BRODIE’s recent dual release, “Thursday (Worst Way)” and “Took Off in a Mercedes,” showcases his versatility, seamlessly blending introspective lyricism with high-energy beats. While “Thursday (Worst Way)” delves into personal flaws and relationship complexities with a raw, emotional edge, “Took Off in a Mercedes” brings the heat with a lively, danceable rhythm that exudes carefree nightlife energy. Following this dynamic duo, BRODIE ‘s latest single, “Guilty of the Life,” takes listeners even deeper into his emotional world. With this new track, he reflects on personal struggles, loss, and resilience, all while maintaining his signature blend of rap, R&B, and alternative pop. It’s a powerful continuation of his ongoing journey of self-discovery and creative evolution.
BRODIE, your double drop takes listeners from the excitement of the club to emotional introspection. What inspired you to create such a stark contrast between “Took Off in a Mercedes” and “Thursday (Worst Way)”?
To show people who BRODIE is. In order to do this, we aimed to create a listening experience. With a double release, we can curate a sonic package that showcases versatility and dynamic range. Also, it brings more opportunities to connect with each listener. With how much music is being created on our end, there are a lot of songs that would not make sense as single, disjointed releases. We want to give our listeners a unique experience as often as we can. Join the experience!
Could you share some insights into the creative process behind both ‘Took Off in a Mercedes’ and ‘Thursday (Worst Way)’? Specifically, what were the key sources of inspiration, and how did you approach crafting such distinct emotional tones in these two tracks?
These songs were both created off the rip. While sometimes I do go out of my way to find a sound that fits my headspace, these two songs were spur of the moment. They were written and recorded on separate dates, and while their inception was very similar, the process of creating the songs was not. I found the instrumentals while searching for inspiration, as I usually do, and both of these beats connected right away. What I mean by this, is that the concept of the songs immediately jumped out to me. Songs like these are not planned; they’re moments. You run with it, filling in the script for the scene that the instrumental has set.
How did the writing process for “Took Off in a Mercedes” differ from “Thursday (Worst Way)”?
While the songs may have had a similar start and writing process, the process of crafting the songs themselves was not. For Mercedes, the song was created in a setting that very much captured the essence of the song. In a professional studio, neon lights, and speakers blast. In an almost celebratory fashion, the song came together before it was even recorded. The arrangement was something that we played with a bit, knowing exactly how we wanted this song to flesh out to create something captivating.
On the other hand, Thursday, was a one-take recording that I did in my home studio at 3 am through a hypercardioid (live) mic. I wrote the song in maybe 30 minutes, stream of consciousness, playing with the percussion patterns and the punctuality of my words. My focus was less on the intricacy of lyrics and more on capturing the moment/headspace that the instrumental had brought me into. All in all, the final version is just a better-mixed version of the moment that I captured in the middle of the night: tired yet still thinking and working, creating what feels right.
How much of your music is based on personal experience versus imagination or storytelling?
There’s a nuance to writing and the art of storytelling. Some songs are about a concept, while another may be about a specific life experience; perhaps another is just a metaphor referencing something else. My truth is manifested through my life and my music. There’s a lot of truth there, but there’s also a lot of nuance, metaphor, projection, alluding. Experiences fuel my inspiration, but how to get that experience to the listener is the art of storytelling.
Do you ever get stuck creatively? If so, how do you push through those moments?
Sometimes, but rarely, I find myself stuck. When I do, I don’t beat myself up over it. Let it be and work on something else surrounding the music, whether it be networking, social media, finding new instrumentals, etc. Honestly, reading about the creative process helped me evolve my ability to harness my creativity more so than repetitiveness. There are different types of songs you can write; challenging yourself to expand your view on creativity will get you through these moments.
When experimenting with new sounds or styles, what do you look for to ensure the song still feels like “you”?
There’s a certain cadence to my music that I typically maintain. I’m a bit of a night owl, so most of my music is created at night; by proxy, the songs that I gravitate toward typically have an after-dark soundscape to them. There are outliers, of course, like ‘Take a Picture,’ for example, but most times those vibes don’t feel authentic to my character. An extroverted introvert for sure.
How has your musical style evolved since your early releases?
It feels more cohesive like I can really flesh out ideas and execute them how I envision them. My style is reminiscent of my early releases, but I’ve matured, grown, and learned. So really, it’s matured with me by growing more insightful, introspective, witty, and taking tasteful risks sonically. Early on, it took a lot more effort; now it feels seamless.
What kind of atmosphere or setting do you think is ideal for listening to your music? Are there specific moods or environments where you feel your songs, like ‘Took Off in a Mercedes’ and ‘Thursday (Worst Way),’ truly come to life?
Driving at night. On the way to the party, the afterparty, and the way home.
How do you decide which themes or stories to explore in your songs? Are there topics you’ve avoided in the past but feel you might tackle in future releases?
If I’ve lived it, it will show through my music that’s already released or what’s to come. There aren’t many things that are off the table, just whatever feels appropriate for the sound I’m trying to achieve.
How do you feel about experimenting with different genres or elements in your music? Do you ever find yourself nervous about stepping outside of your comfort zone?
Making music doesn’t make me nervous, and I’m always open to trying new things, as long as it makes sense both sonically and conceptually. For a feature, I’ll roll with almost anything; the only requirement is that the mixing is quality, so hit me up. As for my own catalog, though, I like to keep it curated. If I’m going to experiment, it needs to be tasteful, but it will likely also be paired with one or more songs that tie it all together, similar to Mercedes & Thursday.
