What is it you want fans to get from your music? They’re just looking for stuff to just be fun and get hyped to. I don’t feel like fans aren’t looking for a story. What do you want fans to get from your story? I was like, “Yo, you should get on this.” He was like “okay cool.” I used to talk to him all the time, and he just grew as a person. Before I knew who he was as a person, I used to always ask him, “Are you Hollywood-ing me?” He’s just hella quiet, and I didn’t know that. is a good person, he just has a lot of anxiety. I can go pay whoever I want to be on a song, but I choose to choose people who decide to evolve and humble themselves. I choose to collab with people based on how they grow as a person. You also released “Hoop Dreams” with Yhung T.O, can you talk about who you choose to collab with and why? They’re like, “Aye, you want to get on this song?” Everybody is here, period. Once you get here, everybody’s like, “yo, let’s work. They think this is where the opportunity is. How important do you feel is it to come to LA as an up and coming artist? Nothing’s for free, and they don’t like that. I can’t be violent because ya’ll didn’t mess with me before I was famous, and now ya’ll trying to mess with me now that I’m famous.” We’re cool. I’m like, “I don’t feel like being violent, there’s a lot of money to get. I had to get away, because they were trying to bring me back to the old me. And then when you get to the front of the traffic and it clears up, there’s nothing causing that traffic. That’s where I’m from! I can’t stand it here (in LA), because there’s too much traffic. Instead of explaining to me why they won’t pay me or “Hey look, what if I came with a great song?”, they want to start being assholes. This is how I feed my kids.” Then they say no, and I say no on the feature. But everybody is either a rapper or a pimp, so if they can’t do a song with me… I’ll have people coming to me like, “Let’s do a song.” I’ll be like, “You’re flossing $50,000 or $200,000 around their neck, why don’t you pay for a verse? You pay for a verse for everybody else, give me a verse. I’ve got a lot of love for the Bay and the culture. I feel like there’s a lot more people that dislike me in the Bay. I really can’t tell you, I don’t go outside. How does that play into your life and your career? Your name carries a lot of weight in the Bay. You could be very, very popular and as soon as you do music, everyone’s going to buy it cause you’re popular. I don’t think anyone cares about anything musically. I’m not sure if I’m getting better or if I’m actually doing what I want to do now.ĭo you feel like now in 2018, people care about lyrics? But I can’t tell because I wasn’t able to put out all my lyrical stuff, because nobody wanted to hear anything lyrical from me. I’m more confident in making my production bigger. I don’t even know if I could say evolved, but I’m more confident to put out the stuff I’ve been doing. How has your sound evolved over the years? Where do you fit in the realm of R&B and hip-hop? I’m just a regular, surprisingly tall person. What you see is what you get, on and off the job of music. Sage the Gemini is very down to earth and different in the most humanly way possible. Now, he celebrates a banger with Chris Brown titled “Buss It,” proving his ability to get any crowd moving.įor those who don’t know, who is Sage the Gemini? Fast forward to 2018, Sage admits to finally being able to create the type of music he’s wanted to do all along - spitting raw, authentic flows just like the rest of the lyricists in the game. Read more…Ĭoming up alongside the HBK Gang and the Bay Area’s hyphy movement, real name Dominic Wynn Woods made a name for himself in the realm of hip-hop and R&B.
That video trails behind closely at over 109 million views and counting. That same year, he released “Gas Pedal” featuring Iamsu, which gained him his first Top 40 hit. “Shake it, like a red nose!” Sage The Gemini exploded on the scene with his 2013 hit single “Red Nose,” who’s music video currently sits at over 114 million views on YouTube.
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