of God, XXXtentacion had found that song before everyone, and he had reposted it, and that’s when I got, like, my first little spark of exposure. [...] So my dad had asked about how that song, where that song came from. And he calls me and he’s like [affects a slightly older, higher-pitched voice], “hey do you know, uh, who Ricky Apollo is?” he goes, “is that you?” And I’m like, “yeah.” And then he’s like, your song is... you make music?” And I’m like, “yeah.” And he’s like, “it’s playing in Jamba Juice.” And I was like, “really? That’s cool.” And he was like, “what? Are you joking?” And I’m like, “nah.” [laughing] “I guess you had to find out sooner or later.” And then he immediately told my sister. And my sister freaked out because, you know, like I said, when she was younger she always wanted like, to sing, and she wanted to be a singer. And she’s a fucking incredible singer. And I’ll never be at her level [laughing], but uh, no yeah, her vocals are... she’s blessed for real. Like she’s... if you think my voice is good, it’s like... her shit’s on steroids. Like she could do opera. But uh, so my sister found out about it and whatnot. And of course, she’s my sister and she loves me, and as much as I wanted to do it alone, she was like let me help you. I want to be a part of this, I want to do this together. Because I feel like [voice breaks]... our whole life it’s like... It’s really just been me and her... And like... for her to like, feel that way? And want to help? It means like, it means everything, you know. And so she, actually, her boyfriend is a DJ. And uh, he performed at Voodoo just last weekend. His name’s Swaylo. SwayloNights on Instagram, shoutout him. Shoutout my sister, Lizzie Aguirre. So they’re actually both managing me at the moment. So Noah, who is my sister’s boyfriend, the DJ, he has a friend who is the event coordinator at Complex. And so he was like, hey man, this kid’s got a lotta talent. And I want to help him so badly and I want to reach out to as many people as I can, is there anything you can do. And the guy was like, yeah, I’ll check it out and see what I can do. And he listened to it, he got back to him. He said, yo, this is crazy, I’m gonna let the higher-ups get a listen to it. And uh, play him, like these songs, that, you know, I had chosen that I wanted them to listen to? And uh, they had all loved it, and they were like, yo, we have an open slot, let’s fly him out here, let’s get him the hotel, let’s get him the whole package, let’s feed him. And I’m so grateful for that man, it’s crazy. I remember he was like I’m gonna get back to you in a week, I don’t know if it’s for certain.

DJO: Yo that must have been the longest week.

SGA: Oh my god, you have no idea man, I was like, I was hitting the sauna and the sweat room like every fuckin day, just trying to keep my cool, tryna stay relaxed, I was like, it was definitely going to be, I knew it was going to be the biggest moment for me, and I knew it could definitely jumpstart. literally. Everything. And there’s endless possibilities, but uh, yeah, that’s really how it all came together. And after that, it’s like, I’ve got Forbes in my email, because they’re like, dude, you’re young as hell, how did you get on this line-up, and it’s like, we wanna know more about you. And it’s like, they wanna talk too. And it’s gonna be after my performance, and I’m the first one? Starting the weekend? Of all of Complex Con? And, oh my god, am I so ready, to fucking set everyone’s mind ablaze, bro. I want everyone to be hype as fuck and get ready to fucking rage all weekend, get fucked up, and have an amazing time that you won’t remember.

Can you walk us through your creative process?

SGA: Yeah, so, definitely, see when it comes down to my creative process, it’s like, okay, I’m driving a four hour drive from Austin to Houston, like whatever, like I’m bouncing around, and it’s like all of a sudden [snaps] shit just hits me, out of nowhere, a concept, and I’ll quickly take out my phone, open my notes, write a concept, it’s like, this is the type of song I want to put together. [...] And then, uh, later I’ll go home and reflect on that, or maybe I’ll spend two months, like just living life, and then I’ll come back to that and be like damn, I really want to talk about that now. And then I’ll just go to writing, for hours on hours, days on days, and then when it finally comes down to a studio sesh, Imma get like five, six hours for that one song, and I’m gonna fully, uh, invest myself into making that song fucking incredible in the best way I can possibly make it. [...] When I get like in the studio it’s really all about like, we’re all gonna be there, you know my engineer, Matthew O’Neil, he’s a huge part of the creative process. Me and him, we really, we have a like, unspoken chemistry that we just... we don’t even need to talk about, it’s just laughable at this point. We bounce off of each other’s ideas like, like at the speed of light, it’s crazy. I’ll just be in the booth, I don’t have to exit for like eight hours, we just, we know what we’re talking about, we know what we want to do, and when it’s time to experiment, it’s like, I really let him show me, and like show me what we can do with pro tools and stuff like that. And I’ve taken the time to have studio sessions where I simply just learn about the plug-ins and like learn about shit I can try to experiment later, you know, and like sit on and think about. And I feel like that’s really important, I feel like a lot of people think they can just write a verse and a hook, go to a studio and record it and that’s it, but then it’s like, you realize you just made a very boring song, you know. And I feel like, my music, I try to have a different dynamic, a more exciting dynamic, it’s like, Imma keep the same core vibe the whole time, but I’m gonna keep you on your toes with what’s about to happen next, whether the beat’s gonna get chopped and screwed, fuckin Houston style, or like, shit, we’re gonna come in with a like a choir of like my voice, or I’m all of a sudden gonna hit a falsetto, that you have no idea I can even hit that range, and it’s like, it’s really, I really like surprising people and I feel like that’s why, all my releases, I’ve always released it like boom [snaps]. Surprise. Something completely different. And they’re like damn, like, people will be like, oh, make more RNB, make more—do something jazzy, do something trap. And I’m like alright, I’m gonna mesh it all together. I’m gonna get a jazz beat, I’m gonna sing it in RNB, but then my words are gonna be about the trap [laughter]. And then I’ll take that from like, real-life experience, like obviously my parents don’t know this but like I’ve been trappin for a minute. And like that’s how we gotta make a lot of shit happen. Because I can’t be working a 9-5 and think I’m gonna be fucking inspired to make some music that’s gonna touch people’s soul. I’m not gonna do that sitting behind a fucking counter, scanning barcodes. I’m gonna do that from being out, with my friends, experiencing life, experiencing adventures, taking trips and like, going, getting one-way tickets to fucking LA for Complex Con.

How do you stay centered? Because the life of an artist, it has so many ups and downs and unpredictabilities, what do you do to center yourself and just keep sane, and keep the team sane? SGA: Shit, man. [laughs.] When it comes to keeping the team sane, you gotta be more insane than everyone else combined. You have to be able to deal with your own demons and your own negative thoughts extremely well, by yourself, in order to take care of other people, I feel like. I feel like—and that also transitions to relationships. It’s like, I can’t take care... of another girl... if I’m not right with myself. And it’s like, if I’m not good, and if I’m not in a good mental state, and I can’t even get myself in control, if my girl is hurting or she’s going through some shit, how can I be there for her if I can’t be there for myself. So I feel like a lot of keeping the team sane is really just like me keeping my composure when shit get crazy, and when shit get wild, when like, things go south, whatever, I really like, you gotta be a leader sometimes, you gotta be like a red power ranger. [DJO laughs.] Like you got the whole team, you got the whole team, but like, you gotta, you gotta, you gotta have some guidance in there.

DJO: Just turned nineteen, so for you to already kinda be encompassing this leadership quality, and just being like hey, I’m grounded, I’m centered, and you know, because, I understand the team kinda feeds off that.

SGA: Honestly, it’s like, as much as it sucks, that like, cause like I fuckin, honestly, honest to God, like I fucking hate my childhood, but if it wasn’t for my childhood, and me and my sister just being, like, by ourselves, going through our shit, it really helped us mature a lot faster, and I feel like that’s why I didn’t fuck with a lot of people in high school, and even in middle school, because I just had, I’ve seen a whole fucked up world that these kids at the time hadn’t seen. And I was, like, different in the head, but like, you know, obviously, like, I wasn’t going to make a big deal about it, it was just, Ima just keep to myself and worry about myself and my fam and making sure my sister’s good, my momma’s good, my dad’s good, my friends are good. Everyone. You know.

DJO: If you feel comfortable sharing, like, what’s one of the most fucked up things you’ve seen. Or, the most fucked up thing you saw.

SGA: Shit. One of the most fucked up things I’ve seen, is... my uncle, coming home, one day, uh, to my grandparents' crib, and like, I got other uncles there, at the time, and like, they.... You know, they, they, they could be fiends back then and they would be fightin, over like crack, because one of them would be like selling crack or have crack and [takes a deep breath] they fuckin, they get fucked up, and then they fight each other over it and then my grandparents tried to get involved, get them out of it, and they’re like in their fucking late eighties, nineties, and, and then, my uncle, beat my grandmother.... [voice breaks] and my grandfather, you know, like..... right in front of me, and it’s like... when you’re that young, and [crying] you care about those people, that shit hits different. And that’s when I would, have to, realize I can’t do anything. And then uh... I’ve never talked about this [laughs weakly]. [A moment of quiet. His friend rubs his shoulder.]

DJO: I mean, we could stop if it’s getting a little bit too deep, man.

SGA [his voice is quiet. He’s still crying. His friend is still rubbing his shoulder.]: Nah, it’s cool, it’s just... it’s just hard to dig back. I try so hard to like.... not think about it, but... it’s tough. And like that uncle, he’s, you know, he’s rotting in jail [crying], and... you know, he’s my uncle, but... he’s made his choices, and so, you know? [Exhales.] He’s got to pay for that shit I guess, bro. Nonetheless, like.... just gotta keep moving forward. Keep doing what we’re doing.

L: You talked about earlier, a little bit, meditation on the plane and spirituality, that kind of stuff, do you think that’s something that’s helped you and translated into your music at all?

SGA: Yeah, just like I’ve said, you know my sister, you know, she lived through the same fucked up shit, and so she’s actually a fuckin professional yogi, like, instructor. And she’s very spiritual and she found her own way to cope with what she goes through, through her lane, and I found mine, and I feel like we really help each other as a [voice breaks] family, and it’s... and keep each other strong, and she really showed me how to [voice breaks] keep my sanity, and keep myself... together, even though I have so many regrets... growing up, but. [Takes a breath.] Yeah, on the plane I really just had to get in touch spiritually and realize that... I’m doing this all for a greater purpose, personally. And it’s like... I feel like the reason that I could give a fuck about fame or fortune is like why I try so hard. It’s cause like, it’s really, it’s really for everyone around me. [Crying.] And I got so much love for the people around me. Real talk. I’d kill—I’d kill for my people.

DJO: So let’s get on a little bit lighter note, why don’t we talk about the track we just played for the people [“Hol’ Up”]? What was the process going behind that track? I remember when we were in the living room, we were talking about how it was one of your favorite tracks to develop.

SGA: One of my favorite tracks I’ve ever made, man. Uh, this producer, out in like... uh, I think he’s Norwegian... hit me up, like, didn’t even know English, like, talking through google translate, and he’s like, yo, I heard your shit, and like, it’s crazy. Check it—I do old school rap beats, I don’t know if you’ll like it, but fuck with it. And so I’m like, dude, I love old school rap, and I’ve always wanted to go down that lane, it’s just no producers right now, that I can get in touch with, are doing it well. And he sent me this beat and I knew, like, the way it had me moving? With no lyrics? I just knew, like, if I felt that way about it, I-I don’t have to write shit. Ima go in there and Ima go off my vibe and how I feel and when people hear it they’re gonna feel what I’m feeling and feel how I was in the booth. And when I had booked that session, me and Matt were like, let’s fuck around, let’s just re-spark the inspiration, let’s get back into, like, our hard-core work ethic, and we get like a 10-hour studio session, and we just... get a couple beats, put them together, free-style for hours, and we had put together like a 16-minute long freestyle. And it’s like, between my closest friends—it was never released, but between my closest friends, they still tell me to this day, like, drop it. And I think, uh, it’ll be something that’ll go on Soundcloud like years from now, just as something to look back on. And uh, cause that was my way of just like furthering, learning more about myself and my voice, and trying to hit extremes, in a completely, like... when you’re just high as hell, and a beat will literally move every fucking nerve in your body and it will just come so naturally. And so after I had literally done that for hours, like eight hours, and I’m like, damn, like, I’m tired as hell, let’s just chill bro, I’ve got this nice-ass old-school beat, let’s throw it on. And so Matt throws it on, immediately he’s like—he loves old school rap—and he was like, yo, like, this is fire, go get in that booth. And I was like bet, let’s get it. And then uh, we honestly knocked it out in probably like 25 minutes flat. Like, no autotune, ran through that shit. I had one thing written, and it was “hol’ up, wait, let me go out to your estate.” And we just ... ran that hoe. And that, I feel like that’s why it was so amazing to me, cause I thought like, I was so exhausted and like done for the day, nothing would come out, and it’s like—I had made the best song to me that I had ever—it was the most rewarding song to me, honestly. I feel like it was just: the ad-libs were perfect, my melodies were perfect, the vibe was perfect, and to me—it made me happy. And if it’s like, it makes me happy? I know if I can get the exposure, and get it out to millions of people, a good portion of them will like it too. And that’s all I need, to like, you know, want to keep going.