GoldLink’s journey is anything but ordinary. From recording on his mom’s laptop and uploading tracks to SoundCloud, to earning Grammy nominations and performing at global festivals, the D.C. born artist has built a career on authenticity and fearless creativity. Known for his genre-bending sound that blends rap, R&B, and electronic influences, he’s never been one to follow the rules — in music or in life.
In this exclusive conversation with Illythehost for HYPE Magazine, GoldLink reflects on his early beginnings, the impact of spaces like Indie Media Lab, and why he doesn’t care about industry politics or streaming numbers. He shares insights on collaboration, his thoughts on the UK vs. US rap debate, and what’s next as he works on a deluxe album while touring the world.
You started making music right after high school just for fun. What moment made you realise this could be a full-time career?
Oh, I was putting the music out on SoundCloud. I was using my mom’s laptop — I didn’t even have one. I was trying to tell my mom that I think I have something, so I showed her the SoundCloud analytics, and I was at like four or five million listens. This was before Spotify and Apple Music. She was like, “Word.” People kept telling me repeatedly, “You got something.” That’s kind of what happened — everybody kept telling me, “You can make it.”
Your early days recording at Indie Media Lab in D.C. might have shaped your foundation. How did that space influence your sound and creative process?
I don’t know if they know if it helped in any way. I mean, I guess it did. It was just a safe place for me. You know, I was in the streets when I was young, so there was nowhere to go. I was just out in the streets. That was a safe place for me to be creative. More than shaping the sound, it allowed me to feel safe enough to create.
Before GoldLink, you performed as GoldLink James. Am I right? What inspired the shift in name and identity in 2013?
Oh, it was just that Trinidad James was a rapper at the time. He came out and was so hot — he had a song called All Gold Everything. So it was “Gold” and “James” together, but there were too many double names at the time. I decided to shorten it and make it one word.
You dropped several free tracks on SoundCloud. What role did the digital platform play in building your fanbase and reaching industry recognition?
Yeah, I mean, it’s the only thing I’ve done, really and truly. It was the main thing that started my ascension. After that, I started doing shows. I kind of took a rock band approach — just performing all the records. So yeah, it was quite instrumental.
The God Complex mixtape gained massive critical acclaim. Looking back, what do you think made that project resonate so strongly with listeners and critics alike?
I think it was different. At that time, there was nothing like it — and there still isn’t. In 2014, trap was coming in heavy, and EDM was huge with artists like Skrillex and Diplo. On the other side, you had artists like The Weeknd. I was doing something in the middle of that, and people just thought it was sick.
Songs like “Dance on Me,” “Charlotte,” and “Spectrum” introduced you to a bigger audience. How did that level of attention affect your creative direction?
I think it jaded me a little bit. I started getting critical acclaim and success, but I also started hearing rumors that I couldn’t make records. So when I started making those records, I began formatting them to be more listenable and palatable to a wider audience.
You’ve worked with legends like Rick Rubin and rising producers like Louie Lastic. How do you balance collaborating with established icons versus emerging creatives?
I don’t see them as “up-and-comers” or “legends.” I just see them as artists. For me, it’s about taking two artists I think can coexist and putting them together.
You were named to the XXL Freshman Class in 2015. A huge moment for any rising artist — what did that recognition mean to you at the time?
It didn’t mean anything at that time. Damn. It meant nothing.
You’re based in the UK right now. What are you doing out there? Music? Fashion? Touring?
Funny enough, I did some shows in France this month. I have more shows in the States, then I start a tour in Europe. Right now, I’m working on the deluxe version of the album — with some big names I won’t mention yet. I’m creating music with a lot of bigger musicians while touring at the same time.
How long have you been working on the project?
I haven’t even started yet, to be fair. I’ve been figuring out what sound I want to go for, aligning with people, and having conversations. Soon we’ll lock in one place for a month or two and just get it done.
You’ve spotted producers in the UK and artists in South Africa since you were here a few weeks back. Any names come to mind?
I love Focalistic. I like A-Reece. I love those dudes. I don’t want to say other names because I know some people don’t belong in those conversations. But I like everybody, especially that tech team. There’s a lot of young cats coming up with a different sound — something I want to explore with this deluxe project.
Being in the game for over a decade, do you think media — whether in the US, UK, Asia, or Africa — appreciates you as an artist?
No. I’m a real artist — people really like me. I’m not forced down people’s throats, and that’s why I don’t care much about the media. I know that with time, everyone’s going to tell me how great I was, how much of a generational artist I am. I get told that almost every day, especially by Black people who appreciate the music I make for us.
Have you ever felt like quitting because of how the media may overlook you?
Never. Nah. I don’t care. I’d say, “F*** them.” Who cares?
What advice would you give to a young artist uploading their first tracks on SoundCloud, Spotify, or Apple Music?
Never plead to the gallery. Don’t appeal to the masses. Do what you like, trust yourself, and if people like it, they like it. Block out the noise, don’t care what anyone thinks, and create from your heart. You always know what to do.
A lot of artists feel discouraged by low streaming numbers. Do you care about streams?
I don’t care about any of that. It’s not important — it’s all fake. If you get discouraged by something that’s not real, then you don’t love what you’re doing. I never got into music for money. I was making money in the streets before music. The money from music was just a byproduct of doing something I loved and was good at.
I’ve achieved everything before age 26 — Coachella, Grammys, Lollapalooza, iHeartRadio, Billboard charts, millions of records sold. Why would I need media help? All that stuff doesn’t mean anything. The only thing that matters is how you feel and finding people who appreciate your work. Numbers don’t matter — they’re not real in the first place.
Recently, there’s been a debate about whether the UK or the US has better rappers. What’s your take?
That’s dumb. Drake’s a reach — and he knows it. The US has the rappers because we started rap. I’m not saying UK artists can’t be better, but the rules of the game were laid out by Americans.
We’re all Black, so we shouldn’t even be comparing based on two white countries. But if we’re just talking rap, it’s the US — Big L, Big Pun, Kendrick Lamar. These are serious rappers. Even crackheads in my neighbourhood can rap better than most people right now. In the UK, rap isn’t your culture — football is. Beer is. Pork is. Hip-hop is our culture, and you guys took it, added to it, and made it your own. That’s the beauty of Black art.
Thank you for your time. Looking forward to linking up again in SA.
Thank you, bro. I appreciate it.
The post Exclusive Interview: GoldLink appeared first on HYPE Magazine.
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