LOOP’s VP of Media and Talent, Crystal Willis, had the pleasure of interviewing DIXSON, a prodigious talent signed to Roc Nation and celebrated for his multifaceted roles as a performing artist, songwriter, and producer. DIXSON began his musical journey as a youth resonating with gospel and professional studio experiences, being nurtured by musically inclined parents and mentors. Notably, DIXSON's early passion led his parents to convert their basement into a fully equipped studio by age 13, where his production skills drew admiration from seasoned artists.
DIXSON’s distinguished collaborations span multiplatinum, Grammy, and Oscar-nominated projects with Beyoncé and contributions to Kehlani's acclaimed album CRASH, alongside resonant solo works like Lovers and Friends and his debut EP 004DAISY, showcasing hits such as "Sweeter" and "Cherry Sorbet." DIXSON's journey illuminates his creative evolution and cultural resonance, positioning him as a pivotal figure in contemporary music, blending innovation with heartfelt storytelling. Check out the interview below to dive deeper into the mind of this musical genius:
DIXSON, it's a pleasure to speak with you! As a multi-instrumentalist who plays 11 instruments, how did your journey with music begin, and which instrument do you feel most connected to?
DIXSON: Well, my parents were both musicians. My dad was more of a singer and played a bit of guitar. My mom primarily played clarinet but also other woodwinds; she even got a scholarship for it in college. Music was a big part of our family life in Atlanta, from attending games with marching bands to playing in church, which is where I got my start professionally. When my dad became a pastor when I was around 10 or 11, and he didn't have many musicians, I quickly had to learn to accompany him on piano or drums during services. That's how it all began.
My parents were supportive of my musical interests. They let me explore instruments, even if they were used or from pawn shops. By high school, I had collected a bunch of instruments and could play most of them pretty well from all the practice. As for the instrument I feel most connected to, it varies depending on the project. After finishing "Cowboy Carter" earlier this year, guitars were all around, and I rediscovered my love for playing them. Right now, I'm particularly drawn to the guitar, but that can change depending on the day and what I'm working on.
Fascinating. When did you first enter a recording studio, and how did that experience shape your career?
DIXSON: Well, my journey with music and my parents is two-fold. As a young kid, I competed in a gospel music singing competition that landed me a recording contract, albeit short-lived. It was my first real experience in a professional studio. Around that time, my mentor Jonathan Curry, an incredible musician, built a studio in Atlanta. He invited me in and let me explore and learn as a kid. I attended numerous sessions there, soaking in everything that was happening.
As I got more serious about music, my parents noticed and really supported me. My dad even soundproofed our basement and started buying me equipment. By the time I was 13, I had a home studio set up. It was pretty incredible; professional artists would come to my house to record because they were fascinated that a kid could produce and write songs like that.
You often refer to your fans as "the congregation." What's the significance behind that term, and how does community influence your work?
DIXSON: Yeah, they're like the congregation. It's rooted in how I grew up. I come from a strong community background, raised in a religious setting with my dad as a pastor and my mom directing the choir. Even now, she's still involved in the choir. We always referred to the people who gathered as the congregation. Community has always been central in my life, and calling them the congregation is a nod to my upbringing.
At my shows, my audience, many of whom are musicians or singers themselves, form their own choirs. I love involving them in the experience and getting everyone to sing along. It's a fun interaction that reminds me of my dad—he'd probably call them the congregation, too. It's a way for me to honor him and keep that spirit alive.
You've worked with many icons, most notably, 32x Grammy-winner Beyoncé on projects like Cowboy Carter. Can you share the inspiration behind your work on American Requiem and how it felt to collaborate with Beyoncé?
DIXSON: Yeah, so when I started working on Cowboy Carter, it was actually before Renaissance. We began without a title, just exploring country music vibes. I collaborated with a talented crew in Nashville, including Cam, who co-wrote "American Requiem." Initially, it was all one song, but when I returned later in the process, Beyoncé had transformed it into something entirely new. Her ability to reshape and elevate any demo is incredible. The challenge was integrating my parts from both "American Requiem" and "Virgo's Groove," which were originally meant as different verses in a single track. Beyoncé's genius in splitting them into distinct songs was mind-blowing to witness.
The journey for Cowboy Carter took me across different music scenes, connecting me with people I wouldn't have met otherwise. It's a testament to Beyoncé's vision and the collaborative spirit within her team. Working on Renaissance was a surprise twist amidst my focus on a dance album for a while. When I got the call to join the sessions at Record Plant, I hesitated until I learned I'd be paired with BloodPop, a producer I deeply respect and enjoy working with. Walking into the session, I was nervously late due to traffic, but the moment I heard the beat for "Pure Honey," I knew we were onto something special. Beyoncé's presence in the studio brings everything to life in ways that are beyond words. Her insight as a writer, producer, and performer is unmatched, and being part of her creative journey is both humbling and inspiring.
You also collaborated with Kehlani on her album Crash. What was that creative process like, and what do you enjoy most about working with her?
DIXSON: Oh yeah, collaborating with Kehlani was a deep dive into creativity and collaboration. I consider myself a project-oriented producer, diving into an artist's world to help shape their vision. Kehlani, being incredibly creative, welcomed me into her space, which I'm truly grateful for because it was a profound learning experience for me. She's undeniably one of the best songwriters out there, consistently delivering top-notch work. Working alongside another strong songwriter like her was inspiring; it's like iron sharpening iron. We effortlessly brought ideas to life.
Not only is Kehlani an exceptional songwriter, but she's also one of the best vocalists in the industry. This album really showcases her incredible range and power, surprising even her devoted fans. There were moments in the studio where I found myself yelling encouragement from the control room, amazed by her performance. She was in such a free and creative space during this process, and it really shines through in the songs we selected and the adventurous production choices we made. It was a testament to her fearlessness and willingness to take risks as an artist.
I'm immensely grateful for the opportunity this collaboration provided me as a producer. It allowed me to showcase my production skills on a global stage. Working with exceptional female and female-identifying artists like Kehlani is something I hold dear. It's a privilege they trust me in that space, especially given the challenges many women face in the industry. This collaboration with Kehlani remains one of my most cherished projects, and I'm thankful for the trust and creative synergy we shared throughout.
Kehlani tied her recent single and video to bringing awareness to the tragedies occurring in Palestine. How did that collaboration come about, and what does it mean to you to use your platform for important issues?
DIXSON: Absolutely, I see it as the artist's role to speak to the issues of our time. Moving forward in my career, I'll certainly continue to create work that addresses important societal issues. With Kehlani's "Next to You," I didn't initially foresee its direction until she brought it up. When she mentioned her intention, I fully supported her in using her platform to raise awareness for what she felt passionate about.
As a producer and songwriter, I believe my role is to facilitate artists in expressing themselves authentically and using their voices for positive impact. When Kehlani approached me about the song's direction, advocating for Palestine, I didn't hesitate to back her. It's not about silencing artists; it's about creating a musical landscape that amplifies their messages.
Personally, I have a strong empathy for marginalized communities facing displacement and violence, regardless of the specific context. Collaborating with Kehlani on this project was a clear opportunity to contribute to a cause bigger than music itself. The success of the song's merchandise, generating significant funds for affected families, underscored the broader impact we can have through our art. I'm grateful for the chance to be part of such meaningful work, where music serves as a catalyst for social awareness and humanitarian support.
Do you believe artists have a responsibility to use their platform to advocate for human rights?
DIXSON: I believe artists who have the platform should speak out because they've already won half the battle by reaching a wide audience. If you have an important message to share and the ability to do so effectively, I think it's your responsibility. Not every artist is suited for this role—some may lack the necessary information or the ability to convey their message in a way that's constructive. But for those who are thoughtful and aware of the current climate, it's crucial to use their platform in a way that resonates with a broad audience.
Reflecting on the words of James Baldwin or Nina Simone, art should mirror our times. It's about capturing the essence of an era. Throughout history, music has often served as a covert form of expression—like during prohibition, jazz conveyed messages of defiance and freedom without directly stating it. Artists naturally gravitate towards themes and issues that define their times, and there's a natural selection where certain artists emerge as voices for their generation.
I firmly believe that certain artists are destined to deliver these messages. Whether it's the universe, God, or fate, there's a selection process for who becomes the voice of a movement. It's not my place to hinder that.
Incredible. Now, let's talk about your music. Your recent EP, Lovers and Friends, showcases a blend of your classic style and new collaborations. What inspired this project, and what themes are you exploring?
DIXSON: Lovers and Friends brings together songs from various projects, serving as a homage to what I consider my classics or standards while embarking on a new musical phase. "Friends" was pivotal as it marked my first collaboration with other producers and songwriters, a departure from my usual process where I handle about 90% of production and writing solo, except for when using samples. This shift has been refreshing as it has allowed me to discover new facets of my creativity. My label often jokes that they can drop me off at the studio and a song will inevitably emerge—and it's true—but collaborating with others has opened up new creative avenues.
Currently, I'm wrapping up my debut album for Roc Nation, which has been a journey influenced by moments of impostor syndrome. Being an only child, I've never been great at group projects and typically put more trust in myself than others. However, learning to trust other creatives has been crucial for my growth. Incorporating a sense of community into my personal work has proven just as vital as it is when collaborating on someone else's project. The songs on Lovers and Friends embody this collaborative energy, feeling larger and more expansive. Throughout this process, I've been blessed with a supportive community that has encouraged my personal and artistic growth, and I'm eager for people to experience this new chapter.
Ultimately, Lovers and Friends aims to honor my musical roots while embracing a new sound and showcasing my growth as an artist. I believe in transparency within the music industry—balancing the need to evolve without alienating my core audience. It's about authenticity and allowing those who follow my journey to understand the process.
You recently dropped a pretty seductive video for your single, "Friends.”. Were you involved in creating that video concept?
DIXSON: Yeah, I'm usually involved in the visuals. I'm so lucky to have found a director early in my career who doesn't mind co-directing with me. I've been very loyal to that director because the way we work together is just so seamless and collaborative. So from the jump, I kind of knew what I wanted to do for that video. And, you know, the inquiry comes in, and he reins me in a little bit. It's like, "Alright, bro, we don't have a million dollars for this video shoot. So let's do what we can. I'll present to you what we can do, and then we can edit from there." That process is always fun because I get to exercise other parts of myself that sometimes go neglected when I'm just locked in a studio for 12-16 hours a day. So its amazing.
You're passionate about art, you're passionate about mental health. Do you incorporate that into some of your music as well?
DIXSON: Yeah, my daily life is centered around wanting to keep watch over my mental space. It's funny, I have ADHD and sometimes have trouble keeping things clean, but in my mental space, I'm always trying to keep that room clean. It's crucial for what I do that I'm able to think. I'm the quickest to tell somebody, "Hey, I can't process what you just said to me right now because I'm in my process." I'm lucky to have people in my life who understand that and give me grace. Mental health has become more important to me over the last couple of years because I recognize how easy it is for you to be derailed, especially in this business.
Tell us a little bit about your love for fashion! Every time we see you on a red carpet, you're outside of the box and hitting all the marks. Tell us about your personal style!
DIXSON: My personal style varies. I'm definitely a high-low kind of guy. Lately, as I've gotten older, it's been a little more high-end than low because the silhouettes and the shapes that I want are only existing in certain spaces. There was a point in my life where I could only find what I wanted to wear at Neiman's but couldn't afford it, so I went to Zara and found the same thing at a lower price point. If I go further back in my career, you'll see I was always a little avant-garde, not afraid to push the envelope with fashion. Even now, I'll wear a good sweatshirt from Zara if it looks great. For most of the last two or three years, it's been very tailored, suiting and juxtaposing suiting with streetwear. I'm good for throwing a blazer on with some ridiculously oversized jeans and big shoes because I always want to look like I had a long night but was still fly the next morning. I want to look like the club ended at three and I had a little rendezvous, and then at breakfast, I just showed up in whatever I was wearing from the night before. It's a thing.
I've noticed that your fashion is as unique as your songwriting or production. It's just beautiful to see that creativity come through fashion. We look forward to seeing what else you do with other brands and collaborating with other talents!
DIXSON: Now, I'm in my cozy era, like jeans and a vintage T-shirt. I'm into this Martine Rose Tommy Hilfiger collab right now, kind of in my Hilfiger, Ralph Lauren vintage archive stuff. My favorite brand is Rick Owens. Over the last decade, I've been a collector. I pulled out these old Ralph Lauren jeans from high school. They're worn in and comfortable. I just put on a Gucci loafer, white t-shirt, the right cologne, and I got a fit off, you know?
Do you have any future projects you want to share?
DIXSON: Well, Kehlani has been posting that she's back working on something new. So, I've been working quietly with her on that. My album is just a work in progress. I've been online inviting people to the studio. If you want to pull up and be part of this thing we're building, DM me. We have a bit of a vetting process, but I want to work with other artists, producers, and songwriters.
DIXSON: There are two major things that I'm learning in real time right now as an artist. First, follow the money. Know where your involvement is in the recording and quantify what that means for you financially. Second, think about your assets beyond just material things like clothes. Invest in art. There's so much you can leverage with owning original pieces, prints, especially from black artists. Support that community because those artists will be the Basquiats and Warhols of the future.
That's great advice. I'd love to wrap it up with one last question about legacy. How do you want to be remembered? What do you want your legacy to be in the music industry and beyond?
A: I've landed on the idea of not getting it perfect but getting it right. We spend so much time on perfection when sometimes we just need to turn it in. I want my legacy to be that I took chances, tried things, made people happy, made people feel things. I spent most of my career trying to get it perfect. Now, I'm just trying to get it right. If one day I'm blessed to have children, I want them to know that Dad tried to get it right. I want people to know that it's okay not to get it perfect, that right can be perfect for the time.
Where can people tap in with you? Where can they find you?
DIXSON: They can find me @DIXSON, everywhere. I'm also figuring out Twitch right now. Follow my artist pages on Spotify, Apple Music, and Tidal. Stay tuned because it's about to be a fun year.
We are so excited to hear your full-length project. We'll definitely keep you on heavy rotation and be sure to leave a review!
DIXSON: Thank you so much for your time today. Really appreciate it.
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