The last time The Hundreds spoke with Kamaiyah, it was during the lead up to the release of her debut mixtape, A Good Night in the Ghetto, in 2016. The project was a watershed moment for her, as she delivered one of the best mixtapes of the year and was praised for creating a celebratory soundtrack for young people who were thriving, living, and having a good time. To this day, you could still play this tape from front to back. Songs like “Out the Bottle,” “Niggas,” (which appeared on a Season 1 episode of Issa Rae’s Insecure), and her breakout hit “How Does It Feel” have become must-plays at her live shows. Regardless if Kamaiyah feels like she’s outgrew some of her early songs, they’re still slappers.
Over the years since A Good Night in the Ghetto, Kamaiyah wasn’t dropping new music at the rate she had hoped for. She blames her former label Interscope for essentially slowing down her momentum, preventing her from reaching the superstar status she should have attained by now. “They just wouldn’t allow me to be Kamaiyah,” she says. “They wouldn’t allow me to drop music like I wanted to drop music. They didn’t want to spend the money to make me a top-tier artist. That’s how I see it. ‘Cause I came in already with the buzz. I feel like they put the fire out.”
But you can’t take away the foundation Kamaiyah built for herself. In 2020, she plans on going full-throttle, releasing “a plethora of projects this year” and tentatively going on tour in April. She’s out of her Interscope deal and fully independent, linking with EMPIRE to distribute her next project, Got It Made, due out Feb. 21. She describes the new project as “all boss energy,” releasing her first single “Set It Up” with Trina as the first taste. “Set It Up” is, in fact, two boss ass women crushing a guy who disrespected them, uniting as one instead of fighting over him.
While Kamaiyah was in New York doing press for her single, she spoke to us about getting into music, her new label situation, wanting to work with Dr. Dre, and her thoughts on the passing of Kobe Bryant.
No frills, all Yaya.
ERIC DIEP: When was the first time you came to New York?
KAMAIYAH: 2015, I believe. I flew straight to Atlantic Records. I have never been on a plane in my life. So the first time I got on a plane, I flew to L.A. And the next time I was getting on a plane, it was to fly to New York to meet with Atlantic Records.
How was experiencing the city for the first time?
It was shell-shock. To me, that’s the beautiful thing about becoming successful. You get to indulge in all these cultures you would’ve never been able to embrace if you didn’t have a certain level of success.
You just put out your new single, “Set It Up,” with Trina. What do you and Trina have in common?
We some badass bitches in life. And we some thug ass niggas who don’t give a fuck.
Have you always been a fan of Trina’s? Do you have any favorite albums from her?
Hell yeah. Da Baddest Bitch, the first album. I had no business listening to that shit. I was not supposed to be listening to that shit. I was little as hell.
How old were you when you first listened to Trina?
Probably like 8 or 9. And she was at Warren Sapp’s in the video? Little ass kid.
Did your parents try to censor listening to rap in your house?
That’s the thing when we was growing up. You learned your taste in music through your parents. So if my momma is listening to Trina, then Kamaiyah is listening to Trina. [Laughs] That’s how it goes when you’re growing up.
Did your parents get you into music?
Nah, [that’s] just something that I wanted to do. I always been one of them kids, you couldn’t tell me what to do. I created my own destiny. I carved out my own path. And my parents know that. I just do what I do. Even if we bump heads about it later on, it makes sense. [My mom] didn’t want me to do this. But I was like, ‘This is what I want to do.’ You don’t have to keep telling me I have to get a job or go to school if that’s not going to make me happy. So I sacrifice everything in me to become what I want to be. If that don’t work out, then Plan B is always school.
What would you study in school?
I would take business classes or some shit. Just to sharpen [that area]. I like psychology because I need to know psychologically what kind of motherfucker I’m sitting in front of. That’s how you get advanced in life ‘cause you never deal with the same person. Everybody’s personality and characteristics are gonna be different. It’s sociopaths and all types of shit. So I like to know, hands-on, just by your body movement and everything what kind of individual I am dealing with.
And business, you’re talking like the music business?
Every aspect of business. Every level you do, it’s different people. Like the acting commission is different than the rap commission, you know what I mean? It’s multifaceted in entertainment. So whatever room you go to, it’s a different level of people that you are dealing with. You gotta know how to outsmart every guy in the room or win them over every time.
Reading old interviews, you talk about how Bow Wow was the one who motivated you to rap.
Yeah, just because he was a child and I was a child. If you could do it, I could do it. And I loved Bow Wow growing up.
How old were you when you watched the video for “Bounce With Me?”
8 or 9.
From there, he was the inspiration for you to start writing music?
Yeah. Literally, Bow Wow. I saw him, sat at the table and tried to force myself to write my first rap and I did. And when I learned how to make my words rhyme, I never stopped.
And your parents were encouraging you?
A lot of the time, growing up, nobody really knew what I was doing for real. Until I was like 10 or 11, then a guy at the local Boys & Girls Club, his son rapped, so he was like, ‘Yo, your granddaughter is dope.’ to my grandparents. ‘You should let her come by my house and record.’
He tried to make me sign some fucking contract and I was like, ‘I ain’t signing shit.’ I was a little kid. And his homeboy had kids who rapped. So he was like, ‘Let her come here with me. I like her. I’ma treat her like my daughter and she can come here and rap.’ But his stipulation was you can’t cuss and you gotta memorize your raps before you come over because ‘you’re not about to waste my time.’ And that’s how I started recording.
Do you make a conscious effort not to swear?
Sometimes, it depends on what type of record I’m making. Like “Addicted to Ballin’” with ScHoolboy Q, I didn’t cuss one time. But you probably wouldn’t notice cause it slap.
True. So the single you have out with Trina, it’s another song that features a major artist. Because you put one out with Q. And another one is with Quavo and Tyga. Tell me about the concept of the song.
It’s just about two women coming together instead of going against each other for a nigga, we ridin’ on a nigga. As opposed to, you know, how you always get the record where it’s like, ‘Bitch, you got me fucked up. You fucking my man!’ We both like, ‘Nigga, fuck you!’
We gonna run your cards, we gonna break your windows.
Yeah. We gonna do everything, nigga. Fuck you.
Is that the type of energy you’re bringing on the new project? Got It Made?
It’s all boss energy. That’s why it’s called Got It Made. That’s just what it is. I got it made. All aspects. I got it made. There’s no level in my life where I don’t got it made.
It’s been almost four years since your last project. What’s been going on since Before I Wake?
Label differences. They just wouldn’t allow me to be Kamaiyah. They wouldn’t allow me to drop music like I wanted to drop music. They didn’t want to spend the money to make me a top-tier artist. That’s how I see it. ‘Cause I came in already with the buzz. I feel like they put the fire out.
You got a dying situation, when most people want their artist to come in scorching hot, you ain’t gotta build a brand. I came in with the brand, it was already built, and they did the complete opposite.
They put your fire out.
Yeah, they don’t want to spend no money on singles. You got me doing all these radio press runs. Y’all don’t want to clear the records I’m creating, so it’s like what am I here for? That’s why I left.
It’s a bummer.
It’s not a bummer, it’s life. You live and you learn. Got the game that I needed from that situation. And I’m thankful I was smart enough to walk away ‘cause a lot of people wouldn’t have been strong enough to do that. They would’ve just stayed there and just let it ride.
Yeah, and a lot of people would probably quit music.
That’s not my mentality at all. I can’t quit. I gotta figure out how to make it work.
Now that you’re out of a major label deal, how do you remain true to yourself?
I’m always authentic and I feel like people read that. When they meet me, they know that I am the same individual. That’s why I keep certain relationships. I feel like this business is based on relationships ‘cause a lot of people I meet now, they aren’t even in the same buildings. I was at YouTube, and the people who at YouTube, a lot of them came from FADER, Spotify. All types of shit. But you meet them early on in your career, and if you’re a good person, they’re going to bring you in wherever they go. So that’s why you always gotta be personable and be respectful.
During that time period when you weren’t on the scene, you were just trying to keep your relationships strong?
Yeah, people see me, they know I am a good person. Everybody’s question has always been, ‘Why you ain’t put out the music? What’s going on? When are you going to get the music?’ That’s the whole thing. They like, ‘We want the music. We waiting for you. We rooting for you.’ People want to see me win. It’s just the people who was supposed to be championing me wasn’t championing me. It made it harder for the people who wanted me to win…they can’t promote what’s not there. So that’s what it was.
What was the strategy behind putting out Before I Wake and the singles?
I don’t even count that. That’s why I always say my first project was almost four years ago. Before I Wake was me rebelling against them. That shit ain’t mixed and mastered. It’s just me throwing some shit out there like ‘fuck y’all.’ I was mad. I can’t put out no music.
That’s an album that’s strictly you with no features.
I hate that project.
What’s with artists hating their projects? You also don’t like “How Does It Feel.”
It’s not that I don’t like it, it’s just that I outgrew it. Like your first record that catapults you to the top, most artists don’t like it because that’s like the one you always have to perform the most. That’s the one you’re acknowledged by. People see me to this day and they like, It’s Kamaiyah! because of the record. That’s what that just is. It’s that little gift and a curse.
Do you still have jitters when you put out new music?
A little bit. Sometimes. But then I got to remember to cater to the people who love me and ignore those who don’t. ‘Cause I think the irony in people is that they focus on the negative and not the positive. It could be 100 comments, motherfuckers say they love you, and one comment could be like, ‘Fuck you fat ass bitch.’ And you’ll be so sad. Like, what about the love? You gotta pay attention to the love, not the negativity.
Is that your vibe now? Focusing on positivity?
Focus on positivity. People who love me. Keep catering to them. I don’t care if its only 10 people right there. That 10 gonna turn to 100. 100 gonna turn to 1,000. 1,000 gonna turn to 100,000. Next one will turn into a million. Just keep hustling.
I don’t know if you saw the reaction to the single, but people were glad you’re back.
That’s real. People want me to win. It’s just the powers that be stood in the way.
I know you’re big on sampling in your songs. When was the last time you went to the record store and dug in the crates?
I don’t fuck around no more. I don’t sample no more. Especially being an owner of my own music, I don’t want to deal with that cause I am giving up a large percentage of my record just to get a certain feeling. My next album, I am going to the sources who created this music to get the feeling versus taking the old music to get the feeling.
Well, I’m excited to hear the new shit if you’re doing it this way.
There’s only one sample on Got It Made.
What is it?
It’s “1-800-I’m-Horny.” It’s Too Short’s “Shake That Monkey” sample.
That’s something that you want to keep with your music. Keep that Bay Area sound, style, and everything. Why is that?
‘Cause I feel like it’s important for the culture for me to remain invested in it. So it’s like, I gotta keep dropping shit that glorifies us and eventually the world will get it.
Where do you think the Bay Area ranks in terms of other regions?
No. 1 ’cause everybody steals from it.
Why do you think that?
It ain’t I think, people know. It’s a thing. Everywhere I go, it’s like, ‘it seems like the Bay never gets their just due and people take from y’all.’ That’s one of the number one questions I get asked. ‘Do you feel like people take from y’all and you don’t get your just due?’ I’m like, ‘Yeah, you right. We do.’ We are like the cultivators of moving the needle. Even with raunchy rap, Short was crazy. The shit he said. He made a whole generation of niggas saying ‘fuck bitches.’ It’s just like the people say and do in the Bay. Other people are afraid to take those risks to do it. That’s why I be doing me because the risks I am taking today, it is going to make it easier for somebody 15 years later.
Do you see the Bay Area music scene as more collaborative?
For sure, it’s all love. Everybody knows each other.
You talked a little bit about the label situation. So you’re with Empire now?
Yeah, we’re partners.
When did that happen?
I officially signed the ink three months ago. I have a unique deal with them. I’m not an artist. I don’t have no 80-20 shit. It’s split 50-50. We are partners.
Why do we see more artists wanting to own their music?
Because I feel like we came up in a time and age where we know better. Back in the day, you get the deal, you sign it. And then you let them take, take, take and then you become a superstar. Now, it’s the internet. I don’t need you to be a superstar. I keep catering to my fans and my market and it grows and it grows and it seeds out. You don’t need the label to do that. You can do that on your own.
I know “Addicted To Ballin’” samples “Let’s Get High.” Why are you such a big Dre fan?
‘Cause Dre knew he had the blueprint. It just felt good. I felt like if Dr. Dre did A Good Night in the Ghetto, it would’ve been ten times better ‘cause he knows how to make them samples and shit hit. That’s my goal is to get an album with Dre because I feel like the West Coast never championed a female. I’m the first one to do what I’m doing and have the culture. It’s a difference from being a female artist and having the culture. The West Coast culture embraces me. I feel like he has an opportunity, and I have an opportunity to make history. So why not do it together?
Have you tried to make that happen?
That’s my goal. Every interview on camera, I’m telling ‘em I wanna make an album with Dre. I’ma keep riding on that nigga until he listens. [Laughs] I want him to be like, ‘Who the fuck is this bitch?’
It would be crazy because it would be the Bay and Compton.
That’s what I’m saying. It’ll be a historical moment.
Have you ever imagined what it would sound like? A Dre and Kamaiyah album?
I know exactly what it would sound like. It would sound like if he did Doggystyle or The Chronic with a muthafucka from Oakland. ‘Cause A Good Night in the Ghetto sounded like an Oakland version of Doggystyle or The Chronic.
Any other artists on your wishlist?
Everybody. It ain’t no specific person. I believe in whoever wanna fuck with me. If their music slap, why not?
You already have a pretty solid track record. You worked with Drake. Have you and Drake ever talked since that record [“Why You Always Hatin?”]?
Yeah, I told that nigga happy birthday on his birthday. He said, ‘Thanks for remembering me.’ But I was like, ‘whatever Drake.’ Drake crazy! He be saying stuff like niggas gonna forget you. Like who gonna forget you, Aubrey? Shut up. [Laughs] That shit funny as hell.
When Kobe passed, I saw on your Instagram that he was your childhood hero.
Yeah, that was like my favorite basketball player.
Tell me some memories of yours on Kobe.
Man, just like when I was little, I have all brothers. So they used to play basketball and NBA Jam. All that shit. It used to be him and Derek Fisher, they used to get on fire. You know, you got on fire, you could do all the crazy dunks and shit. That’s how it started. And from there, I just loved that man. That nigga was the best player of my era.
Were you following Kobe for inspiration or motivation?
I feel like he is a very inspirational individual. The shit he did, the way he led. He has always been a positive figure. You ain’t never heard anything bad about him beside the scandal he got caught up in. But do I believe he did it? Hell the fuck naw. But shit, we are living in a #MeToo world and you gotta let a bitch do her. To me, I don’t see it. He has no harmful bone in his body, to me.
You’re officially a Lakers fan. Do you get flack being from Oakland?
I tell people that. KD and them know! They follow me. They see me say Kobe is my favorite player. I had a full-fledged Lakers outfit. I thought he was mad at me. He was being petty, I think. KD liked the picture. I was like, ‘This nigga petty.’ [Laughs] But people know that’s my favorite player. I don’t make it a secret. I never been to a Warriors game a day in my life. When I grew up, they fucking sucked. That’s when they had Thunder. Thunder used to come to our school, doing flips and all types of tricks. Giving us tickets, trying to make us come. They sales was terrible. They used to give out tickets on the BART train.
Steph [Curry] said when he first got to the Warriors they used to have to give out tickets, trying to bring more people in. So that’s what I do give them. They built that on their backs to bring back that region and that league over there. That dynasty. They built that on their backs. But to me, I still haven’t been to a game.
***