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Warm textures ranging from melodic, sweet bass lines and shimmering string sections (album opener "Letz Be Friends) to atmospheric, widely panned tracks that retain hard-hitting snares ("17" and "After School") complement each other well. Whereas The Yellow Album was largely helmed by THC, the soundscape of Get Home Safely is provided by The Futuristiks and a slew of supporting others. On a nearly-literal level, what surrounds Kennedy is what partially allows for the overarching vibe of his music to exist: the production. He does not attempt to be anything greater or lesser than his own self, and he enjoys this truth. Short-but-sweet lines-“ I’m like Russell Simmons but he don’t fly couch much”-and a nearly indescribable authenticity pervade all aspects of the emcee’s work. Much of what’s shared is pretty trivial, yet it’s overflowing with this vague, cliche thing that we call realness. AC blowing strong.” On the track "Dominic," a girl is described as looking like something that a “n***a might do.” Later, album closer Nothing Like Me sees Kennedy discussing his come up, wanting hoes and how his cars are all black. Furthermore, plain lines hold a tremendous power in that they effectively put the listener into Dom’s world, while also establishing the time period during which this music is best consumed: “ When it’s 91 outside, bet it’s 69 in my coupe /. His linear description of a moment in "After School" is rarely thought-provoking, but always enjoyable. The topics addressed often encompass female-inspired lyricism and recaps of past, relatable experiences. “Love, friendship, pain, poverty – it’s not so much what’s going on today, it’s what’s been happening forever.Much of his music is simple. “All great songs are about the same things,” said Kennedy. Whether signed or unsigned, Kennedy says he’ll stay focused on the music. While Kennedy’s core fans are loyal, it’s time to expand his fanbase by playing shows with other artists, and cash in on his popularity by growing alternate revenue streams. Nowadays, most acts make the majority of their cash on touring, merch, and other endorsements.
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While his records might gross more, it would mean less profit for Kennedy – signed artists make about $1.50 an album sold, with the rest going to the record label and distributors. The marketing dollars of a record company translate into radio airplay and advertising on a level arguably impossible to reach as an independent artist. Kennedy says he would take a record deal if it meant a fair partnership with his imprint, Other People's Money (OPM.)Ĭertainly, label support would impact Kennedy’s top and bottom line. “Where every other door has been closed on the business side, the fans have opened up every other avenue for us.”
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Navigating independence has not been without false starts – Best Buy started selling Kennedy’s album a week before its scheduled October 15 th release, essentially leaking it and killing much-needed buzz. “We didn’t even have any music at the time when they was talking about carrying this album, but they just believed.”Ĭonsidering about 10% of Kennedy's 120,000 Facebook fans forked out $11 for a release, compared to the 2% of Drake’s 31 million Facebook fans who bought his album in its first week, Kennedy’s doing alright. “We have proof that we have fans and they were willing to take a chance,” said Kennedy. With the help of Interscope-intern-turned-manager Archie Davis, Kennedy has now graduated from being an unsigned artist – one without a record deal – to an independent artist – one who has chosen not to take a record deal. “The business structure we wanted and the control that’s what it really came down to.” “The type of deal I was looking for just wasn’t available,” said 29-year-old Kennedy. Despite courtships with record labels – and nearly signing to Interscope this year – Kennedy says he ultimately chose to stay independent to retain creative power, and favorable margins.