As I sat down in front of my computer screen on June 8 to interview Curtis Waters, just two weeks out from the release of his forthcoming sophomore album, BAD SON, his energy was palpable. He was speaking with an unparalleled enthusiasm and sense of self, barely able to contain it all as he paced back and forth on his back patio, sometimes taking pauses to shout at his neighbor’s dog who would not stop barking.
Few people have been building towards something as pivotal as Curtis Waters has been. Although not his debut album, BAD SON has always been the essence of what Waters has been trying to create – going all the way back to when he was 14.
My first mixtape was called Prom Night that I dropped in high school. That was supposed to be called BAD SON, but I was like, “Oh, I’m not ready. This isn’t BAD SON yet.” My album I dropped in 2020 that has “Stunning” and all these songs was called BAD SON, and I was like, “Oh, it’s, it’s not ready, it’s not BAD SON yet.” And this album was the first time in 10 years where I’m like, “Oh, I did it. I told what I was trying to say since I was a kid, I made the story.” When I listen to a song like “INNER CHILD” or “AMERICAN DREAM,” I’m like, “Okay, it’s there. There’s nothing else I could do.” It’s there, and I’m gonna be a father one day, so it’s time to move on.Curtis Waters to OGM
BAD SON is a long time coming for an artist that has seen, learned, and grown so much since the project’s inception. Waters’ career took off in 2020 with the now platinum single, “Stunnin’” featuring Harm Franklin, a song that everyone would instantly recognize if they heard it. Shortly thereafter arrived “Pity Party,” Waters’ debut album, which has since amassed over one billion streams.
Despite the success, “Stunnin’” became another roadblock towards the inevitable BAD SON creation, sharing, “It isn’t until you do internal work that you get to fix it, because even after I made all this money and I had a platinum plaque, I still felt like a fucking failure. I was so depressed.”
BAD SON sees Waters embrace this internal work, devoting much of the album to topics that have emerged throughout the 10 years since the beginning of the album’s process. From struggles he faced in his childhood and immigrating to Canada from Nepal, to his relationship with his family, to moving out by himself and dropping out of college, Waters embarks on a journey that has seen him through countless ups and downs, and ultimately land at a point of understanding and acceptance, allowing him to be ready to move on.
With just two weeks until the release of BAD SON, Curtis Waters and I sat down to discuss his journey as an immigrant, Because the Internet and multimedia creation, everything that is BAD SON and more in this Our Generation exclusive.
Trigger warning: this interview discusses topics related to suicide and death.
This interview has been lightly edited for clarity.
A ‘BAD SON’ discussion with Curtis Waters
FF: How are you doing? How’s your day going?
CW: “I’m doing really good. I was really anxious this morning, but I’m feeling good now.”
FF: How are you feeling now two weeks out from the release?
CW: “Oh dude, I feel so fucking good man. I’ve been working on this shit for it feels like my whole life. We just handed this shit in yesterday morning. Obviously been incredible, man. I thought I’d feel really anxious because I’m a pretty anxious person, but I don’t know, it just feels like I just birthed a baby, I feel great.”
FF: I’m glad to hear! One thing I wanted to start with is something that Amit, your manager, texted me when I told him that I was interviewing you the other day, where he talked about how excited you are to share your story. I just wanted to ask, after so many years of working on this album, working on music, what makes now the right time to share your story and why are you so excited to bring you into the world?
CW: “Well, I just did everything I could to make this album. I moved to Canada, I moved to LA, I grew up. I had just had so many revelations about this shit, and I just exhausted anything I could do, man. I’ve killed myself making this album. If there’s anything I could do, I think I did it. Also just that album, it’s BAD SON, that’s what it is, and I started making it when I was 14 and it’s about sort of feeling neglected or alienated as you are growing up. It’s like a coming of age story, and I’m 23 now. That’s like 10 years ago. I’m gonna be like a father eventually, I’ll have some other shit to talk about. So I think it was just like, ‘All right. It’s time.‘“
FF: When you say you started it when you were 14, what did that entail? Were you making music then, or are there remnants of that on the album?
CW: “Yeah, so I started producing music when I was 14. I always had this idea of making this sort of a story about the immigrant experience, and just being the black sheep of family and generational guilt and all these sorts of things I was dealing with when I was a kid that I couldn’t articulate yet. And over the years I made so many albums that didn’t come out or didn’t make it. My first mixtape was called Prom Night that I dropped in high school. That was supposed to be called BAD SON, but I was like, ‘Oh, I’m not ready. This isn’t BAD SON yet.’ My album I dropped in 2020 that has ‘Stunning’ and all these songs was called BAD SON, and I was like, ‘Oh, it’s, it’s not ready, it’s not BAD SON yet.’ And this album was the first time in 10 years where I’m like, ‘Oh, I did it. I told what I was trying to say since I was a kid, I made the story.’ When I listen to a song like ‘INNER CHILD’ or ‘AMERICAN DREAM,’ I’m like, ‘Okay, it’s there. There’s nothing else I could do.’ It’s there, and I’m gonna be a father one day, so it’s time to move on.”
FF: So would you say the inception of the album was the name and you worked from there?
CW: “Yeah, so the way I started this project was that Curtis Waters was a cartoon character I had made. I was writing a lot of comics at the time and I was just making beats, doing vocals, but I wasn’t fully into music yet. I was just sort of multidisciplinary and I was doing graphic design and stuff, but I was really into comic books and I had this idea of Curtis Waters and the show was BAD SON, you know what I mean? That was sort of the world. And I remember having the name and the characters and the themes and, it’s so interesting, I knew what the album was gonna be about before I ever even knew how to make a good song, you know?”
FF: Was part of the aesthetic that you’ve been building with the face paint all part of the comic book going back to those days?
CW: “No. The face paint was pretty new, but I think even back then you can see remnants of it in my early mixtape or my album Pity Party. The idea at that point was the idea of this bike and this suburban experience, and there was this shirt and a heart on your sleeve, and I think by the time I came around to BAD SON, it felt like the star was the representation of that character. It was this idea that the heart is genuine, but the star is a facade, and it’s this shield that we kind of have to wear every day. That’s sort of what the character of ‘STAR KILLER’ came to be. I think it’s like the bravado you’re expressing, but what’s underneath is a lot more vulnerable and desperate.”
FF: Totally. I wanna dive into the album a little bit more. I had the pleasure to listen to it quite a few times in preparation for this and it’s so amazing.
CW: “When did you listen to it?”
FF: The end of last week.
CW: “You know what’s crazy? One song changed drastically, and it’s incredibly much better now. The song ‘Petty’ with Tia Corine, we literally handed in yesterday morning and it’s crazy. I added an insane outro. But I just wanted to say that, because I did another interview and no one has heard that yet, but that’s my favorite part of the album right now.”
FF: I’m excited to hear that when it comes out! But other than “PETTY,” which has yet to be heard, the rest of it is just so amazing. I felt like I kept going back to the first track, “INNER CHILD,” it really sets the scene for so much of the album. What does that first track mean to you?
CW: “I think it’s the story of the album. It’s interesting because the first track and the last track are almost full circle moments and come back to where you started. I think the story is the pursuit of success in the American dream, and you’re getting lost, you go through all these situations and all these things and just coming back to family and coming back to vulnerability at the end.
For the middle part, which I guess is the core of the album, I was in LA and I was just feeling really depressed. My first time ever moving out from my family and I was thinking about death a lot. I was thinking about how time was passing me by, I’m working on this career, I’m working on this passion, and my family’s back home. I don’t talk to them, I don’t have time, and here I am, making this album about the importance of family, and I’m just a hypocrite. I think it was this guilt and this other idea from when I was a kid, the thought that your pain is unique is narcissistic. When you’re a kid, you think, ‘Oh, I’m so misunderstood. My parents don’t get me. People don’t get me. No one believes in me.’ But the thing is, your parents feel that way too, and your grandparents feel that way too, and you sort of keep getting it from your parents’ parents, you know what I mean?
So I think ‘INNER CHILD’ was sort of me having empathy for my dad and empathy for my mom, and finding sort of this acceptance in the chaos of life and how everything’s led me here, all the good and the bad. It was this understanding moment, as opposed to something that was filled with angst, and that was a bit more one dimensional.”
FF: Something you touched on is that full circle moment when you get to the end of the album and it’s like a continuation of that first verse on “INNER CHILD.” Is that part of the growth of you across the album?
CW: “It’s interesting, I don’t think it’s a linear album because ‘INNER CHILD’ was one of the last songs I made and then it ended up being the first track. The way I had imagined in my mind the first half [of the album] is this desperation to get my family out of poverty and deal with my insecurities about being an immigrant and my own self-hatred about racism, and trying to cope with it through capitalism.
The middle is like, ‘Fuck, dude, I have a billion streams. I have a platinum song. I’m fucking fucking Jeff Bezos. I’m that fucking guy.’ It’s satire, but it’s fun. And I genuinely do love that kind of music too.That’s what I listen to when I’m in the car, but in the theme of the album, it’s this ego mania part, and then when you get to ‘RIOT,’ it’s like the climax of that.”
“Then you start getting to songs like ‘DEATH KEEPS CALLING MY NAME’ with Shrimp and it’s this come down, the aftermath of success and the realization. I think when you get to ‘AMERICAN DREAM’ it’s this realization for me that even after all this shit and all this success, you’re still the same kid, deep down you’re still this scared child. I think everyone can have their own interpretation of it, but that’s sort of what I came around to.
The final track is this footage of me and my family speaking Nepali in 2004 when we lived in Germany. They’re actually talking about how one day we’re gonna go to America and Nepal and all this crazy stuff, which we didn’t know when we were kids, we were just like talking. Because my brother was learning how to walk, my parents were just talking about all the things he’s gonna do when he learns how to walk. So yeah, It feels full circle and I think the pursuit of making this album has changed me as a person and made me realize what’s important.”
FF: For sure. One thing I noticed, similar to what you were saying on the outro, is that you have a similar voice message in the beginning of the opening track. Is that from the same recording?
CW: “So my parents, when we were living in Germany in 2004, had spent so much money because video cameras were expensive back then, but we had so much archival footage and I posted a trailer the other day with all the footage from that too. So I was sorting through hours of footage trying to find the right clips. Recording Uber drivers, recording old grandmas I talked to on the airplane, recording my friends, and making this like collage of memories that I sort of like sprinkled throughout the album.”
FF: I think part of what’s cool with that is also like what you have on “AMERICAN DREAM.” You have that intro and outro of you talking with someone. Could you explain a little bit of what’s going on in that situation?
CW: “Yeah, so that was when I first was visiting LA in 2021, and I was really depressed. I was struggling and I had this Uber driver, and I don’t know his name or who he is, I’ve never seen him again. But the LA traffic was terrible. It was my first time in LA traffic and I think we were in the Uber for an hour and a half or maybe even two hours. It was crazy. We just got into it and we had this just incredible conversation. Maybe it’s unethical, but I just started recording it because it was just amazing. He has so much insight and he was this 50 to 60 year old man who was really into music when he was a kid and really wanted to act, but I think he became a financial advisor throughout his life. He always was like, ‘Oh, you know, I’m gonna do music, I’m gonna do music soon,’ and then he reached that age and now he gave up on the safe route and he’s trying to act and he’s doing Uber. He’s a really wise guy.
I love talking to older people because they’ve seen more, and when you’re 21, you’re 22, you think your life is the end of the world. I was dealing with something fucking stupid now that I think about it, because I remember at that time my song had gone super viral previous that year and I was just feeling super guilty and like a failure because I felt like I couldn’t live up to it. I felt like everybody around me was disappointed in me and I, I was just this failure. I was talking to him and he was just like, ‘Dude, you have a billion streams. You’re making music. Most people don’t have the privilege of doing what they love,’ and by the end of it he’s talking about how I should be proud.
It’s hard to explain, but I think that conversation really made me grateful, made me realize it’s not that deep, and also just realized that a lot of the pain and guilt and shame you feel is deep within you and you’ve been accumulating it since you were a kid and capturing bruises along the way. It isn’t until you do internal work that you get to fix it, because even after I made all this money and I had a platinum plaque, I still felt like a fucking failure. I was so depressed.”
FF: I think that’s extra important on that track itself because it feels like the most raw and emotional track out of all the tracks on the album. What do those lyrics mean to you? What are you getting across in that track?
CW: “Yeah, that song was an interesting one because I had rented a cabin in North Carolina for a month at the end of 2021, and I was trying to finish the album, which obviously did not happen until 2023. But I think something triggered me, we were making this instrumental, we were trying to make something like ‘Agony’ by Yung Lean but it didn’t really end up that way. And something sort of triggered me, I was feeling really emotional and I wrote this entire verse, an entire long poem in a way, about everything in my life from when I was 10 years old and I immigrated to Canada to when I was a teenager and my friend passed away to a fentanyl, overdose, to when I dropped out of college and I went to a psych ward. All these things that I guess I’m too humiliated to talk about with people and things like poverty that I’m too ashamed to talk to people about.”
FF: You can hear it in the recording, it sounds exactly like you just said.
CW: “That’s the song I’m definitely the most nervous about people hearing, but I think that’s also one of the most important songs of the album.”
FF: Definitely. Kind of in line with what you’re saying, is poetry something that you often use, when you’re writing, or just as a tool in general?
CW: “Growing up my dad was a poet. My dad was a poet in his life, and when I was a kid, the way we would bond was we would write poems together and I grew out of it and I think I was feeling pretty embarrassed about it when I was a teenager, so I stopped doing it. But a few songs like ‘GOD’S LONELY MAN’ and ‘INNER CHILD’ and ‘BAD SON’ started as these poem ideas and then got translated into a song structure afterwards.”
FF: I think it brings out really beautiful lyricism that you don’t really see, compared to people who are kind of writing it more for the melody so I see a really impactful touch to have on it.
CW: “Yeah, and I think it’s cool. I think both things are cool. There’s a time and place for everything, right? Let’s say ‘BUNNY,’ fun song, but probably not super lyrically fucking poignant or anything. But ‘AMERICAN DREAM,’ a super heavy, dense song, but I’m not gonna be fucking playing that shit on the aux with my friends on the way to anything. Both things are super important, but I’m really happy with this album. Honestly, I feel like I could listen to some songs from this album in every single situation of my life. The way I made this album was I didn’t want it to be a cohesive soundscape. I wanted it to feel just like the whole dynamic nature of being a human, just every high, every low, every stupid thing, every contradiction, every moral. It’s there, and it’s authentic. So it feels cool. I love it.”
FF: One thing I really loved about it was how you brought in so many different styles, but I think through the themes, the things that you’re discussing on the project, it still brings a cohesive nature to it, especially while bringing artists with such different styles from like Chlo to Tia to Learning. I know you said it doesn’t sound sonically cohesive, but how are you able to keep everything so album-like for lack of better term?
CW: “I mean, that took a lot of effort, man. I think so much of making an album is knowing which songs to not put, and not just trying to make the catchy song or whatever, because yeah, it might sound crazy that TiaCorine is on a song like ‘PETTY’ and Shrimp is on a song like ‘DEATH KEEPS CALLING MY NAME’ two songs down. But there’s this story, there’s this thing, there’s this mood throughout it. When you watch a movie, there’s the climax, there’s these moments of relief, there’s all this stuff. So the way I made this album, I wasn’t trying to be like, ‘Ooo, pop punk artist Curtis Waters.’ That shit is fucking stupid, I’m not a brand, I’m a fucking human being, right?
The way I made this thing was just having these moments and story arcs. I think at the end of it you get used to the unpredictable nature of the album because that’s just the soundscape that I’m choosing. The other thing is also I’m not changing genres for the gimmick’s sake, but rather using it as a tool to push the story forward. Like ‘HIMBO’ needs to be a pop dance fucking cunty ass song because that’s what it is, and ‘INNER CHILD’ needs to be this crazy masterpiece thing because that’s the emotion of it.
Oh, and also I see you have a poster of Because the Internet behind you, that’s one of the fucking greatest albums ever to me. When I was 14, I always was like, ‘This is what my first album’s gonna be like.’ So to this day, BAD SON takes from that idea. You have songs like “Urn” and “Flight of the Navigator” on there, then you have “Worldstar” and all this shit.”
FF: Right. I always do interviews with posters behind me just in case someone mentions the albums behind there. So I’m so glad you did. And Because the Internet is amazing, so that’s incredible to hear that was inspiration behind it. You gotta get the whole playwright with it.
CW: “I saw it online. I heard that shit when I was a kid and I would pirate all the music like Cherry Bomb. I remember it was like a few days before it came out and a Lil Wayne verse on ‘SMUCKERS’ had leaked and I was just geeking the fuck out. “
FF: Love it. I wanna dive a little bit into the themes you discussed on the album. I think your family is something that obviously from the very beginning throughout to the end that comes up a lot. How did your relationship with your family change throughout this process, throughout the whole journey that you’ve taken to releasing this album?
CW: “I found acceptance, man. I think growing up, like I was saying, feeling that your pain and misunderstanding is unique, is narcissistic. You just realize everybody’s growing, everybody’s learning. ‘AMERICAN DREAM,’ I wrote that maybe two, three years ago, where I was just struggling. I was feeling so much pain and guilt and I had become like an egomaniac with all the viral success and all this stuff and just getting in arguments about money and all this other stuff with my family and just all this complication and all this just triggering from growing up not super financially stable.
But then ‘INNER CHILD’ I made more recently where I think it comes from a place of more empathy and understanding, and just, I guess I’m at fault. I’m not just this person that’s misunderstood, but I could be a better son as well. But right now, man, shit is so good. For the first time in my life I feel like my parents are starting to get it. When I went on tour, I finally came to North Carolina. My mom was there, my little cousin was there and for the first time it felt like I wasn’t just fucking being stupid. When I was a kid, it felt like I had to hide the music from them. It was so secretive. It just felt like I was doing something wrong because I dropped out of college, but they get it now.”
FF: What was performing like that day in North Carolina?
CW: “Oh man. I think it was one of the best shows I’ve ever done and I was so anxious about it because when I perform I’m just saying stupid shit. I’m a dick. I’m just swearing and I’m just trying to get the crowd riled up. But sometimes it gets weird and shit, but I was nervous. But I think when I went up, I just went Curtis Waters mode. I didn’t feel like Abhi anymore. And my parents were up there and they don’t listen to that kind of music, my parents aren’t sitting around listening to ‘MANIC MAN,’ they hate that kinda shit, but I think they just saw how I controlled the crowd and how everybody was engaged. And the final song I played was ‘INNER CHILD’ and she heard her voice, just the Nepali stuff, so it’s cool. I think they’re getting it. So I feel really proud about that.”
“I never thought I’d get to this place because when I first started BAD SON as a kid, it was just this feeling that I’m a fuck-up all the time. It’s this thing of immigration guilt. When you move, when you sacrifice everything to move to another country and you bring your kids along, the hope is that your kid isn’t a fuck-up and goes to school and gets a job. And my thing always was like, ‘I don’t fucking care. I’m gonna kill myself. I’m just gonna make beats and skip school and be a fucking idiot,’ when I was a kid, you know. And it worked out somehow, so it’s cool.”
FF: One thing that I noticed a lot on the album as well, and you just touched on, is death being a very common theme throughout all the tracks, from “I ain’t gonna die” and “Imma live forever, I’m the new Jesus Christ” on “MANIC MAN,” to the entirety of “DEATH KEEPS CALLING MY NAME.” If you feel comfortable discussing, what is the significance of this transition throughout, from the beginning to the end on how you approach death.
CW: “Death is weird. I think about death all the time and I don’t want to and it’s terrible. When I was a kid, I always felt like I had this curse because I was just deeply suicidal and I didn’t know why, and I was under this idea that everybody’s suicidal and they’re just hiding it. I remember having this conversation with my mom when I was 15. I was like, ‘You don’t wanna kill yourself? Why not? Everybody wants to kill themselves.’ I was just so blown away. So later I found out I have bipolar disorder, so yeah, death is something that I struggle with. Just suicide ideation, it’s sort of this escape that happens to be there all the time. But it’s also my greatest fear and my anxiety of my family passing away and me passing away. I think about it a lot. Even today I have to go on an airplane. Before I board the airplane, I text everybody, ‘Hey, I love you.‘
In an interesting way, I think death and mortality makes you a better person in a way, I think, because you’re aware, you’re present, you’re grateful, and I think because I know that life isn’t guaranteed and death is seconds away at all times, you never know, knock on wood, you have to live this shit. You have to do it. You have to finish this album. You have to do what you want. Even if you’re fucking broke, you have to do your passion. So I think right now I have a positive relationship with death, but it is something that is a huge problem for me in my life.”
FF: And that all ties back into what you were saying before with the voice memo on “AMERICAN DREAM,” and I think something that comes up a lot is that theme of the American Dream or money within your family. I’m just curious, what does the American Dream mean to you, especially as someone who is an immigrant?
CW: “The American Dream is an especially interesting topic. I don’t think it’s just about America, it’s just capitalism and the way I think our civilization has progressed. Growing up, money was one of my biggest insecurities because my family left Nepal when I was 10 years old. And when you go anywhere you’re at a disadvantage, you leave everything behind, you have no family, you’re sort of starting from scratch and from 2010 to 2020, not to get too deep into it, but that was a huge issue for us. Just a big struggle and a big point of insecurity and desperation for me. So I think when you come from that environment and insecurity your priorities change, you become hyper-focused, so I knew from when I was a kid, when I was like fucking 14, I had this thought that like, “Oh my God, I need to be bigger than Kanye West. I need to buy my mom a house. I need to make money,” and you get this insane drive, which is a double-edged sword.
I think I realize that because I’m 22 now. I can live comfortably. I’ve made songs that have become successful. But there’s this guilt inside and there’s this hunger and this insecurity that never really goes away until you question it. I think it was coming to a point where my ego and this greed for expansion and this insecurity of going back to poverty was actually blinding me from being a good person and being around my family and just forgetting the reason you’re doing all of this.”
Just from someone on the outside looking in, your growth as an artist and as a producer over the last like couple years has been really incredible to witness. Is there any track that you feel like best exemplifies your growth or any that maybe you’re most proud of for whatever aspect it may be?
CW: “Dude, every song. I’m gonna be honest, every song production wise is just better than last. ‘INNER CHILD’ to me is just incredible, from the synth section to the middle indie part to the ending with the fucking Bon Iver-Radiohead thing, it’s just crazy that it’s cohesive. Right now, I literally just finished ‘PETTY’ two days ago, so I love the outro of ‘PETTY.’ I just started learning these different kinds of keys and I was trying to go for this old 90s R&B thing, and then the outro with the drum break, which you haven’t heard yet. I’m really happy with that. Also on ‘AMERICAN DREAM,’ to be able to make a fucking seven minute song with no drums, no chorus, no hook, but still keep it engaging is insane. I never thought I could do it. So, super proud of every production on this album.”
FF: We’re just currently two weeks and give or take a few hours away from the release of BAD SON. I just want to end by asking you, at the near culmination of so much hard work and dedication, how does it feel with it being so close to being out there?
CW: “Dude, somehow I feel good. I thought I’d be anxious. I thought I’d be like, ‘Well, okay, I wanna change the artwork,’ but no one’s gonna let me because I am super terrible about it and I’m never happy. So that’s one regret, but I feel great.. There’s nothing I could have done more. I’m ready to move on with my life. I’m tired of talking about the same shit. I’ve been making this album for 10 years. I got some other shit to do now.”
FF: If you feel great about everything about the album, other than the artwork, then I think that’s a good sign.
CW: Y”eah, and you know what? There’s always more you can do because I’m a fucking insecure wreck, right? So you always wanna be better. You always wanna be like, ‘Is this Kanye level? Is this Gambino level?’ But you never know because you’re fucking you. So you don’t even know what you’re making because you’re the person. So yeah, it’s great. I’m sure it’s great because there’s no way it wasn’t.”
FF: And yeah, after this album, what comes next? Are you going on tour, working on the next project, working on your life?
CW: “Well, we have tours and shit and careers stuff lined up, but bro, I’m just excited to be human, man. I’m gonna spend time with my family. I’m gonna go to Nepal, I haven’t been there in 10 years. I’m trying to learn how to make video games. I’m thinking of getting an associate’s degree in video game development. A lot of stuff that I just wasn’t able to do because I’ve been so hyper fixated on this. I think just creating more, but in different avenues, you know?”
FF: Totally, I’m excited to see whatever comes out of that. If you make a video game for the album, that would be sick.
CW: “That’s literally what I’m trying to do, because when I was a kid, I was making the comic book and I was like, ‘Oh dude, this would be best as a video game.’ This is my little spiel, but when I was a kid, I was writing poetry and drawing, then I got into graphic design, then I was doing beats, and then I finally started making music, and then I was doing video and directing. So all of that is sort of leading up to a video game, because video games utilize all of that, but give you choice. So I think video games are probably the highest form of art in life, in a sense, that we have access to right now. So it’d be great to understand how that works. Hopefully that would be something along the way. Maybe it’ll come out in 10 years though. You never fucking know.”
FF: Well Curtis, thank you for taking the time out for this today. Best of luck with the album release. Can’t wait for it to be out in the world.
Listen to ‘BAD SON’ below!