Thundercat is back — and he's got stories. The genre-defying bassist, singer, and producer is cooking up a new album, and if his past work is anything to go by, we’re in for a wild, soulful, and deeply honest ride. Ahead of his highly anticipated concert at the Esplanade Concert Hall (as part of Esplanade's Mosaic Music Series) on Thursday, 29 May, we caught up with cosmic bass wizard to learn more.
In this exclusive interview, we catch up with the 'Dragonball Durag' hitmaker as he opens up about his upcoming record, dream collaborators, and why performing on Yo Gabba Gabba! might just be his most wholesome flex yet. From Red Bull-fuelled studio sessions with Kendrick Lamar to a hypothetical BABYMETAL-style collab with Reggie Watts, Thundercat delivers laughs and life lessons — all in his signature style.
View this post on Instagram
We hear that you’re hard at work on a new album. How’s it coming along?
Oh man, it’s been a very interesting ride. Very interesting. The whole process has been different for me—emotionally, mentally, even physically. It’s a whole other kind of journey, which you’ll hear soon enough. I’ve been working on it for a while, so it’s nice that it’s finally starting to take shape. I’m pretty happy about it, and making it has been tremendous fun.
Can we expect any collaborations on the new album?
I don’t think I can say... Are you trying to get me to reveal things I’m not supposed to? (Laughs)
I mean, yes...
(Laughs) No, man. I’m not going to spoil the surprises.
Okay, how about hypothetically—who’s on your dream list of collaborators right now that you haven't worked with before?
There’s still plenty! Off the top of my head, I’m a big fan of the guy who did Jujutsu Kaisen's first theme song. I think his name is Eve. As an illustrator myself, I love that he’s so involved in the visual aspects of his music—everything from the cover art to the music videos.
One of your more renowned collaborations was with Kendrick Lamar on To Pimp a Butterfly. Seeing as this year marks the 10th anniversary of that album, what are your fondest memories of working on it?
Wow. Honestly, the thing I remember most is that I was a whole different person back then—young and maybe not as wise. (Laughs) The thing that really sticks out from the recording process was this Red Bull refrigerator in the studio and an endless supply of Hennessy. I was drinking like seven Red Bulls a night and a lot of cognac. That probably wasn’t healthy. (Laughs)
But my fondest memory was actually just hanging out with Kendrick. I’d play him my records, he’d play me his, and we’d just bond over music, man. It was pure joy.
In terms of the music itself, I still feel this immense sense of pride in what we made. That album was amazing. I’ll never forget the first time I heard ‘King Kunta’ on the radio. I was on my apartment couch, just tripping out, watching anime, and I couldn’t believe it was out there. The first time I listened to the master was at 8 AM, and I swear, I went to the bathroom to cry when I heard it. That album is something special.
Beyond Kendrick, you’ve also worked with a lengthy list of living legends. What’s something you’ve learned from your collaborators that resonates with you?
One thing that sticks with me is a lesson from the great Kamasi Washington. He taught me to stay open—don’t shut yourself off from what things are, and don’t underestimate what something can be. That openness is something I carry with me, whether I’m producing, writing, or working with another artist.
Flying Lotus taught me to be honest in my music. That seems like such a simple thing, but it’s easy to forget with all the expectations and ambitions thrust upon you. Making art should be as authentic to you as possible—an expression of the deepest things inside you. That’s why making music remains such a joy for me, personally.
That openness you speak of can be seen in the way you often blur genres. If you could write an EP in a completely unexpected style, what would it be?
BABYMETAL! (Laughs)
(Laughs) Really?
Yeah! (Laughs) I mean, they’re dope. Plus, can you imagine me, and like, Louis Cole and Reggie Watts making a BABYMETAL-style project? That’d be hilarious! Oh man, now I really want to hear Reggie doing those pitched-up vocals. (Laughs)
Something else I never imagined, but brought me immense happiness, was your appearance on Yo Gabba Gabba!. How did that come about?
It’s funny that you ask. It’s kind of a crazy story. Okay, first off, I’ve always loved Yo Gabba Gabba!. Besides being just a great kids' show, they’ve always had insane musical guests from the jump—like The Roots or Erykah Badu. I was actually in Erykah’s band at the time when she was asked to be on the show.
Anyway, I was in the middle of a hectic tour when Yo Gabba Gabba! tried reaching me a few times. I was pretty busy, so I guess I missed it. Then out of the blue, I get these phone calls from my very first girlfriend from when I was 14. We go way back and are still best friends to this day. She calls me and is like, “Hey, pay attention! Yo Gabba Gabba! is trying to reach you. You have to return their calls!” And I’m like, why is my first girlfriend so intent on me doing Yo Gabba Gabba!?
Next thing you know, I fly out to tape the episode—and lo and behold, my first girlfriend’s daughter is the host of the new Yo Gabba Gabba! That’s why she was calling me! Kammy Kam is her kid! God, I love both of them. Kam is amazing. I practically watched her grow up. She does such a fantastic job, and everyone loves her as the host.
You then followed that up by performing with Yo Gabba GabbaLand! on NPR’s Tiny Desk and Coachella. What were those live experiences like?
First off, coming back to Tiny Desk is such a trip. That space has so much history, and all the relics of past performances—including mine—are still there. They still have stuff from all the times I’ve been there, including the one with Mac Miller. Seeing all that made me reminisce. It felt amazing.
But being back with Yo Gabba Gabba! was especially wonderful. There’s something about performing for children and receiving this pure love from them—it feels different. Watching kids dance and seeing their eyes light up... man, I’ve never experienced a crowd as joyous as that in my life.
It was the same at Coachella. That performance was such an intergenerational thing—both kids and adults having the time of their lives! I know it’s not a competition, but in my opinion, Yo Gabba Gabba! won Coachella. It was the highlight of the festival because that set felt like one big family.
Also, being on stage with Flavor Flav was super cool. He’s known as a rapper, but a lot of people don’t know he’s an awesome musician too. I even handed him my bass! He’s such a cool cat who loves playing.
Your anime fandom is no secret. What’s a show or character that reflects how you see yourself these days?
Inspector Kaji from Neon Genesis Evangelion! (Laughs)
(Laughs) Why? He’s such a weirdo.
Because of that! He’s just funny as hell and kinda crazy. The guy just cares about watering watermelons in his garden while the world is literally burning down around him. I’m sometimes like that.
Other times, I see myself in Guts from Berserk. I mean, don’t we all? Every day we’re struggling—struggling with car keys, door handles, cooking, processing, comprehending, kids, everything! He represents the struggle.
I kind of see myself in Spike from Cowboy Bebop too. He’s listless, aloof, but sharp as a knife. He’ll surprise you. He’s that free-flowing, loose character we feel like we’ve known forever. He feels familiar even early on in the show, right? His backstory is only revealed much later, but he already has such a well-defined personality. Shinichirō Watanabe is such a great writer.
Speaking of Watanabe, I have a Sophie’s Choice for you. Which has the better soundtrack: Cowboy Bebop or Samurai Champloo?
Oh wow, that’s a deep question. That’s a cold one, my dude. (Laughs) It’s impossible to pick... (thinks for a couple of minutes)
Okay, Nujabes' work on Samurai Champloo is unmatched. His score is probably one of the greatest of all time. But it’s hard to say which is better because of the way Watanabe uses music. He doesn’t just pick dope songs—he uses music to craft tones and moods. He uses music the way writers use words to convey identity. It’s not just great music, it’s the right music.
It’s two different paintings, man. The jazz in Bebop and hip-hop in Champloo are both purposeful and perfect for the stories they’re telling. They’re two different masterpieces trying to do different things.
That’s fair. Alright we're out of time so final question: As one of the best bass players of this generation, who are your top three favourite bassists of all time?
Ron Carter. Jaco Pastorius. Stanley Clarke. I don’t think I need to explain why. Their work speaks for itself.
Like what you read? Show our writer some love!
-