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“In a year I went from overlooked to overbooked,” he observes on “Sad Boy,” and he later steps outside of his G-Eazy persona to address himself: “Gerald, what you so sad for? / This is everything you asked for.” On “Everything Will Be OK,” G-Eazy details the suicide of his mother’s partner “Drifting” concerns the ever-growing gulf between an international pop star and his friends and family back home. It’s the work of an artist who’s as exhilarated as he is exhausted. For every all-night party, there’s the juggling of schedules, the questionable relationships and the impossible task of trying to stay grounded while soaring to stardom. “I am materialistic,” G-Eazy admits on “One of Them,” before conceding, “I want all these things that I never had growing up.”īut this is also a record that’s unexpectedly tinged with regret and disillusion.
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“When It’s Dark Out” plays almost like a self-referential concept album about the agonies and ecstasies of superstardom, set in a world where backstage dalliances, free booze and A-list entourages are all part of the daily routine. My relationships with people have changed. I’ve seen more, I’ve been around the world. As far as the inspiration and what went into it personally, I’ve lived more. You work on your technique, you work on your craft. “Musically, I think it’s a more sophisticated record. “It’s a step forward,” G-Eazy said of the newest album. It’s already a Top 10 hit, as is his single “Me, Myself and I,” a collaboration with in-demand songwriter Bebe Rexha. He’s currently touring behind his 2015 album, titled “When It’s Dark Out,” which boasts appearances from Big Sean, Chris Brown, E-40 and Too $hort.
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… I downloaded a bootleg copy of Photoshop and taught myself how to design album covers, and I was selling burned CDs out of my backpack.”Īfter studying music production and marketing at Loyola University and independently releasing two LPs and a handful of mixtapes, G-Eazy’s major label debut, 2014’s “These Things Happen,” went on to top the Billboard rap charts. “Some kids were into sports, and I was into music. “It’s what I’ve been listening to since I was a kid,” he said. G-Eazy, real name Gerald Earl Gillum, was drawn toward hip-hop while growing up in Oakland, and he started writing his own lyrics and engineering his own beats when he was 13 or 14. I mean, we literally started out just me and my manager driving his parents’ car.” So we’ve had glimpses of all this, and I’ve always wanted to perform in venues at this scale. “And we’ve opened up for artists along the way in rooms that I’m playing now. “We went from 50 people to 200 people to 1,000 people to now 6,000 or 7,000,” G-Eazy said during a recent phone interview. It’s been a gradual climb from cult success to mainstream recognition for the California-based rapper, whose spring tour hits the Spokane Arena on April 7. Now the 26-year-old is signed to RCA and has had two LPs show up on the Billboard charts. A 2014 profile in Rolling Stone wondered, “Is the spotlight not far behind?” He’d developed an underground following, drumming up recognition on YouTube and releasing two buzzed-about albums on an indie label. And if his focus rarely strays from contemplating the perks and pitfalls of chasing stardom, he is among the most purposeful voices in 2010s rap, telling stories with enough detail to make them hit home.Three years ago, G-Eazy was flying just beneath the radar. As his popularity grew, so did the depth of his introspection, heard in the increasingly darker and textured albums When It’s Dark Out and The Beautiful & Damned. The somber and self-assured 2014 record These Things Happen topped hip-hop charts and proved that G-Eazy was much more heady than a doo-wop-sampling novelty. That success led to several high-exposure tours-including the 2012 Vans Warped Tour and a run of shows with Hoodie Allen-and his independently released debut, Must Be Nice.
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Born Gerald Earl Gillum, G-Eazy didn’t so much rise to hip-hop’s top ranks as he slid in through the side door, building an organic following through a series of mixtapes before scoring a viral hit in 2011 with “Runaround Sue” (which shrewdly employs a sample of the 1961 Dion hit by the same name). But G-Eazy’s grip as an artist is in the delivery: Each syllable has purpose. As a product of the Bay Area’s cultural melting pot, the Oakland MC offers cerebral wordplay over a synth-fogged haze, nostalgic samples, or lustrous R&B. A dashing anti-hero who stormed the pop charts with moody, intricate rhymes, G-Eazy has redefined the look and sound of hip-hop’s intersection with pop music-cutting through the bland-if-stylish blend of pop-R&B that dominated 2010 charts with focused, carefully articulated verses that are often counterbalanced by ethereal female vocalists.