Speaking to...D10

D10, also known as Dalton Tennant, is a producer, keyboard player, composer and musical director, most recently for Drake’s ‘Assassination Vacation’ tour. He has helped produce several of Drake’s tracks, along with producers such as Boi-1da and 40. I caught up with him just before the final show-date in London last month where we spoke at length about all things music, community, spirituality and life in general.

Dalton and I started off by talking about his early beginnings and how he came to work with Drake, spanning all the way back to 2004. He took me through the hardware he uses - a mix of Native Instruments hardware and 4 synced-up MacBooks - a set-up which he has coined his ‘spaceship’. Throughout the tour, Dalton uses his tech-heavy shuttle to lay the initial musical foundations for Drake’s live performances whilst ensuring that the whole night runs smoothly on the production side of things. When I asked him whether he ever gets nervous on stage, he shook his head and asked why one would ever get nervous doing something they love.

Generally, when in a room with him, it becomes very clear that he is fiercely loyal and dedicated to his craft, as well as the people he is helping make music for. And what struck me the most was his take on the power of music, on its ability to provide optimism and creativity to audiences all around the world. With the potential to impact change as their fuel, Drake, D10 and the crew create in order to give life-changing experiences to millions of fans worldwide. Find the interview (or more like a very long and in-depth conversation) with Dalton below.

Right so, back to the basics. D10, what does your job of musical director, producer and composer entail, especially on tour?

My job as a music director is to oversee all of the musical aspects of the tour, and I’m also the keyboard player on stage. Then there’s also helping manage some of the personalities that come with being on the road with the same group of people for months and months on end. My job is to make sure that the artist is happy as well, able to perform to the best of their capabilities.

So earlier when we were on stage, you were talking me through the components and how different scenarios can happen, so when something does happen on your side how does that all go down?

When it’s on my side then it’s usually something minor on the technical computer side, which is, you know, I’ve worked with computers so long, I’ve worked with this software for so long, that when something happens it takes like a second to fix, nothing that the audience would know, and nothing that the artist would know.

And going back to the early beginnings, you taught yourself how to play the piano?

Yes! Self-taught, yes.

Would you say that most of your career trajectory and your progression has been self-taught?

I’d say quite a bit of it was self-taught but just being around a lot of people that knew a little bit more than me, or people who were willing to help and show me different ways of doing things, really helped. One of the people that is very close to Drake, his name is Noah "40" Shebib,  showed me a lot when it came to the engineering and technical side. That’s helped me a lot in the studio and in live settings. One of the guys that we have on tour with us - his name is Matt Davis - helped me when it came to Ableton, understanding the intricacies that come with programming on stage.

Mm, just because for me, someone who doesn’t interact much with this kind of technology, it seems really intricate, that it seems like it takes a long while for someone to understand every setting and how it works.

It’s very pattern based and it’s very… it’s almost like you get to a point where you realise a couple of things, and then your mind just opens up to it, and it becomes a lot easier. So maybe what we do, to the common eye, looks complicated, but it’s not. It’s just computers. Some of the backdoor stuff is very complicated, it goes over my head, but that’s why we have Matt Davis who is a genius when it comes to that stuff.

Cool. So when you and Drake met, how did you know that that relationship was going to be something long-lasting, and what did he appreciate about the way you played and vice versa?

When I met Drake, I met him as a producer and not as a piano player or a musician. He found out that I could play but when I met him it was more on the side of him rapping and me helping with the production.

Toronto was such a small city. When you meet someone who has phenomenal talent and an amazing personality, you form a friendship and it’s been like a brotherhood. Even if we didn’t do music, even if I wasn’t on tour with him, you know, that’s somebody that’s… you know, we’re so close.

And how would you describe the way that you work together? What is that synergy like?

The easiest way to put it is like, my brother’s keeper. I understand what this is from day 1 so my job, as well as a lot of other people’s job here, is to make the star shine as bright as possible. It’s really just being a brother’s keeper and understanding that a lot of us have put blood, sweat and tears into this, and we’re away from our families, our loved ones, sacrificing time with them. Once you get here you’re trying to do the best that you could possibly do. And then we go home, we spend time with our families and we meet up again and do it all again.

Is that common goal something that’s unspoken a lot of the time?

Yeah, and also, we all get along outside of music, so it’s pretty easy when you’re around people that you enjoy being around and you respect. But also we understand that we have a job to do and the job is very serious, so we do it to the best of our abilities. We don’t have to talk about it. When you put it all together, we’re helping push the artist. We’re making sure the locomotive is always moving.

So has that relationship changed over the years, from when you first started working to now?

Not really, we’re just friends. If I have to speak to him, we speak. If he has to speak to me, we speak. When it comes to stepping on stage, it’s the same thing. I would say, with time, me as a musician, I have a better understanding of his needs as a vocalist, so it’s easier for me to accompany him and set that canvas when I’m playing. So I would say that with time, it’s definitely become easier.

For the most part, it’s the same. That’s my brother.

When you say that you’ve understood his needs, would you say it’s ever the other way around?

I think for any artist, any producer, the producer’s job is to set the template or create the canvas and then move out the way and let the artist paint. I think, you know, in the studio, whether it’s in the studio or live, I’m very big on giving the artist that room so they could paint whatever masterpiece they want.

So obviously you’re on tour right now.

I am.

What’s that like? Is it overwhelming?

I love it. I mean, it’s fun. We get to bring music to the world. There’s one thing listening to an album on your phone or on your computer, it’s completely different when you can see him live and he’s interacting with the crowd and he’s performing those songs. To be a part of this is amazing. Sometimes it gets difficult when you’re away from your family. Sometimes I miss my house, my bed… I definitely miss my loved ones, my kids, but to be honest this is what we dreamt about. The fact that these dreams became true is motivation to continue going.

How long have you been away, for the tour and the time before the tour?

On this trip, I’ve been away for almost two months. The last leg I was away for five months.

And then do you have quite a good break after you’ve done those stints?

Hah, yeah we get a couple months off, but then even with that, I’m working on other projects and a little bit of travelling so I’m constantly working. When I’m not on tour I like to spend as much time in one spot so I can not live out of a suitcase.

So you said personal projects, would you say they feed into this process or do you keep them exclusively outside of it?

They’re pretty separate. I’m working on my own instrumental project now. That’s just me literally sitting in my house, creating. With that, it gives me a new level of confidence that makes me more comfortable when I go into any other setting. Again, I’m very big on ‘when I’m here, this is about making Drake shine as brightly as possible'. When I’m on stage playing I’m not really trying to wow anybody or impress. I’m just trying to create the proper canvas that he can execute to the best of his ability, and if he gives me a few bars to shine, then I’ll do what I do, but outside of that, I’m really focused on making sure he’s delivering.

And what do you think about the UK music scene?

You guys have your own sound which is probably one of the biggest and best things you could do as a music scene and as a culture, having your own sound cultivate. It’s just a matter of time before that sound becomes the worldwide wave. I mean, I haven’t been exposed to a lot of music in the UK but I know quite a bit of music from here, and you guys definitely have your own sound, your own tempo, your own swag. People love that.

What was the audience’s reaction when J Hus came out last night?

It was a moment. Knowing what he had gone through, and knowing what he means to the music scene here, and being able to create that moment, that was dope.

Everyone loved that Drake had gone and brought him on stage. It was that bond, you know?

Yeah. It’s all in the appreciation for music and it’s in appreciation for the city. So that’s a very big moment, it’s a very good moment for the city to have one of their own, you know, having just come out of the situation that he’s in and be able to step on the stage and within minutes, the entire world can see it. That’s amazing. That’s an amazing welcome home.

It’s very easy to buy somebody a gift after they’ve been locked up for a while, or some money. But to give somebody the opportunity to connect with people right off the bat, so they could pick up where they left off because they went into the situation, that’s amazing.

Wicked. So before you said that you’re trying to give an experience to the people out there on the stage. What experience is that?

We just want to take them on a journey. There’s very little that I could do by myself to take them on that journey. It’s definitely a cohesive effort that is led by Drake. We really don’t know what people go through before they come to a Drake show. In my mind I look at it as, you know, there could be a young man that just lost his job and just paid however many pounds or euros to come to a Drake show. We don’t want to disappoint that person because we don’t know what their mental state is or what that person is going through. There could be a young lady that’s growing through a rough time. She comes to the Drake show to have a good time and see her favourite artist. We just want to put on the best performance because we just don’t know what people go through at the end of the day.

We live in a world where there’s a lot of hate, a lot of negativity, so we just try to give people a positive experience, and if we could do that for 3/4/5/6 hours, who knows what that could do for somebody?

Yeah, people’s lives could change. That’s why people come to these concerts because when they listen to Drake’s music, it is life-changing, the lyrics, the variety of the songs. It hits each consumer in different ways.

Yes, yes.

OK, so I’ve asked you about the UK music scene. Tell me about the Toronto music scene.

The Toronto music scene has grown so much in the past few years. I always tell people, you just got to come to Toronto. If you come to Toronto, the culture will make you understand the music so much more.

We’re just lovers of music. We don’t really discriminate where the music comes from, we’re just lovers of music. Being from Toronto… Toronto is so diverse, it’s kind of hard being pigeon holed into one thing when you’re from there because you’re exposed to every culture, you’re exposed to everything in Toronto.

What other meaningful connections have you made in the world of music, in terms of not only gaining from individuals but also cultures and experiences?

There are always the business connections, that’s very powerful and very good. It keeps food on the table. But the biggest connection that you can have is a connection with the people, the people that listen to the music, people that relate to the music. Those people that can identify with certain things in your music, what it’s saying. That’s probably the most important. That’s what we make music for. That’s our expression of the things we’ve been through and the memories that we have and the things we aim to achieve, so yeah, that’s the biggest connection.

Business is going to be business. I’m a person of faith, I pray and I believe that God’s going to take care of everything, as long as I do the right thing. And then, from there, I make music for the people. You asked me earlier if I get nervous. For me, there’s no reason to get nervous because when I’m up there I’m just a vessel, I’m just making a melody and sending it into the atmosphere, trying to send as much positivity and energy as I can. At the end of the day, we’re just vessels.

Woah. So, I asked you before about the introduction of new technologies. Would you say your processes have changed over the past 10 years? How have the introductions of new music, new sounds, new keyboards, how has that helped you develop?

New technology gives you a lot more control. You have the ability to do anything you want on the stage. I have the ability to manipulate the sound before it gets into the core running system, and then after it gets into the core system I can manipulate it even further with my faders. One day I may feel like expressing myself a little differently, and I have the ability to hit one or two faders and I have a completely different sound. These computers are super powerful. I can focus solely on being creative because I’m not worried about technical glitches.

I have amazing equipment around me. My Native Instruments keyboards are super powerful, effective and comfortable, so I don’t even have any issues.

Triple super! So you’ve worked with other artists other than Drake through your career.

Yep, production wise though. I haven’t toured with any other artist, yet! I have a few in the pipeline. Once we get things going I might have to go on the road with them.

Oo, are you excited?

Am I excited? Yeah! You get excited about being able to build something from the ground up. You definitely get excited. I have a couple of artists from Toronto that I’m definitely developing and excited about. If I have to go on the road, I will definitely go on the road with them.

Have there been any artists that you’ve heard of in the scene, and you’ve wanted to shout them out and help develop them?

Absolutely. The perfect thing about this situation here is because I’ve been here since day 1, I understand some of what it takes to go from the complete beginner to the super, high-level. You would want to impart that wisdom on other people, and you always want to encourage people to know that if they take the right steps, they could do the same thing.

A big part of why Drake is where he is is definitely hard work but also loyalty. He’s been loyal to the people around him, and once you’re loyal to the people around you, they’ll run through brick walls for you. That’s why a lot of people in these hallways are people that have been here long over a decade because we’ve always been loyal to each other. It’s like my friend Johnny used to say, ‘good business makes good friendship’. We’ve always done good business and maintained good friendships.

It seems like a very close-knit circle. Drake feels like a family, that’s why you have so many people in these stadiums.

We’re friends, there won’t be a lot of that. If there are issues, then we encourage people to get in a room and talk. We won’t be on Instagram talking bad about each other or fighting each other in the street. You have an issue with somebody, we come into a room like this and we sit down and we hash it out like adults. Then we move on.

And to wrap up, you probably can’t talk about this a lot, but what is coming…

Nope! [Laughs]

Well anything that you can say, anything you’re looking forward to?

I’m super excited about the few artists that I’m developing at the moment in Toronto, but to be honest, the thing I’m looking forward to most is my son. He's 7 years old, called DJ, and he’s been telling me that he wants to be a producer. He’s always in the studio with me, trying to make beats. And he has an amazing ear for music so I just want to spend time with him, and be creative with him. I really want to spend time and create the next generation of creatives.

I'm also super excited about that instrumental project because I’ve never done that kind of thing before. I make melodies and I have stuff that could be that, but to actually sit down and create a body of work that says ‘this is my expression’, I’ve never done that so I’m excited about all those things.

The way that you speak about music, it’s very spiritual, communal, it’s about the people, about expression. Is there any other medium through which you express yourself, or any motivations you have in the future, whether that be through community or investing in something else.

Always! I write a lot. I was writing before I even did music. I think, the way I was brought up, music was seen as a very cultural and spiritual experience. I spent a lot of my teenage years at church, playing music in church, so I understand the power of music. 

You can have a conversation with somebody and forget what they said in 10 minutes, but I could hear a song that I haven’t heard since I was 10 years old and I can sing the melody and tell you what key the song is. That’s the power of music.

My father used to say ‘music is the universal language’. We’ve been to countries where English isn’t the first language and they’re just singing the song word for word. Once you understand the power of music, it’s not something that you take for granted. You don’t want to be manipulating minds with music, sending the wrong message.

How do you draw the line between the experience of the consumer and the people listening and how you’re feeling sometimes?

You try to find a marriage between the two. You can make the music so personal that nobody understands what the hell you’re trying to say, but once you mix that with trying to send a message of positivity, of love and encouragement to somebody, once you find that marriage and then you spend the time working on the technical side, the sonic side, then… you know? People will always gravitate to that. You can have an amazing message and shitty music, and people aren’t gonna… anybody can scream in a mic but you have to spend the time. Music is a process.

Everybody has a story, everybody has a melody, so as long as they’re making stuff they believe in, and surrounding themselves with people that can help you get to where you need to go, that’s it. That’s how you make dreams come true. Nobody does it by themselves.


Are you recording again?

Yeah, I am [laughs]. So, why is it called the spaceship?

I call it the spaceship because there’s so much technology, so many lights. I just envisage that that’s what a spaceship is. There are so many buttons. When you go on a spaceship you’ll be like, I don’t know what any of these buttons do but if I push a button something is gonna happen, whether it’s good or bad.

Right now, my favourite light show is my Native Instruments 88, that’s my favourite. I change the lights on that keyboard depending on my mood, so if I’m feeling blue, it’s blue. In the middle of the show I’ll change it to purple, and then two songs later I’ll be like, let’s go yellow. Some songs I’ll be changing the colours in the middle of the song depending on how I feel.

Not going to lie, I think there’s such a big difference in the way that people in America speak and the way that British people speak. People from America and Canada speak about things in identity terms, people, community, it’s less about them and more about what they’re doing for people. People here are a lot more self-centric.

Yeah, but music is not really about me. I don’t look at music as an action. Music is a very personal experience, but I understand what it is about giving away that personal experience so somebody else can be motivated or encouraged by it.

It’s selfless. It’s a selfless endeavour. Our job is to pump positive energy into the atmosphere. I’m not a doctor, I don’t know how to take somebody who is sick and make them better, I can just make them tea and soup. Those are the heroes, I’m not a fireman, I can’t run into a building and put out a fire and save cats. I can’t do that. Those teachers that wake up early in the morning and teach the students that want to learn that are combined with the badass kids that want to throw stuff and disrupt the class. I’m saying that because I was that child! But those are the heroes of society. The pastors that have their congregations, that are doing the right things by their congregations, preaching the good word and not taking advantage of people’s hope, those are the true heroes.

We’re just here to share experience. We know we go on stage for 90 minutes to two hours. If we can give you an experience where you don’t have to think about, you know, anything else that you’re going through in life, then we’ve kind of done our job.

Would you say you go through that experience, while you’re sitting there? Do you zone out?

Absolutely. Music is my therapy. Me being able to play piano is the equivalent of me sitting in front of a therapist and just letting things off of my chest. Again, that’s why when you asked me if I get nervous, no. When I’m in music, I’m literally in therapy.

It’s all about the fame right now. It’s all about who can do it quicker, and better, and have the most followers. Would you say that 20 years ago you would sit in front of an interviewer and answer these questions in the same way? Then, was it more about you?

No, I don’t think I’d answer any differently. I think what’s made this different is really how we interact and how powerful of a tool social media is. With social media people are more keen on being seen than being heard. I think people care more about acceptance and validation and I think people want things quick. They’re not willing to go through the trenches to get to their dream destination. They feel if there’s an easier route, they want to take it.

That part of technology has worked against us because we’ve become cold and callous as a society. We now appreciate negativity because it makes us feel better about ourselves. To me, social media is just a highlight reel. It doesn’t really tell people what goes in people’s lives. Those things you gotta take with a grain of salt because it’s very easy for me to post fancy shoes and a fancy car, jewellery and all this stuff. It’s very easy for me to post stuff like that, but at the end of the day, if that stuff leaves, what’s left? And are you willing to post what’s left? If you’re not willing to post what’s left, then that shit isn’t real.

Personally, I think as much as music changes people’s lives, words are also very important.


Yeah, from a very direct and non-abstract type of way. You having this conversation with me is going to change the way I go about my life tomorrow, just because it is very hard to have a conversation like this with someone. For a lot of people, it just isn’t about that.

Yeah, I think when you get behind closed doors and you really connect with somebody’s heart, you may see a different side to them. A lot of people have to put up facades because a lot of people operate in saying what they think people want to hear or saying the thing that’s edgy because sometimes the edgy thing - or the controversial thing - moves faster than the real stuff.

But with a lot of people man, when you lock them in that room, and when you have those serious conversations with them… I’ve always said, most people have a good heart. People have pure intentions, they’re just misguided. It’s learning to speak to people’s hearts and not just words hitting somebody’s ear.

For me, anything I do is bigger than me. Music is bigger than me. It was there when I got there. It’s going to be there when I leave. My job is to leave a legacy for myself and my kids, and their kids, so when they look back they can be like “this guy did something decent”. Or “this guy left a melody that’s going to last longer than I live”. That’s more powerful to me than anything. I’ll say controversial stuff, trust me. I saw a lot of stuff that gets me in trouble but at the end of the day, I’m just a young man that’s still trying to find his way.

How will you know when your music will affect someone or touch someone in a certain way, how do you test that?

My kids will tell me. My daughter’s been telling me about music for years. When she heard Drake’s first album, Thank Me Later, she told me what the singles were going to be. She probably doesn’t remember but she told me back then. She was like “that song, that song, that song, those are the best songs, those are going to be the ones” and all those songs ended up being the singles. So kids will tell you man, you make music around kids, if they’re not singing that stuff, man that stuff probably gotta go. When I make music and my son is in the room, and then he’s singing the song the next day, once stuff like that happen, like, OK.

Were your parents musical people?

No, they just listened to a lot of music. They exposed me to a lot of music which helped. One of my best friends growing up was Jessie Jones, and his family was in the music business and that was my introduction into music. It was reggae music. They used to take me to reggae concerts. I met my first celebrities being around them. Just seeing that, you know, that was the first time I was like, I love this side of things. And that was me being a little kid.

I never thought that I’d pursue music to the level that I had now but I have always had a love for music.

If you hadn’t met Drake, would you have tried to seek out that bond and that family with another artist?

Yeah. I believe if I never met Drake I would have pursued music, but with a certain energy. You connect with some people and you don’t connect with others. If you find an artist that you connect with and you make good music with, you continue down that path until there’s a dead end at the end of that road. But if you’re going to make music, then you’re going to connect with like-minded people. That journey could be a lifetime journey.

Hm. You were saying that today the shoes don’t matter, the watch doesn’t matter, what matters is the connections, the bonds, and the true thing. A lot of kids growing up don’t have that person to speak to and communicate those ideas to them. I think that’s also a thing that comes with that. They turn to social media as their best friend. How can they get out of that rut?

I urge people to find a mentor, somebody that’s older than them, somebody that’s been where they’ve been. When I was younger, my parents used to tell me stuff and I was like “you’re old, you don’t know what’s going on. I’m young, this is young people stuff”. But all that shit my parents told me was true. They would tell me, “don’t hang out with these people because these people are this and that”. And my parents were right. It wasn’t until I got into my thirties that I was like, woah, they knew. When they were telling me I felt like they were ancient.

One thing I do is I seek out people that are older than me and just try to learn wisdom; they understand wisdom from a different aspect. For people now wisdom is an Instagram quote, but, if you look at the post next to it, it’s something completely stupid. I seek out wisdom from people that have a deeper understanding of life, and I would urge anybody to do the same thing. Find a mentor, find somebody that cares about you, cares about your soul and doesn’t really care about your followers.

That’s tricky today. The fewer people that find mentors now, the fewer mentors there will be in the future… especially in the creative industry.

Well, that’s why you gotta hold out, you got to value the people that you have, and you got to give people their roses while they can still smell them. I was telling somebody yesterday, how would life or even the hip-hop community have been different, how would society be different, if people truly appreciated Nipsey Hussle before he got murdered? He passed away less than two weeks ago and the thing that everyone is talking about right now is Nipsey and philanthropy, the things he was aiming to do in the community, documentaries that he wanted to put out. Everybody is championing him now on a level that’s far greater than they did when he was alive.

Imagine if you put that energy into people while they’re alive. We have the ability to change the world. We’re just being lazy, and if we don’t start championing people, this is what’s going to happen. We’re going to start giving people their roses at their funeral. That’s unfortunate. We should be better than that. The best things you hear about somebody shouldn’t be after they’ve passed away.

I think that’s a very big fault in our culture today. Can we change that? What fault is it?

I think society has taught us to be self-absorbed. It’s pushed us away from ‘it takes a village to raise a child’, pushed us away from ‘community living’, so now we operate in a crabs in a barrel mentality where seeing the success of somebody else doesn’t make us happy as individuals. I think that’s very dangerous.

It’s just very simple things, like ‘love thy neighbour’, like ‘be nice to people’, like ‘if you ain’t got nothing nice to say don’t say nothing’. Simple things that we used to say as little kids that we just stopped saying. Sticks and stones, that’s what I grew up on, sticks and stones. You know, I might break my bones but words will never hurt me. Now everyone gets offended at everything.

Nowadays people get offended when you say you’re religious.

You could get offended at religion, but my faith is my faith, and nobody would be able to convince me that I’m not where I am in my life because of my faith. If me having my faith is a problem for you, then that’s on you. I’m not changing anything that I do. I’m going to show my faith how I walk, how I talk, how I interact with people, how I speak with you or anybody else. My actions are going to show that and if that gives off positivity and positive energy, then at least be open to the faith. It’s not your job to believe what I believe in. You believe what you wanna believe, but you’re not going to be able to convince me that what I believe is incorrect.

Those are somewhat proverbs, like ‘love thy neighbour’, they come from that spiritualness, and I think we’re lacking that at the moment. It’s becoming a lot more capitalist and technology-based, which is why we’re losing all these sayings.

Yes, and it’s the power in those sayings. I mean, I’m black. We come from slavery. It takes a lot to get out of that physically and for the many generations after that, mentally. You just have to take life seriously. That’s all. I mean, we call it microwaving now, as in, everybody just wants things fast, right away. Life is not that. Life is not that.

And, to bring it back into music, Drake didn’t get stuff right away, he had to work, he had to bust his ass, he had to hear ‘no’ from everybody before he heard ‘yes’. When he heard no, he didn’t give up, he kept fighting. And when everybody said ‘no’, he just huddled up and said ‘guys, everybody said no so I guess we gotta do it ourselves’. We ended up doing it ourselves, and all the people that said ‘no’ turned around and said yes.

That belief in yourself is a very powerful thing. Trying to attach yourself to the new thing, it’s not always going to work, especially if it’s not genuine. You go on the internet and you see a meme and then there are hundreds of thousands of people trying to recreate that meme. It’s not genuine. You’re only going to laugh at it for two, three times, and then after that, it’s boring. You have to do stuff that’s genuine to your core, genuine to your heart. Those are the things that will last, and those are the things you’ll always be proud of.

Shit. I feel like I’ve just gone through therapy.

Shoot. Come on man, sit! Sit! You want me to get up, you want to lay down on the coach? Tell me your problems! [Laughs]

But yeah, we just wrote a book.

I think you should write a book!

You know, I actually started a book. It’s just all this stuff that I talk about, all the stuff that goes on in my head. Because I don’t really talk a lot.

But you should! That’s the point.

Yeah. All the stuff that goes on in my head, I just write. When I’m on the tour bus I’m writing, when I’m in the hotel, I’m writing, I’m reading. I write for a couple of hours every day.

I also think because you have the audience, when you say Drake a load of people switch on, and that…

Yeah, but I try not to use that.

I know, of course, but in the same way that Kylie Jenner said “Yeah I’m the first self-made billionaire, but the only reason that happened is because of the audience that was switched on from day 1”, I think you can reach a lot of people that need to hear these words.

Yeah, that’s very true. You make a good point there.

I think that would be very beneficial to people my age and younger, just because it is so hard in the climate we’re living in today.

It’s hard watching it happen because it’s like, oooh, how do you reverse that? I was telling somebody yesterday, something apocalyptic has to happen like aliens have to invade the earth and everybody has to realise that OK if we don’t stick together, whether you’re black, white, blue, green, yellow or orange, then the aliens gon’ whoop the shit out of us. It shouldn’t take that. It should take love. It shouldn’t take something crazy but it’s like society’s getting to a point where something crazy has to happen for people to be like, yeah we have to stick together.

Thanks D10!

Follow D10 on Instagram here.

Written by: Marianna Mukhametzyanova
Photography by: Robin Thompson and Native Instruments


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