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The Style & Vibes Podcast
The Style & Vibes Podcast
Voicemail's Kevyn and Qraig talk Dancehall Roots with Global Reach
Two voices, one legacy, and a catalog that ignites dancehall to tek it to the dance floor every time their songs are played. In this episode I sit down with dancehall group Voicemail to unpack the spontaneous birth of their name, the unlikely path from R&B harmonies to dancehall dominance, and the creative spark behind "Weddy Time"—guided by producer Danny Champagne and inspired by Bogle’s dance moves. What follows is a rare, candid look at joy, grief, and the unbreakable thread that ties performers to fans across decades.
Kevyn and Qraig take us inside the shift from five members to three, then to the duo we know today, revealing how they rebuilt their sound without losing the heart that made them. They share why Japan became a second home for their music, how a structured rollout amplified their reach, and the practical playbook young artists need now: align with the right partners, think beyond a small home market, and let quality lead because value attracts opportunity. We also discuss dancehall in the digital age—how constant access dissolved mystery, why playlists weakened artist-fan bonds, and what it takes to rebuild real community that lasts.
There’s humor, vulnerability, and plenty of hard-earned wisdom: setting boundaries with love, crafting solo projects, Qraig with Me And Di Gal Dem and Kevyn with SKILLVCHI under the Voicemail banner, and remembering to celebrate the wins instead of sprinting past them. If you care about dancehall culture, artist longevity, or the craft of connecting with an audience in a crowded world, this conversation is a masterclass in resilience and reinvention.
If this moved you, follow the show, share it with a friend who loves dancehall, and leave a review telling us your favorite Voicemail track and why—it helps more listeners find conversations like this.
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Produced by Breadfruit Media
Hello everyone and welcome to another edition of the Style and Vice Podcast. With you, our host Mikelah. If you are new here, welcome to the family. If you are coming back, welcome back, family. And today I have Dancehall Legends in the building. And I am so excited because not only am I a dancer in my head, but I have been dancing to this group for a while. But a while. All right. So we have none other than Voicemail, Kevyn Qraig. Welcome and thank you so much for being on the podcast.
Speaker 1:Thank you very much for having us as well. Appreciate that intro.
Speaker 8:Absolutely. But I'm sure that I feel the same way as so many that came up in that era. And I feel like, you know, sometimes I think about that era of coming up and miss it. And want to understand if the young people today feel that same way, feel as energetic about dance hall and the dance hall space. But you guys started as a group as five. I didn't even realize that because I've always known you guys as a group of three. And we'll get to that. But starting out as a group of five and then going to three, what was that like as you started out in the beginning? And how did the group end up being three of you?
Speaker 4:Well, the transition wasn't easy, I must say, because we used to have five part harmony. And then when it reduced to three, we have to readjust, you know, create a sound now that the three of us can attain to the point where the fans just gravitate and you know lock on to. So it was it was difficult at first. The challenge was to convince Oni that the three of us could do it because he was so used to the five of us, you know, just singing and harmonizing. But after some convincing recordings, you know, he said that me and me and him and Kevyn could get it done. So I think that was our first challenge when it well, our second challenge after Leon and Robert lead the group. But other from that, been awesome.
Speaker 2:Yeah, and I mean just to answer what it was like being five members at that time, um, I think it was it was a lot of fun for us because we were we were in this just having fun with no expectations, you know, just just having fun, just loving the music, just loving what we do, and loving, you know, the expression on people's faces when they saw us or heard us, you know. It was all fun. Most definitely.
Speaker 8:You guys kind of are in that space of singing and DJing. So tell me about some of your influences growing up, whether they be RB, reggae, dance all. Tell me who were you guys listening to as you um kind of were growing up and and became a group.
Speaker 2:Well, for me, um, my first um attraction to music was a cousin of mine. And you know, I mean, yeah, you hear music around the house because my mother used to play music all the time when she's cleaning the house and stuff like that. So you're used to that, but Dominican parents. But um, you know, I also grew up with my grandmother. So my grandmother used to listen to a lot of the talk shows. Says only when after the talk shows moment was finished in the evening, then my cousin, my bigger cousin, now would get access to the radio. So he used to listen to a lot of um, you know, Bai G and Richie B at the time, you know what I mean? And they were the ones who used to play dancehall, and that's where I got, you know, um the love for it from just listening to people like Papa San, Tiger, Sitchy, you know what I mean, those people, chabaran's. And and then now being able to have my own access to music at a later age. Um, you know, I started a new found love with just sound system. I I used to like go around and and collect like cassettes with sound system caches. That was my um first um, you know, just love for dancer.
Speaker 4:Well, I mean, for me, when I used to listen to radio, I never used to have so much access to regular dance hall at the time. It was more, as they call it, then, souls. Souls. One thing with Jamaican, they're going to play a lot of gospel music on Sunday, like Kevyn said, you know, cleaning and cooking. I got exposed to RB and gospel first. When I now start getting exposed to dance hall, it was actually in the streets. I remember my first tea foul, as you say. The tea foot and go and stone love on a Monday night. Stone used to play on a Monday night on Walter. Me so bad one to go and dance, me T F out. Of course, I never reached back to you because the door was locked. But that whole dance hall space and how people were just free to educate themselves is what you mean to dance out. Now, when I start listening to the Reggae and Dance Hall side, and when we start getting more access to the Reggae and Dance Hall on the radio, of course, you know the Sarchetti, the Wayne Wanders, you know, the Paris, the Pudges, people, meaning the Punties. Now, being a Puntiful because these were two dance halls, legend at the time. For us, we realized, yo, dance on nice enough. You know, so I personally started just listening to a past majority, a dance hall artist, and Kevyn said, Papa Son and Lieutenant Stitcher, Speed DJ, which a lot of people don't know most of the speed rappers them. And then two artists that really look up to and get that edited up. So it was from that time, from the back in the days. You know, but I started out listening to the the RD and the souls. I think that is one of the things that shaped my song as a vocalist as well. But when you fall in love with dance, Ali, there's no words to really explain to you how that feels. You know what I mean? You have to extend it. So those are the looks.
Speaker 8:Yeah, it's definitely a feeling that is hard to describe, but I think you guys really capture it very well, especially you know, with some of your breakout songs. But really, tell me about the name voicemail. How did you guys come up with that name?
Speaker 1:Um, I think it was just God and intervention.
Speaker 2:I mean, um yeah, so um Robert Manning, who was a um a part of the group when we were five, we went to an audition, which was where everything basically started. And you know, they basically said that they were looking to form a group at the audition. And Robert just jokingly said that we were a group. And it was himself, me, and um, and Leon. And they said, true, and they asked what was the name. And just like that again off the top of head, voicemail, and that was it. There was no sitting down at no table and say, all right, what we're gonna name ourselves, you know, none of that. Everything was just spontaneous, like right there on the spot. Organic.
Speaker 8:But the probably I said I was like, yeah, that can't work. That can't work still.
Speaker 2:At the time, the whole voicemail thing was just coming in, you know what I mean? Well, in Jamaica, that is, you know what I mean. So it was a fresh name, you know what I mean? It was fresh and it was relevant at the time, you know.
Speaker 8:Now, you kind of spoke about your getting into dance hall. Uh, probably one of the singles that you're known for, Weddy Time, was inspired by Bogo. I wanna make sure that how did that kind of come come about? Yeah.
Speaker 4:I was inspired by Danny Champagne. Yeah. Danny Champagne, um, you know, rest his soul. Was just a genius, if you ask me. Because at the time I I never really understood what he wanted to do initially. After I see how intuitive he was, I was like, No man, Danny really, really want to get this done. So I was at the house at the time, you know, just telephanting as as I usually do in the studio. And I saw some books. Me with my fast self pick up one and look like poetry. So I end up liking one of the poets and you know, me just humming melodies and I sing and I said, yo, this buddy. I was like, yo, you can do that. Say, yeah, man. So he started keeping me other books with poetry that he wrote. So being there doing all of that, him just come out and say, You know, so I want to do a song in you guys on Bogel. I say, yeah? Say, yeah. So at this time you know, Vicema was singing all boy band songs and nothing, nothing about alright, we're gonna do a dance song, you know. So Danny, if you ask me, was the genius behind Weddy Time, you know, we all came together, you know, Bogel, Carly, Delirans, created everything. Started creating at Danny's house, and then when we reached at a point, Danny said, Let's go to big guy, and that's where all the magic goes.
Speaker 2:Yeah, I mean, we can say that most of the moves that were um spoken up in the songs were inspired by Boket, for sure. You know, um, so from that angle, yeah.
Speaker 8:So tell me about the success of that record in particular and how it kind of put you guys on a trajectory of doing more dance-inspired songs throughout your catalog.
Speaker 7:Oh, wow.
Speaker 8:That seems to be like what you guys are known for. Was that a conscious decision, or it just kind of happened that way?
Speaker 4:It kind of happened. Like I said to you, we we're just singing our RD stuff as a group, you know, because boy bands at the time was just really cute. The instant, the back seat, the boys to men, you know? So when this comes into play now, this is the universe smiling and say, oh, that can go and do an adoption. Have a nice plan. So it wasn't planned, it just it just happened. But the the energy from that success of weddy time was just overwhelming. You know, this song got so big, I never expected it. I don't know, Kevyn Key, but I none of us expected it. None of us expected it. And how huge it was. That song played every second, every minute, and every minute, every hour. People was like, every turn we turn. Here are some young men who we get so excited just hearing jingles on the radio. So you can imagine how we feel now hearing a whole song being played all over the country and all over the world.
Speaker 8:And not only that, even just walking into a dance and seeing dancers like busting out to your song. Like that, what is that like?
Speaker 2:I mean, it's it's an unexplainable feeling, actually. Um it is an unexplainable feeling. Um I'll try and explain, but there's no way to explain it. It's just an overwhelming feeling, being very honest.
Speaker 8:Yeah, I was just doing the wacky dip over the weekend at somebody's party. So, like, I I I think that you know, standing the test of time is part of your catalog and making people dance and and finding enjoyment.
Speaker 4:But as I mentioned, you know, feel good. We enjoy making people feel good. And so after 21 years, where the time is still like a new song. Whenever I play it, it just it just shows that the love and energy that was put into our music. I think personally that is what sustained our music and also that group. It wasn't fabricated or we just have to say, yo, we gotta try out some more.
Speaker 8:I agree. I love that because it brings that fun element to dance all. Um, and you spoke about groups, and there weren't too many at the time. Uh, internationally, yes, but I think you guys and maybe TLC are the only two groups that I've known in this realm who have had a member pass and then decided to just be a duo. Like, what was that like having your friend, family member, band member pass? And then even before that, experiencing the loss of Bogle. Like, I feel like you guys have had some loss, even from your five to your three, now, you know what I mean? Like that that grief probably is something people don't really think about.
Speaker 4:There's always a thing that um, you know, time deals all wounds, but I don't believe that. What time does is teach you how to live with womb. You know, yes, you can you can heal from a situation, but the scar is still going to get it. You know, losing unhealed, again, there's nowhere to really um put together a sentence to express it the true feeling or the true way how we felt, just knowing that he's not going to be here with us, you know. That challenge for us as a group was I think that was one of our hardest games. And to see that we sustained over the years and still continue the journey. Is that is that the test of not just our resilient, but the love that we have for each other and the plan that we have spent half of our life created. It's more than just a name for us. Or to that say for me personally, it's more than just a name. Because here are some young gentlemen come together and create something so magical that can vibrate to an enjoy to an extent, still feel like, oh my God, it's like new. You know, it's always nostalgic when time appointment. Because, like I said before, we can only have fun when we do our music. It's never going to be easy. Knowing that, like I said, you're not going to be here with us. But over time, you know, we have learned how to navigate around like pain. But you know, sometimes you have a scar and sometimes it will flare up. It's the same thing. You know. So I think we're in a much better place now versus by 10 years ago. Because like I said, time teaches us how to continue. That's a pain that will never that I don't I don't believe that pain will ever, you know.
Speaker 2:I mean, for me personally, um I think my way of dealing with any grief on a whole is really try to think of the happiness, you know, I mean, the happy moments that we shared and um, you know, just really and truly just try to delve into that and dwell on that, you know what I mean, and instead of um, you know, thinking about the fact that he's not here, you know. Um, yeah, so of course, you have your moments. You have your moments and you know, I mean, certain things happen and you're like, yo, if he was here, you know, um, you know, this would be different or that would be different. There are definitely moments, but like I said, I definitely try personally to um to just try and be in the in the happiest of moments that we were together, you know.
Speaker 8:Now tell me about performing. Like, are you reminded of that void like every time that you perform?
Speaker 2:Or is it more of like a the thing about this is um there's no way to forget. There is absolutely no way to forget. Um there's gonna be moments, there's always more not gonna be, but there's always moments where, you know, where you say, oh, you know, uh especially like when we go um to Europe or certain places where we are Japan, where we, you know, you sing, you sing in because I mean Jamaican culture stays a way where you don't really get to perform an entire song like that anymore. So there are spaces that it's just a verse and a chorus, you know what I mean, and you're on to the next song because of just how we are, you know what I mean? Um but when you go outside and then his verse comes in, you know, those little things remind you, and then you will go back to certain places and you remember all, you know, but what it was like being there as three, you know what I mean? As long as we are in this group, and as a matter of fact, as long as we're alive, I don't think we'll ever, you know, I mean, there'll ever be a time where you forget. Yeah, that's not going to happen.
Speaker 4:I know that's true, especially you know that you have creators of the spiritual part. Because if people are forgetting that it's a spiritual connection, because that that ties us, um my opinion, forever. You know what I mean, in this life, and whenever we pass on, you know, our journey is just getting started if you ask him. You know, because the saying is um you learn when you're young, you put to use what you learn, and then after all of that, then you hear all of that. So what we're doing right now, we still already. We learn enough so far enough, but we still already. That's why we're in the the evolution series of OSM. You know, it will never adjust the music, you know. So like Kevyn said, can I forget.
Speaker 8:And I think about you you mentioned the spiritual connection that you guys have as a group. We don't see a lot of groups coming out of Jamaica. Do you think what are your thoughts? What are your thoughts around that? I'm like, nobody's connected, everybody's being themselves.
Speaker 4:It might be a reach, but I guess everybody's just self-centered and doesn't worry about them. Yeah. To an extent, it's not like you're a fight on individual thing, say, yo, I mean I deal with it because self-preservation is always a big fight. But where is the the unification where you can come together and create something magical? Like I say, it's not always just about you. You know what I mean? I don't think legacy is about your meaning focused part. You know, I think legacy is about what are you going to do in our earth or when time you're part. If you realize when funeral are going on in order, then talk about the person, then they really talk about the bad enough. They don't, they just talk about the good. So we're not gonna do everything right because we're not supposed to. We don't know everything. So do as much good so it can sustain you when you're not here anymore. That's how we look for it personally.
Speaker 2:It's just maybe the time is just not there for it right now, you never know. Maybe some more will pop up, you know? You never know.
Speaker 8:You mentioned Japan and performing in Japan and Europe and the differences there. But you guys have had uh entire album just released in Japan. Like, what was that like releasing an album just for one market? And would you ever like consider doing that again? And why did you do it?
Speaker 5:I think if we will ever release more music in albums in Japan.
Speaker 8:Like just for Japan.
Speaker 4:Yeah, man, of course we release more music just for Japan. Listen, Japan was an experience that maybe not gonna give his give give his take on and because I listen, that's a different, different world in itself. You know what I mean? Whenever it feels to be a king, as in, yeah, me know I'm a king. But when you when you go to a total different culture and to see the way how they express the love that they have for you, it's a different thing though. So Japan, Japan was just exceptionally awesome, and still it's one of my favorite places outside of Jamaica. Japan.
Speaker 2:You know, keep it like that. I mean, the releasing the albums there is really based on just their appreciation of the music and the culture. There was a company that just thought that voicemail was something worth, you know, I mean, investing time and and and currency in. And, you know, they signed us to um a distribution deal over there, big up to pony canon. Um, you know, and to date it has been one of the best um opportunity and decisions. And also, not just that from our side, but it was one of the best experiences in terms of being an artist, um, having things structured, you know, their rollout, their um, their build-up, you know, their the way they went about, you know, promoting us over there. Um, we were not just promoted to the to the to the dance hall culture or the that or the dance hall space, but we were um introduced to the hip-hop and the top you know audiences, you know. So it was it was a wonderful experience, and as Qraig said, we do it again in a heartbeat. You know, in a heartbeat. So it's definitely something that we do again. Um maybe a few changes, but not a lot.
Speaker 8:What advice would you give to other artists, younger artists coming up in embracing other markets the way you guys have?
Speaker 2:Um, well, it's it's very smart to do because you picture Jamaica as the dance hall maker and the reggae make at the stomping ground, the creative hub, the lab, whatever you want to call it. We are an audience of let's say three million people now. How many times can three million people purchase your music? How many times can three million people um you know just come out to see you perform? So you have to express yourself outside of that three million people, which you have to also understand, you are not getting those three million people for yourself, you're sharing them with a million. Let's say two million are fans and and and um and just consumers. There's one million that is artists that are not consuming nothing but they're probably their own, or you know. So you have to think outside of that space. You have to try and get your music to a wider audience, to the world at large, you know what I mean? So it is for you to get up and say you're going to do music for Jamaica, then you really have to just love music and not in it to to be a career or to expand. You know, you have to just say, alright, I'm gonna just love music and we agree, I'm a spare time, man. Yeah, that's the only reason why you'd want to stay or want your music to stay in Jamaica.
Speaker 4:Well, if you ask me, it's super important to align yourself. And aligning yourself to, like I said, the best advice is one of the best advice is that the best blueprint is um history. History has taught us that aligning yourself is always going to be the right way. No millionaire or billionaire is that is a millionaire billionaire by themselves, they've aligned themselves. So every artist, whether you're young, medium or large, you should always expire. You should always want to collaborate with other companies. Because, like Kevyn said, when we were assigned to Coney Channel, that's when voicemail was the vote, organize. Not saying that the word organized, but that's when the vote organized. Everything was just on point. There was a system in place or career to move them. A and B. All the young artists that's coming up. It's not about the money. Yes, the money nice and it's going to be eventually what you're going to do to gain from doing the right work. Make sure your music is at the highest quality as possible because money run down value, not the next way around. And how you gain that? Be professional about what you're doing. Um make sure the music quality is at the highest, and I promise you, it'll come and up. Don't make your ego lead you. Always remember the music is bigger than me. Once you think that you're bigger than the music, then you not suffer.
Speaker 8:I I love that. I'm just gonna clip that right there. But I I think of dance hall and not just the the music itself, but also the space as a cultural export. And it has changed so much since the early 90s, 80s to now. What is it like for you seeing the changes and the growth, the influx of social media? Like, how has that impacted how you guys approach music as well as the dance hall scene itself?
Speaker 2:I mean, wow, we can definitely say there has been a drastic change from when we were fans of the music to becoming a part of the music. Um, you know, to now I remember just being a fan of music press from that angle. Um, I remember, you know, the the excitement of seeing an artist is like they were it's it's like once in a lifetime moment thing. You know, like you see them now, wow, what are the what are the chances of this? You know, because I remember my first stage show that I went to was Le R Smart, Tiger, and um Tanya Stevens. And I remember it today, today, today. I remember where I was standing. I remember everything I can tell you word for word and action for action, everything from the intro of Bargie introducing each one of them on the stage. I think that part of music has been um null envoy because of the easy access, not just the artists, but the um the easy access to everything. You know what I mean? And they say that when you once you have easy access to things you don't value it as much. Once you can get up and go pick a mango every day, you really don't care that much about it. Sometimes a month will go by and you don't eat a mango because it's there, it's too, it's readily available to act. You know, so I think what has happened is the pros and the cons of that is that we can get up today and record a song and we can release it today and it gets to the world in in a second, but then it also devalues um, you know, the longevity of the music and the longevity of the artists also. And that's why I think also there is not that much stars now, you know, because you see in everybody, it's like even from an artist's perspective, you're trying to not be too out there, but then you can't not be too out there, you know. So it's a whole like a whole 180, like technology has changed, and the only thing that they say is constant is change. So you just have to deal with it. But there's definitely a lot of change. A lot of change. I can remember also just one more example. Um, I was telling somebody, like growing up, Terra Fablos was one of my favorite artists. And I remember being at home and O'Neill was at Big Yard and there was a rehearsal going on at Big Yard, and Terra Fablos was there. So he called back because he knows this. He knows of my um you know, love for Terra Fablo. And he called me and said, Yo, anything you're doing right now, anything you do right now, drop it, put it down, and come on, big yard, come on big yard right now. So I'm like, What God, you know? And when I got there, I saw him and literally tears came to my eyes. Like literally tears. Do I think people have that kind of experience now with artists? Maybe, maybe not. Maybe a few of them do, you know. But um, I think that that just looking at the the person on the screen and appreciating their words in their songs and and and and just their performances and stuff like that. There's too many to pick from. The internet you open the you open a TikTok or Instagram and you see a million artists. So you don't have that um what you call it, potency. You know? So but it's change. What are we gonna do about it? But Just conform and and and adapt and try to still be that kind of artist, you know?
Speaker 4:Well, one of the things I first again comment on is the love, as Kevyn said, like when it's terrifying, and it could bring a material based on, you know, just seeing terrafabulous. The reason why that that is not there anymore. So you now get up and say, alright, I'm going I'm gonna do some music today. You're now an artist. I post something yesterday, privacy is power. Because once people have access to you, they'll ruin it. Meaning the mere fact that we can't just say, Yo, I wonder one that one that never ever surprised me. And then you actually get a chance to surprise me, that excitement is not here anymore. Easy access. There has to be a point where you say, Alright, cut out this. If it's not like this, it can't come through the door. Have to have some form of control. We have a saying in Jamaica, well, across the world, I must say, gatekeeper. We miss the gatekeepers. Because everybody and them mother can't come to come in your yard now. Any dog and cat them say, oh, but it's a look nice, I'm going to fix somebody. That is what's going on. Do I think it's a bad thing? I don't think it's a good thing. The only plus with the easy access is like what Kevyn said, you can get up today and put up music today. But now, when you used to be a little bit more private, your fans want to know if your bed sheet is black, white, or pink, just because you want them to connect with you. I don't personally feel like I need to connect with my fans. Or similar, this is how my bed stays and this is how my sheets stay. The music supposedly can do that. If you love my music, you know, and then me, you know, my personality are engaging our fans that mingle away if you ask me. Because like Kevyn said, we can't go anywhere in our streets in other night and we see some of our biggest artists. You know? Easy access. So I can tell you it's a little bit more difficult now. People think it's easy, but I don't think so. Not because the access is easy, meaning it is easy. I think it's a lot more difficult now. We're not creating a relationship with our fans anymore. You know, where you go buy a CD. I'm a collector. So when we come to the state, going to Best Buyer was a big deal for me. To go and buy an album. Everything changed. Streaming changed, all of that. Physical relationship that you have with the artists is not there anymore. So we as artists have worked ten times harder to build that connection with our audience. So all of the artists who's finding creative ways to engage with their audience, those are the ones that is really winning. You get me? So I think the whole digital era that we're in right now makes music kind of difficult. Because now they're saying that you can't make money on music alone. You have to be doing 10 other things. That's it, JZ, them and everybody used to just go open them car and sell them music from there. That is the connection with you and your fans. Do I think we can still do that? Of course. We just have to find unique ways to get back there. Not in not saying we'll go back. But to add that to what is going on now in the digital world. Still find creative ways to connect with our fans, to create that love that our fans organically used to have for. Because yo. Who are put up post upon a wall anymore? That's not happening. When you grow up, who used to be your favorite artist? Who you put up on your wall in the community, that's not happening anymore. So that is what I'm saying when I say the relationship between your fans and as an artist, you have to work ten times harder to create that. So in everything you have the good and everything you have the bad.
Speaker 8:And I think it's a it's a conversation that the entire industry, music industry is having, really and truly. I think it's not unique to dance all or reggae or any genre. Because even hip-hop, not seeing the same, you know, numbers that they used to do.
Speaker 4:If you can't put out a product where, oh, I think it was crazy. Where the physical copy has to buy the physical copy to get the digital copy. You can't just go. Let me not say you can't go streaming. Yes, you can. But collectors, you really want it on your phone, alright, to buy the physical copy. So you have both, you have the physical and you have the digital. But the point I'm trying to make is what I said earlier, reconnecting with your odd, with your fans, where you make it so so personal to the point where, well, you know, I have a chance album, you know, I can cherish this. I still have albums that I don't pull it. I still have the first particular album that I don't pull it.
Speaker 2:And I mean, not just only that, but even the music itself suffers from that because the experience that you get from buying an album, you are listening to it from the first play to the end. Like I remember um buying Buster Rhymes album and you know, having the the um are the Fujies album and hearing the skits on it, you know, the little um skits of the mad rapper or the um, you know, those little things, you know, are the are the the Fuji's album with the Chinese man in the in the restaurant and saying, hurry up and buy you, you know, those little things. You know, you remember those things because um you have the full album just listening to because you've purchased it and you know you want to hear from the beginning, you know. So um those kind of experiences with music, it definitely changed. People nowadays just it's just a playlist world, and yeah, they like one song from you here, and then they have like a song from that person, and they just compile a playlist of say a hundred songs that they like, and they're all from a hundred different artists. You know, there's no real connection to you as one artist to say, yo, I love you know Mikela's music, I know, and and that is the change.
Speaker 4:I think that is the problem. As an artist, I personally think that is the problem. You know, can it be fixed? Well, I mean if a generation has a patience for that. They just want it and they want it now. Yeah, they're not dependent on, give me a minute, no, I want it now. And that is that is one of the things where I always say we need to find creative ways to reconnect with our community. You know, and I think that is what the Spotify is and all of them are trying to move to now where they are these rich community. They are focused on the artist, they might have an impactful community. Because that's the that's the original way. That is the original.
Speaker 8:And how are you guys kind of approaching it as a as a group as you continue to release new music?
Speaker 4:That is what we're doing now, you know, with the evolution of voicemail. Kevyn is creating a community to connect with Kevyn fans. I'm creating a community to connect with Qraig fans. Once you connect to Kevyn and you connect to Qraig, I'm gonna put all of that together. That's voicemail. You understand? So one would ask why, but if you ask me, there's no why. You have to create that that connection with your audience. We can't do this, all right. I don't um focus on over this halo. No, the world be. So we're on it.
Speaker 8:And and you talked a little about managing the boundaries. I think you talked about access that fans have. Um, but how do you manage those boundaries? Because I've seen one side and then I've seen the crazy side. I've seen performances where fans are just a little bit too handsy for me, but they feel entitled because they've seen a video, they've seen you do something elsewhere. But I think they're too extremes. They're really too cool to talk to you, or they're like overly obsessed. Like, where do we find, you know, the the middle of this spectrum? Because I feel like they're either on one side or the other.
Speaker 2:I mean, I think you handle that based on your demeanor and based on your personality. You know, um, the thing is, people will run into you, but then in their mind they still have a reservation running into you. I think fans just want to be able to say, yo, I had this interaction with my artist or this artist. And I think there are things that will get out of hand for sure. There are certain times that things will get out of hand, and you just have to know for sure just how you deal with it. You don't deal with it in a disrespectful way, you know, in a way that will turn off fans either. Because at the end of the day, everybody wants access to you, as I say. Everybody wants to feel like they are part of you, especially if they're a fan. You know, and you have some fans that are um super fans, you know, but then you have some that that would, you know, at least a hug has something in their minds. Because, like, for instance, when I was young and um you know, you see uh um Mara Carey or you know um Whitney Houston and those from from a male to a female perspective, um, you know, you as a child you you have thoughts in your head. You know, you see them a certain way. So, you know, you have to understand that you are now reversing the role as being that person that you know that somebody has that idea in their heads, but it's for you to be to remain respectful and um you know just to maintain a professional approach to it.
Speaker 8:So as you guys are releasing new music separately and as a group, talk to me about that. Like what can fans expect on your solo releases versus your voicemail, or it the essay the essence is really just voicemail.
Speaker 2:Um at the end of the day, the the the end product is really voicemail, but you know what I mean. Um as it relates to my project, I just want people to understand and get that side of me outside of voicemail. Um, you know, just my thought process, my my level of creativity, and just to to pull something from the music, you know, you have to look at other people's experiences also, and you know, to try and create uh, let me say, a connection with your fans because you're painting the picture for them to see it it can be something that they relate to, that they can say, yo, this is exactly what I'm going through right now. This is exactly how my life is right now. Uh, you know, or create moments that they can celebrate with um you know with others and say, yo, this is my song, this is my moment, you know, um, this is my achievement. And you know, we celebrate with them. Music is a soundtrack to life. You know, it's a soundtrack to this big old movie that we have going on. The music is what ties it together at all times. So um I would like to hope that um when people listen to the project, um, they will they will understand and they will appreciate that and they will gravitate to something. You know, whether it's one of the songs or a line or whatever the case is, you know, just gravitate to something and hopefully they can connect with it.
Speaker 4:Well, I am preparing to release uh my projects right now. It's it's a two-album project. It's really a one-name thing, but I break it into two. You know, it's called Me and the Girl Them, Ready for Dance. So October 17, I releasing Me and the Gallem on October 31st, I'm releasing Ready for Dance. Um, just to mirror what Kevyn said, it's pretty much expressing oneself, you know, the love that I have for the music my way, this is an opportunity for the fans who love a Qraig, I should have said, love a voicemail, um, we get that experience where, alright, so Qraig loves this type of music. Like everybody always saying, Qraig, you should sing more. And then everybody else has said, Well, I'm loving into the dance song then though. You know, you can please everybody, but at the same time, once you are comfortably pleased with yourself and the work that you have done, then I think you're winning that in that side. This is the evolution of voicemail where instead of you put something on the name or change the name or whatever, we just strengthen the grand voicemail. So when you book a voicemail, like a naturality, you'll get heaven and you'll get Qraig. You'll get the Kevyn experience, you'll get the Qraig experience, and collecting it together, you get the voicemail experience. So we support each other moving forward. You know, we did this song called Gangali. And it was something I wanted to do something like this here. You will experience everything, you'll experience only, you'll experience sadly onil is not here. The rest of the world to experience onil. But once you once you experience voiceless, you'll experience on it. So we're pretty excited about the growth of the group and the evolution of the group, and we're just excited to share all that is to come with the fans, you know, and people like yourself.
Speaker 8:Tell me about how you celebrate success.
Speaker 4:Oh my god, that's a nice question. How we celebrate success? I don't think there's any one way. All right. For me, how I celebrate success is knowing that that was successful. I think about from the whole idea to crafting it and putting it together, starting from nothing and watching um become something. I think that's the first celebration from just the idea. And then you manifest the idea by physically creating it, and then to say other people gravitate to it. I think that's a celebrator in itself. But I don't think there's any one way to really say this is how you celebrate success. Okay, start feeling knowing that okay, I know this now. You're unlocking something that I don't think you can explain if it works, it's just how it feels. And I can tell you, celebrating success feels.
Speaker 2:I mean, boy, that is so that is such a I love that question.
Speaker 4:It's something that I've never ever thought about, but it's a really awesome question.
Speaker 5:And I again again that marinates a little bit.
Speaker 4:Thanks for that. Oh, you celebrate success. That's a really awesome question.
Speaker 2:That really, it's a really great question, and I honestly don't know how to answer it. Yeah, I tried. In this very honest, I don't know, because I think that um we appreciate success and we appreciate um, you know, when things happen um for us that is good. But um sometimes I really don't think that we take the time. You know, it's always on to the next. I don't think we take the time sometimes to really stop in the moment and say, yo, you know, I just uh you know, I just achieved this or you know, yeah, it's wow. Yeah. It is it is thank you for the question. Thank you for the question.
Speaker 4:That question is a really awesome one. I don't think we really sit in that um celebrating. I think we don't celebrate ourselves, you know, in terms of alright, I've just achieved something. It's like Kevyn said, all right, yeah, I'll pass the English and now move on to match. Bro, you pass English. Take a second man, bask him in. So big up the people who always celebrate every little thing. Because I think that's what we could do, because those are moments, and that is what life's about. It's about moments. Because I then you got to talk about that. Interviewing a feel like Christian, you know, those are the things that you remember. Moments.
Speaker 3:I don't think we sit and and give ourselves enough race voice there. We have achieved this 26 years, you've been this for 26 years. It's on what's 21 years ago. That's a big thing that we're supposed to celebrate. How do we we don't celebrate it? I've been on it. I don't think we have sit for a second and say, yo, Kevyn, yeah, for over two decades enough.
Speaker 4:We talk and this this is uh this is a this is a nice little overall. We have to take a minute and celebrate the brand points here. But Kevyn, Qraig, One, even Leon and Robert are creative. That's why I created it. Yeah, them all they say it's not going to start, it's not just finished. And we're not finished yet, but we just start.
Speaker 1:But yeah.
Speaker 8:Yeah, I think that one. All right, all right. I I I definitely want to commend you guys in terms of not just the legacy that you have done up to date, but going future, inspiring the next generation, and just being an example, I think is really important for people to see. And I think that you guys just sharing your journey and your inside knowledge with everyone about not just your music, but how you feel is also important. So I do think it's important for you guys to take some time. Maybe a celebration of some sort is in order for you guys to just really like set and receive your flowers.
Speaker 2:And it's and it's really life in general because it's like, all right, if you are if you are a praying person, you get up every morning and you thank God for waking you up. You thank him for you know just being alive. But then you ask for stuff within your prayers, but then you never stop to say, hey, God, you know somebody that said for that yesterday, and you give to me. Thank you. Let me thank you for this right now. We're always on to the next God. I need, I need, I need, can you know what I mean? Is I it's really a great question. Believe me, I'm telling you.
Speaker 4:Promise you. It's the best question I've been asked, man. I tell you. And for that, like what Kevyn said, the simple thing. But remember when we want boss, of course, we always show gratitude and we give us where we have and where we reach. But the the question is that you said, thanks to the boss. Simple, as simple as that, so yeah. Because you ask for something and she gets it, you answer the next. Like it's sitting at and make it marinate a little. I love that person.
Speaker 8:Sorry if I say it on your time, but the question that you don't understand what I I receive, I receive it because I need that inspiration myself.
Speaker 4:So you have provoked some, you have provoked something that needs to be provoked, and I'm I must say thank you so much for that. But rather celebrate, rather celebrate some more. We haven't celebrated. Promise you, we haven't. We haven't.
Speaker 8:Yeah.
Speaker 4:Celebrate.
Speaker 8:Well, if you're if you're always in a state of gratitude, it's it's hard to just think that you need to celebrate. But I think sometimes it is good to stop and just reflect on that. Yeah, yeah.
Speaker 4:Yes, gratitude. Yeah, we always celebrate, but be intentional about what you celebrate, and that is what we have to do. So we're gonna change that. Thank you so much for that.
Speaker 8:Well, I can't ask you nothing else after that.
Speaker 5:I swear, like I think if you're asking me, that's an awesome way to say this interview was uh was the bomb.
Speaker 8:It was perfect, it was perfect. Thank you guys so much. I truly, truly appreciate it. Let me know when and where you're celebrating yard or abroad midnight.
Speaker:We're gonna celebrate both yard and abroad, man.
Speaker 7:Yes, thank you so much.
Speaker 4:Thanks for the connect, thanks for thank for the interview, and let me keep your keep your updates with what's going on. Like I said, um, Kevyn album is out now, still out here, you know. You know, I'm about to release my projects now, October 17th and 30th. So look out for that. And yeah, spread the word.
Speaker 8:Absolutely, and you guys are always welcome back. You guys are fumbling, no? So I am looking forward to everything that you guys have coming up, and we'll definitely share it with the Styling Vibes family. Enjoy on a time here, and definitely later, the peeves, we'll see you next time.
Speaker 7:Yeah, man. All right, listen.
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