Unveiling the Sound: A Dive into Keoni Usi's '7min'
By. Alicia Zamora
As the music industry continues to evolve, fresh voices emerge, bringing unique perspectives and heartfelt stories to audiences worldwide. One such voice is Keoni Usi, an artist who has been on an incredible journey of growth over the past eight months. In an exclusive interview with Alicia’s Studio, Keoni opens up about his artistic and personal evolution, reflecting on how deeply interconnected the two have become. His journey isn’t just about making music—it’s about self-discovery, intention, and staying true to his vision while inspiring others along the way.
Keoni’s latest project, 7min, marks a defining chapter in his career, highlighting his deepened understanding of himself and his artistry. Throughout the creative process, he has become more aware of what he wants to share with the world and how he wants his music to resonate with listeners. For Keoni, growth as a person naturally translates to growth as an artist—he doesn’t separate the two. His music is an authentic extension of who he is, and rather than conforming to industry expectations, he chooses to create from a place of honesty and passion.
Despite the challenges of navigating the industry, Keoni remains focused on surrounding himself with the right people and making choices that align with his artistic integrity. He understands that his journey is about more than just music—it’s about telling real stories, staying grounded, and ensuring his work has a lasting impact. As he continues to evolve, his dedication to staying true to himself serves as a powerful reminder to aspiring artists: success isn’t just about following trends, but about creating something meaningful that truly represents who you are.
Diving In
Alicia: Welcome back to Alicia's Studio! We have our twentieth special guest!
Keoni: Yeah, our twentieth guest!
Alicia: How are you doing today? And how has life been since you started making music?
Keoni: I'm doing good. Still getting used to LA driving—that’s the only rough part about today. But I’m super excited to be here and do this interview. Life has been good, man. Just trying to have fun with this music stuff, experience as much as I can, and tell more stories. How about you?
Alicia: My life has been cool, guys. I'm almost done with school—I graduate in May! Then, I think I’m going back to school because that’s what my parents want.
Keoni: Master's?
Alicia: Actually, I was thinking about a PhD. It’s eight years, and you can get your master’s along the way. But then I thought, if I do that, I won’t have time for this. So, I don’t know if I want to make that sacrifice or not. I don’t think I’m ready yet.
Keoni: You can pace it.
Alicia: I don’t think I have the ability to do that. Juggling this and school is already crazy. The amount of school I’ve missed…
Keoni: You’ll know what you want to do after you graduate.
Alicia: I’ll figure it out, for sure. I think I got this.
Keoni: Maybe take a year off and then go back?
Alicia: That’s what I was thinking, but my parents are super strict. If I take a break, they think I won’t go back.
Keoni: It’ll work out.
PHOTO CREDIT: JENNA NGUYEN
Alicia: It’s been about eight months since you started this journey. Can you talk about how much you’ve grown, both as an artist and as a person, during this time?
Keoni: I think growing as a person is the same as growing as an artist. I feel like I already know a lot more about what I want for myself through this process and what I want to provide for other people. That’s what’s pushing me to be a better artist. Yeah, I’m just trying to surround myself with the right people, do the right thing as many times a day as I can, and hope I’ll have some cool stories to tell that make their way into my music. As a person, I’m growing by learning more about what I want for myself, my future, and what I want to offer others. And as an artist, it’s the same thing—just staying true to what I really want and having good intentions while I pursue it.
Alicia: I feel like your growth is so visible as an artist. It’s like you don’t separate the two—is it all the same to you?
Keoni: Yeah, I think it’s the same because I’m not playing a character. In some genres, artists have to take on a persona to sell their music, but for me, that’s not the case. I’m not gonna say I’m lazy, but I’m stubborn. If someone tells me to do something, I probably won’t do it unless I actually want to. Sorry, Larissa and my media team, but they know that if I don’t want to do something, they’ll have to tell me at least ten times. So yeah, I combine the two because, for me, it’s easier to be authentic than to be artificial.
Alicia: Yeah, that makes sense. I mean, in just eight months, you’ve done a lot. The last time you were here…
Keoni: My first-ever interview.
Alicia: Yeah, that’s so crazy! Your growth has been insane. Back then, you had just released Air It Out, you were on the Wish Bus, and you were doing so much—just constantly preparing. Well, you already had the album done, and you were telling me about your ideas, but now you’re just going for it. You’re killing it.
Keoni: Yeah, I think at that time, I was really overwhelmed. I remember thinking, Yo, what the—someone’s interviewing me right now? I had just done the Wish Bus, and technically, that song was doing pretty well. A big part of that was my friend promoting it—he’s a bigger artist than I am, so that helped me a lot. But that song wasn’t even the genre I usually make. It was more of a fun track, and that’s okay because I’ll definitely make more fun songs. But now, I feel like I have more time to do things with purpose, not just for the sake of doing them. I want to make another project, but this time, I can approach it differently. It’s been fun.
Alicia: Your album release is literally a week and a half away. How are you feeling right now? Excitement, nerves, a mix of both? I'm excited, man. What's going on in your head?
Keoni: I just want to get it out. Ideally, I was telling my friends that I wanted to put it out and then, like, a week later, release more music. But I’m not going to do that because I think I need to let the album do its thing for a little bit. I don’t know. I think when you make projects, you usually base them on how you feel at the time. I made this one back in June, and it's been finished since then—I’ve just been waiting to release it. Now, I’m in a completely different mindset, in a different chapter, and surrounded by different people, so I want to tell a new story. I'm excited to get this one out, to share this part of me—not let it go, but put it out there—so I can grow and move on to share the things I’ve learned more recently.
Alicia: I wanted to ask—why March 18th as the release date?
Keoni: Oh, that’s my birthday. If I’m being honest, I typically hate birthdays.
Alicia: Me too!
Keoni: I’m not a fan of birthdays. I don’t like being the center of attention in that way. Like, I love being on stage performing—that’s different because you’re doing it for the audience. But the whole concept of everyone saying "Happy Birthday" makes me feel uncomfortable. I love it, but at the same time, it just makes me uneasy. I’ve always had this weird feeling about birthdays, so I thought—if I want to actually enjoy them, maybe if I release my album on my birthday, the day will mean something else. That’s why I was like, maybe I’ll celebrate dropping my project instead of my birthday that day—or both.
Alicia: Over the last several months, how has your view of your own art evolved? Are there things you appreciate about your work now that you didn’t before?
Keoni: I think everything has actually gotten easier—making music is a lot easier now. There’s a song I made and put out that I really enjoyed making—it was fun—but I didn’t like how easy it was. If that makes sense. The song is called Daddy’s Girl, and my buddy and I made it in like 20 minutes, just messing around. And yeah, it was super fun—I love the experience, and I love that people love the song—but I didn’t like how easy it was to just say things and have them mean so much to people when it didn’t mean the same to me. Like, I wish I had put more into the song, knowing people would connect with it. That’s something I’ve learned. I definitely appreciate the homemade aspect of my music. Between making that first project and now, I tried recording a few songs in a studio—just writing to a track, not having such a grand plan, or recording everything live. It was more structured, one thing at a time. But after listening to my project, I realized that approach isn’t really for me. Now, I know I just want to do live recordings. So, for the second project, everything will be live again.
Keoni: I was going to try doing it the other way, but I was like, Nah. It just doesn’t have the same emotion that I hear in a lot of the artists I like. The song I teased the other day was literally just me and my friend in a room. We left the house mic on, had his guitar plugged into an amp, and recorded from there. That’s something I’ve learned to appreciate—the rawness in music and making it with the resources you actually have. I appreciate listening back to the project because I know we made it in a room—in just three days. It was completely organic. Everything about it is real. The stories are real. The equipment we used was the bare minimum. I tell people all the time—since making that first project—that you don’t need fancy equipment to create music. We did it with the bare minimum. It might not be perfect, but it’s something I can look at and say, Well, what else were we going to do? We didn’t have any other options. So yeah, I’ve learned to appreciate the process of just starting. You just have to start somewhere. And there’s nothing wrong with starting at the beginning.
Alicia: You mentioned that song you posted on your story—was that the Crooked Smile one? Dude, that one sounded so good. Is that going to be on the second album? Okay, so your first project comes out on the 18th. After that, what’s the plan for releases?
Keoni: Honestly, every time I go to my friend’s house to make music, we make a song or two a day. I think I’m too new to be picky with the process. A lot of people are like, I have to roll it out perfectly, but for me, it’s more like—if I make a song I like that day, and we can mix and master it within a week, I’ll most likely just post it. So there might be weeks where I drop two songs, and then a month where I post nothing. Then, out of nowhere, I might drop a whole project. I don’t have anything planned yet—I just have songs sitting and waiting.
Keoni: Right now, I’m just really antsy. I want to keep putting stuff out because that’s the only way I get to interact with the people who support my music. I’m not very social media-driven. The posts I actually like are usually the stupid ones—the ones that feel natural, that I actually made myself. But when it comes to keeping up with media and the algorithm… I see other people doing it, and I aspire to be like them one day. But right now, I know I’m not there. So it’s just whatever happens in the moment. If I like a song, I’ll upload it. And yeah, that’s it. It’ll be out the next day—no step-by-step plan. I think the reason I didn’t release this project earlier was that I started making music seriously during the holiday season. I had the project done by August, but then Thanksgiving and Christmas came around, and it’s like—don’t drop music during the holidays because people probably won’t listen. They’re busy listening to Christmas music. I also thought the storyline behind the project was a little too complex for me to just come out of nowhere and be like, Hey, here’s a whole project. But now, after this project comes out, people will know I write music. They’ll know I make projects. So I won’t be coming out of nowhere anymore.
Alicia: You put a lot of time and effort into this project. Has there been a specific moment during these eight months that really stands out as a turning point for you?
Keoni: I don't know. I think every single victory has been a turning point for me recently. I never thought my music would go anywhere beyond my room. When I wrote some of these songs, they were just for me, sitting in my bedroom. And even then, I’d write them and think, Shit, who's ever going to hear this? And now, it’s crazy. Some of the songs—like Stevie Wonder and Convenience—I wrote Convenience in my room, thinking no one would ever hear it. But now, people tell me it's their favorite song, which is insane.
Alicia: That’s literally my favorite song!
Keoni: Yeah, so I think every little victory has been a turning point for me because every month, every week, there's a moment where I’m shocked—like, Wow, people actually listen. Not just listen, but relate to how I feel. That’s made me more appreciative of my experiences because I don’t feel as isolated anymore. I think the biggest moment was when Stevie Wonder got playlisted. I was at Camp Flog Gnaw, asking my manager, Yo, how do we get playlisted independently? Because we're not signed or anything. She was telling me, Maybe we’ll get a distribution deal, and they’ll help you out. And then I checked my email and saw it had been playlisted—twice. That’s when it hit me—industry people, who are usually picky, actually liked my abstract ideas. I thought that was entertaining because it made me realize I could be as wild and strange as I wanted with my writing and sound, and people might actually like it. Before, I thought people would be like, Who does this kid think he is, making this kind of music? Like, He needs to start with love songs and light stuff first. But I don’t know—it’s working out. So yeah, every victory matters.
Alicia: It’s good that you didn’t put yourself in that box. A lot of new artists think they have to follow trends, but you’re doing your own thing.
Keoni: Yeah, but it’s definitely difficult. I was watching a podcast yesterday, and an artist who’s popping right now—Malcolm Todd—was talking about this. He said he figured out how to separate the two: he knows he can make good music, but he also knows that if you understand the algorithm, it makes everything easier. He talked about making small compromises—not selling out, but learning not to take everything so personally when doing things that might not be the coolest to him. And it worked perfectly for him. I wish I could do that. Or at least be good at studying the algorithm so I could make it easier for myself to get my music out there. But personally, like I said, I hate media. I was never a tech guy. My parents didn’t really let me have social media growing up, so I don’t keep up with trends or celebrities. The hardest part about that is it takes longer for people to find my music. But when they do, they’re like, Oh, it’s underground. And I’m like, It’s not underground, man—I just suck at media.
Alicia: For playlisting on Spotify, you said someone picks the songs? I always thought Spotify just automatically found popular tracks and put them on playlists.
Keoni: No, Spotify has actual people who go through all the submissions every day. I think around 120,000 songs are uploaded to Spotify daily. When I found that out—and realized how small the chances of getting playlisted actually are—that’s when I was like, What the—how the hell did we get it? We don’t have a label, a distribution company, or anything like that. So I was like, Somebody must have just heard it somehow. Or maybe someone’s looking out. I don’t know, but I’m just going to keep hoping it keeps going that way. Once Stevie Wonder got playlisted, everything we put out after that got playlisted too. I don’t have a single song that wasn’t playlisted after Stevie Wonder.
Alicia: Yeah, I’ve noticed that! That’s so cool.
Keoni: Yeah, even that Christmas song broke man. I made got playlisted.
Alicia: dude, that song was so good. It’s so catchy. When you said you made it as a joke, I was like, What the fuck? That’s crazy.
Keoni: Yeah, we were just messing around. Shoutout to my guy Jacob—JR. We go to his house, jam, mess around, leave the room mics on, and somehow, by the end of every session, we have a song.
Alicia: So how many songs would you say you write a day? I know you don’t actually write them down—you said it’s all in your head.
Keoni: Yeah, I write down concepts. Like, last night, I technically came up with two or three song ideas in my notes. I think it’s easier if I don’t go in with all the lyrics written down. For me, it feels more authentic if I just have the concept, lay down the track and chords, and then go, Okay, I’ll say what I think should go here. So yeah, last night, I had like three songs. And honestly, if you’re trying to learn how to write—it’s not something you just have. It’s repetition, like any other muscle. Just simplify it. Write about things you actually want to write about. It gets easier over time. Don’t force yourself to write complex songs if you’re not there yet.
Alicia: What was the overall vision or message you wanted to convey with this album? Was it something that came to you immediately, or did it take time to develop?
Keoni: I knew immediately what I wanted the grand idea of this project to be. Seven Minutes is based on that phenomenon where, when you die, your last seven minutes are spent reliving all your greatest memories. So for me, when I wrote The Seven Minute Project, I wanted to capture all of those experiences within the eight songs on the project. The only reason there are eight songs instead of seven is that I wanted the last track to be one, seven-minute-long song that captures everything at once. So, songs one through seven each tell a part of the story—first love, first heartbreak, friends moving on, getting married—all these pivotal moments. The big heartbreaks, the love stories… the things I think you’d remember when you're passing away. And then the last song brings all of that together into one. Even if you listen to the genres, beats, and sounds I used for each song, you’ll realize everything was intentional. Every element plays a part in the story. With The Seven Minute Project, I wanted people to become more appreciative of their own life experiences—to realize that we all go through similar things, just at different times. And if you look at life that way, everything starts to feel less severe, less dramatic. I think that perspective helps you relate to more people, which makes life more enjoyable. You don’t feel alone, even in moments when most people would feel alone. At least, that’s how I see it.
Alicia: What made you go with the title Seven Minutes?
Keoni: The whole concept of the project was based on the idea that in the last seven minutes of your life, your memories replay. So I was like, Fuck it, let's call it Seven Minutes. At first, though, I had a different name. I think in my first interview with you, I told you something else. The concept was always built around the idea of those last seven minutes, and the final song was always meant to be seven minutes long. But for a while, I named it something else because I thought Seven Minutes sounded kind of boring. Also, when Dominic Fike released a project called 14 Minutes, I was like, Well, shit—now I can’t use it. But then I thought about it again and realized, This is my project. I don’t care. The whole idea is based on seven minutes, so I’m just going to name it that. Before, it was called Self-Diagnosed because, for me, it was more of a trauma therapy album. But after a while, I was like, What the hell is that name?
Alicia: Yeah, I feel like Seven Minutes is better.
Keoni: Way better. It just sounds cooler.
Alicia: Yeah, and it’s also just easier to say, Oh yeah, I’m listening to Seven Minutes.
Keoni: Exactly. It just makes more sense.
Alicia: Yeah, because imagine someone asking, Hey, what are you listening to? and you have to say, Oh, Self-Diagnosed.
Keoni: Yeah, Seven Minutes is definitely where it’s at.
Alicia: I feel like you captured it perfectly. The way you think is insane. From start to finish, it all just makes sense. I got to hear this back in September.
Keoni: Yeah, I sent it to you right away.
Alicia: As soon as I heard it, I was like, What the fuck? And then when you explained Seven Minutes to me, I was just blown away. The way you articulated every process was so detailed. And then the way it ends—crazy.
Keoni: I think for anyone reading this and listening to the project, they should know that originally, it wasn’t supposed to be an album. It was supposed to be a soundtrack to a film. I think we talked about that in our first interview. The idea for the film came when my management sent me up north to work on a project. Once I got there, I was like, Holy shit—I don’t even have all the songs written. I just had ideas and chapters, almost like episodes of a film I wanted to make. So I ended up turning those episodes into songs. That made the process easier because I could see each part of the story visually in my head. All I had to do was describe what I saw—like watching it on a movie screen. I should probably put out some clips explaining the album because I feel like if people heard the full story, they’d be like, Yeah, this kid’s on some shit.
Alicia: I think that’d be really cool. But maybe wait a little. Let people interpret it first, and then, like two or three weeks later, be like, Yo, this is what it actually means. It’s always cool to see how people interpret things differently.
Keoni: Yeah, no, you’re completely right. I think Dominic Fike said something similar—he likes to hear people’s interpretations first.
Alicia: Yeah, because sometimes people are way off.
Keoni: Exactly.
Alicia: Like, you could write the saddest fucking song, and someone will be like, Yo, I think it’s about the happiest day of your life. And it’s a completely different meaning. But at the same time, that’s what’s cool about it—you think of something one way, but someone else takes it in a whole different direction. And it’s dope that they’re listening and making their own meaning from it.
Keoni: Yeah, and that’s the really cool part—people heal themselves in their own way, depending on what they want to hear. That’s why it’s easier to not be mad at people, to not hold on to hate or resentment. People misinterpret things because of their experiences, not yours. We all live different lives. So yeah, I should definitely do it the way you said—let people come up with their own stories first, and then share mine later.
Alicia: Yeah, I think that would be really cool. You mentioned the film before—are you still planning to release it?
Keoni: The hardest part about the film is that I didn’t realize how expensive films are. And since we’re independent, we wanted to own the project. I also feel like I owe that to my friends who helped me make it. We split everything equally—it’s not like I take 80% and give the producers 20%. There are three of us—Gabe, Kyle, and me—and we split it down the middle. I don’t care if I wrote the lyrics and sang it; they brought the music to life. So yeah, shoutout to them. If we made a film, that would mean splitting everything with even more people, and at least for now, I want to let the music live on as something we made. Later on, once we fully own the music and don’t have to split anything, then I can think about making the film. And honestly, I think the film would be cooler than the music.
Alicia: That would be so cool. People would get to see your story in a clear vision. But yeah, it’s also really expensive.
Keoni: I didn’t realize it was that bad.
Alicia: Yeah, I only know this stuff because I’ve been looking into it. That’s my problem—I want to do so much. Like, I want to make a film, or a documentary. But then I see the costs and I’m like, Bro, this is way too much fucking money. But that would be really cool.
Keoni: Yeah, when I started looking into it, I kept scaling down the idea. At first, I thought, Okay, maybe instead of a full movie, we’ll make six 10- to 15-minute episodes. Then I asked about the cost of one video, and even if we went super cheap, just the equipment alone would cost around $3K. For one video.
Alicia: Yeah, dude, it’s insane. I’m actually starting a series and I have a whole separate videographer team for it. It’s pricey as hell, but I think it’s going to be so cool.
Keoni: Yeah, it’s about balancing what you have in your pocket at the moment. Right now, I just want to make more music, and if I make more money, I’ll put it back into that.
Alicia: Exactly. I feel like that’s such a smart way to think. Plus, it gives you more time to experience life, so you’ll have more to put into the film.
Alicia: Can you walk us through your creative process when making the album? Are you more of a perfectionist, or do you go with the flow when recording?
Keoni: The whole project was very much a go with the flow process, mainly because we didn’t have all the time in the world to make it. We went up there for four days total. The first day was just travel—I got there super early in the morning. On the last day, I left late at night. I got to the airport at 11 p.m., slept there, and left at 5 a.m. My friends lived far from the airport, so I didn’t want to make them drive me that early in the morning. I was like, Dude, just drop me off at 11. I’ll sleep there. But that first day, I was so fixated on making everything perfect and planned that by the end of the day, I hated all the music we had made. So we deleted everything. Scrapped it all. That music will never come out. When I listened to it at the end of the trip, it pissed me off. It wasn’t that it was bad—it just didn’t feel right. It sounded too polished, too scripted. Not on their end, but on mine. I wasn’t saying anything meaningful; I was just saying whatever sounded cool.
Keoni:Then, on the second and third day, we were like, Yo, we only have three days left. How are we going to make this happen? And I think we actually did make it happen—because we didn’t force it. We’d go on hikes in the morning. If we got tired, we’d step outside, walk up a hill, or watch the sunset. And once we were done, the song was finished. We didn’t go back and overthink things. We just moved on to the next one, then the next one. Most of the lyrics weren’t even written out. I’d have the concept and melody in my head, play it, and that was it. It was really a go with the flow process because we didn’t have enough time to be perfectionists. The only song that took real time was Seven Minutes. We spent the entire last day just listening to music that captured the emotions of what the last seven minutes of life might feel like. Then we tried to replicate that feeling instrumentally, and lyrically, it was the same process. Mic on—say what fits in the moment.
Keoni:So yeah, it was all go with the flow, and I think I like that approach. When I go into a studio or a jam session, I just go with whatever the music feels like at that moment. Because if that’s how I feel, most likely, other people will feel it too. When you perform a song, if you didn’t feel anything while making it, you probably won’t feel it on stage—unless you’re an insanely good performer or entertainer. I think I’m a better artist when I’m just being myself, rather than trying to be a showman. Being an entertainer is a whole different skill So yeah, the whole project was go with the flow. Whatever came out, came out. And it was all organic—nothing was just straight from a computer. We left the mic on, stomped on the floor, slammed doors, played all the instruments live. We started with guitar, filtered it, experimented with different sounds. Everything was made naturally. Super cool process.
Alicia: This album is really personal. I don’t know if you had to dig through a lot of memories—good or bad—but how did it feel writing it? Because a lot of these songs are pretty heavy.
Keoni: I think half of the project was about healing. There were definitely a few songs that made me feel down, but that was the point. The fact that they made me sad while making them meant I was doing what I intended to as an artist—I wanted to capture those emotions in the music. Like in Part of Stevie Wonder, I’m not even really rapping in the second verse—I’m more talking. And there are parts of the verse where I don’t even finish my sentences. That’s because, when we were recording, I couldn’t. So yeah, it was a mix of emotions. Some songs were healing, some brought back tough memories. But I think the real healing happened when I put it out. A lot of the stories in this project were things I wasn’t comfortable discussing with friends or family. So putting them into music—making them more translatable—became my way of coming clean. Whether people I know listen to it or not, just knowing the stories are out there was a huge confidence boost for me. It made me realize that I can be honest in my way. I don’t have to talk about it directly—if I can’t say it, I’ll write it. And music became the way I shared those stories. So yeah, it was definitely more of a healing experience than anything.
Alicia: That’s so cool because music really is healing for so many people. Even though this is your story, like we talked about earlier, so many people can relate to it. And that’s the powerful part—because, like you said, it makes you feel less alone. But also, in a way, you’re helping other people express their emotions. Even if it’s your words or your music, they’re still connecting to it in their own way. That’s really cool.
Keoni: Thank you. Yeah, it’s cool to be an outlet for others while also finding an outlet for myself.
Alicia: How did you decide which songs would make it onto the album? Was it easy or difficult to narrow them down?
Keoni: Super easy—these were just the songs. It just so happened that, within the time we had, we got the first seven songs done, and then we had enough time to make the final seven-minute track. So it all worked out perfectly—like, time-sensitive perfect. Who knows, if I had approached that first day differently, we might’ve ended up with ten songs. But then it wouldn’t have made sense. Seven Minutes is the name of the project—so if there were ten songs, that would’ve felt weird. I think it made sense to have seven main songs and then the one seven-minute track. It all just fit perfectly. We didn’t really cut anything—except for the songs from the first day. But those will never see the light of day.
Alicia: Were those first-day songs completely different from the ones on the album?
Keoni: Completely different. I don’t even think I was making songs for the project at that point—I was just making random music. So yeah, those are long gone. I don’t even remember what they sounded like. I just remember listening back and thinking, I hate this. This sucks. But yeah—never again.
Alicia: Did you face any creative roadblocks or struggles while making the album? And how did you overcome them?
Keoni: Not during that album. Everything went pretty smoothly, mainly because I went into it knowing that I didn’t have all the technical knowledge—I was just going to write about what we felt. I’m no musical genius. I didn’t grow up in a musical family. I tried taking lessons when I was little, but my piano teacher wasn’t messing with me because I couldn’t pay attention. So that didn’t last long. I think I learned to play songs with one hand, and then when we got to two hands, my teacher was like, Yeah, this kid can’t focus. And she wasn’t wrong. I did mess around a lot. Sometimes, during lessons, I’d start playing songs we weren’t learning. I don’t know—I’ve always been like that. But yeah, there were no roadblocks. That’s what shocks me now. I look back and think, How did I do that? How did I go into this project with my friends, knowing so little about the technical side of making good music and writing songs, and still pull it off? But I think that’s proof that if you have an idea and emotions you want to share, you can make it happen. You just have to be confident and comfortable enough to tell your story. If you're honest with yourself, it will come out in the best way possible.
Keoni: To anyone reading this—I literally just learned guitar this year because of music. I was like, Oh shit, I’ll probably have to play guitar at some point. I have no real musical background aside from loving to sing as a kid, but that was just in the shower. So yeah, surprisingly, there were no roadblocks while making the project. But after I got back and had to wait four or five months for it to come out, I did hit a bit of a creative block. I was getting distracted and frustrated with the waiting process. In my mind, I felt like I couldn’t move on to making new stuff until this project was out. But then I was like, What the hell am I talking about? I can make whatever I want. So yeah, luckily, no roadblocks during the project. But creative blocks definitely come with the journey. And honestly, I think you need to live life to be able to tell a story. If I’m only chasing music 24/7 and not actually experiencing anything, I’m going to run out of things to talk about.
Alicia: When you went up there to record, had you already released something, or was this your first time?
Keoni: I had Smoke released. Which is funny because Smoke was one of those songs that my buddy Kyle and I made in like an hour. We were up north too, just sitting at his sister’s dorm coffee table, playing some chords. He was like, Okay, let’s track some vocals, and I was like, Alright, just messing around. Honestly, I’m not a huge fan of that song. Not that I hate it, but because we made it so fast, I know it wasn’t super thought out. Looking back, I think, Damn, I should have put more effort into it. If I had known people were actually going to listen to it, I probably would have taken my time. Not that it’s terrible—I mean, I’ve heard songs that are worse than mine. I’ve heard songs that are way better than mine. And I know my songs aren’t as good as a lot of the artists I admire. That’s just honesty. But at the standard I hold myself to, I feel like I should have been more intentional with it. But it’s out, so it is what it is. That was the only song I had released at the time.
Alicia: I thought Smoke was really good, though, to be honest. But I don’t know how to put it —I can never tell if I’m allowed to tell people I like their music.
Keoni: A glazer?
Alicia: Yeah! So I never know if I should be like, Yo, this shit is really good.
Keoni: Nah, it actually means more when people really know the songs. Like, I’m from Cerritos, a city where not a lot of people do art or music. So when I run into people from high school, sometimes they’ll say, Yo, I love your music! And I appreciate it. But I’ll mess around and be like, Oh, what’s your favorite song? And they won’t know. And it’s like, It’s all good, bro. I don’t mind it, but there’s a difference. I appreciate the support, but you don’t have to tell me you like my music if you haven’t actually listened to it. It doesn’t make me feel any more important.
Alicia: Yeah. But I actually mean it. I actually listen. I be jamming that shit in the car. My dad hears it, too.
Alicia: What does it mean for you to finally release this album?
Keoni: It means we can keep putting more stuff out. I think it marks a new chapter in this music journey. Now that this project is out, I’ll have more opportunities—whether that’s performing for bigger audiences, opening on tours, or just getting more recognition. Having a full project out, something cohesive, makes me more attractive to other artists, agents, and managers. Like, Okay, this kid can actually tell a story. He’s someone worth investing in. Same thing with labels and distribution companies—it shows them that I can put together a full project on my own, with my own resources. That’s exciting to me. Because the hardest part of this for me is that I don’t come from a background where my family can help me financially. If I fail at this, there’s no safety net. It’s like, If I don’t make it, then what? But regardless, I’m going to pursue music whether I’m broke or not.
Keoni: But having this project out gives me a better idea of what options are on the table for me. Right now, everything still feels like it’s in limbo—I play shows when I can, I make music when I can—but it’s not self-sustainable yet. And that’s okay. Maybe it never will be. But at least now, I have a clearer sense of direction. I can see where I stand and what I need to work on. I also won’t know how people really feel about the album until it’s out, and I need to learn from that. Like I said earlier about Malcolm Todd—there’s a balance between passion and making a career out of it. I haven’t fully considered that yet. For my first project, I just thought, If this is my only shot, I’m going to make something I’m proud of. But now that it’s actually coming out, I can have a more open mind.Maybe for the next project, I’ll think more about how I promote it—or actually promote it at all, because I really didn’t until like a week and a half ago. But you live and learn. I’m stubborn, I’ll admit that. But going into the next project, I want to be more open-minded. Try things I wouldn’t have before. But yeah, I think this project just needs to be out so I can fully step into the next chapter of this journey.
Alicia: But in your head, do you have that end goal? I don't want to say delusional, like, "Oh, I'm going to be the greatest artist," not like that. But do you have that vision? Because I know you just mentioned that there's a possibility this won’t work out. In your mind, do you already think about that? I don’t want to say you’re putting yourself down, because I feel like everyone has those thoughts sometimes—you never know, it’s tough out here. But do you constantly think, "Oh shit, maybe I won’t make it?" Do you have an end goal with this?
Keoni: Funny enough, I think I’ve already made it in my head. Of course, I want to chase bigger things, but from the moment I had the opportunity to make music, I never really thought I was going to be anything big. If I ever end up playing on a huge stage, I’ll probably start crying because it’ll be like, "What am I doing here?" I didn’t grow up believing this was even a possibility. I thought I was going to live a life where I was just in the background. And now, for the first time in 21 years—because I’m 21—it feels like people are seeing me in some kind of spotlight. It’s new, and it’s interesting. But I don’t feel like I’m failing.
Keoni: The only reason I say I haven’t "made it" right now is because, technically, I’m broke. It’s hard to pursue this while balancing everything else. I also need to work another job just to keep making music. I don’t have to, but it makes more sense and feels safer so I can experience more things. I think I’ll know I’m "chilling" when I have some financial leniency—when I don’t have to work a morning shift at a coffee shop just to get by. Right now, I have to choose between filling up my gas tank or recording a song, and I hate that feeling. It’s nerve-wracking. There have been plenty of times when I’ve thought, "Okay, I have 80 bucks. My gas tank is going to cost 100 dollars. Do I fill it up all the way so I can get to work for the week, or do I put in just enough to make it to the studio and back?" Sometimes, I’ve made the wrong decision. I’ve been like, "Yeah, I have 80 bucks, but I’m only putting 15 into gas so I can make it to the studio. Then I’ll spend 20 on food because I want to hang out and talk with my producers." And somehow, it worked out—I got home safely and made it to work the next day. But I hate living on eggshells, having to skip meals just so I can make music with my band.
Keoni: I don’t have some crazy end goal yet. I think I’ve already made it further than I ever thought I would, so everything feels like a victory.
Alicia: Yeah, I think you’re doing really well, especially considering it hasn’t even been a year yet. The pace you’re going at is really impressive. I’ve met a lot of artists who have been doing this for a year or two, and they’re not necessarily at your level—not that everyone has to be, because everyone moves at their own pace. But I feel like you’re in a really good place right now.
Keoni: Yeah, things are moving at a good pace. But I grew up really competitive—I was into sports. So when I see my friends doing cool things, I sometimes think, "What am I doing wrong? Why haven’t I reached that level yet?" Then I have my grounding factors—friends, family, and my manager—who remind me, "You didn’t even do music growing up, and you’ve only been at this for eight months. Also, your project isn’t out yet, so the opportunities will come once you release it." Sometimes, I need that reminder. In my head, I’m like, "I’ve already made the music, I can perform, I can write for people—why am I not getting more opportunities?" And they remind me, "Nobody knows about your project yet." That part is my fault because I don’t promote it enough. I kind of sabotage myself sometimes. But for the next project, I’m not going to box myself in like that—I’ll be more open-minded. It’s something I need to work on.
Alicia: Was there ever a moment you doubted the album’s direction or your choice of songs? If so, how did you push through that doubt?
Keoni: Yeah, there was doubt about one song on the project. It’s going to be called Truman or Truman Show. When I first made it, I had the concept and one verse written before heading up north to record. In my mind, the song was much darker and more emotional, and that’s how I planned to approach the recording. But when I explained the concept to my producers—well, I wouldn’t even call them producers; they’re my friends who just wanted to make something together—they saw it differently. I don’t think they had ever worked on a song together before, which was really cool. When I played the song for them, it took a completely different direction. I was solid on the name and the genre I wanted, but they pointed out that the story didn’t quite align with what I was aiming for. They said, "Truman is a real thing. The Truman Show is an existing concept. If you want the song to match the brand and story you’re telling, we need to tweak it."
Keoni: At first, I didn’t like the new direction. But once I stepped back and saw the bigger picture, I realized it made sense. Lyrically, everything stayed the same, but we changed the cadence, production, and overall vibe. It wasn’t as dark as I originally wanted, but that actually made it more powerful. If someone listens closely, they’ll hear that behind the upbeat instrumental, there’s a story of irony and a taunting figure preventing someone from truly loving another—just like in The Truman Show. That was the only song I really struggled with. The only way to get over it was to trust my team as much as I trust myself. That’s hard because, when you release music, a lot of people work on it—producers, instrumentalists, your band, engineers, and so on. But at the end of the day, if a song flops, no one blames the producers. They blame the artist. That’s why it was hard for me to trust others with my vision. But I do trust my team—my producers, my manager, my band, and the people in my circle. And that’s how I got over the doubt. If I don’t have the best judgment, I know I have people who will be honest with me.
Alicia: That’s so true. Having friends around really helps. Honestly, all my friends are doing this with me. I kind of dragged them along. There was this one time—my first interview—my videographer, Estephanie, had an appointment, but I was like, "Please, I need you to come!" She and my sister, Cynthia, showed up. For those who don’t know Cynthia, she’s her own character. At first, she wanted nothing to do with what I was doing. But now, she’s kind of okay with it.
Keoni: She seems more energetic about it now. She’s funny.
Alicia: I love her. She brings so much energy to the room.
Keoni: She really elevates the vibe—it’s dope.
Alicia: Yeah, exactly. My friends keep me grounded. My judgment is so all over the place—I kind of hate everything I do. I could write the best thing ever, but then I’ll be like, "Nah, this sucks." So I send everything to my team, who are really just my friends. Estephanie is the ultimate test. If she says something is bad, I know it’s bad. Sometimes, I think, "Maybe she’s just being a hater." But then I realize she’s just being honest—she’s seeing things I can’t. That’s why I trust her opinion so much.
Keoni: It’s hard to find people like that. But I think if you’re really doing what you love, the right people will naturally be there. People often go looking for a team, but in reality, if you chase what you love, you’ll realize the people you need are already around you.
Alicia: That's so real. That's so true. I think it's true because I just started this, and it's about to be a year. I kind of just had this idea and texted Estephanie. She was like, "Go for it." And I was like, "Fuck, I don't know." I had a lot of doubt in what I was doing, and I just needed that one push. She gave it to me, and now we're here.
Keoni: You're building something amazing. Everything starts somewhere, and you're already at a great spot.
Alicia: But I also feel like it's not just me—it's the people I'm meeting while doing this. If you think about it, imagine if half the people I interviewed were shitty. I’d be like... yeah, you know, cut. We wouldn’t even be here right now. You were our fifteenth guest—I was already halfway in. If, say, my third or fourth guest had been really mean, I probably would've quit.
Alicia: Do you ever feel overwhelmed? Like, you love this, but then it starts to feel like something you have to do? I don’t know if you’ve ever experienced that.
Keoni: I think that happens when you start comparing your accomplishments or goals to somebody else's. That’s how it is for me. Like, the moment I look at what I’ve built—with the budget, the equipment we’ve used—I start questioning, Why am I not on tour? Why am I not at this level? Why don’t people find it funny when I mess with my crepe from Frostbite? I get in my head, thinking I’m at the same spot as the people I look up to. And in those moments, it's hard for me to keep going. But those thoughts usually last only about ten minutes. Then I snap out of it and think, Yo, what the hell is wrong with me? Luckily, I have friends, my brother, and my family—people I consider siblings and mother figures—who keep me grounded. They remind me, Just do it because you love it. Don’t do it for any other reason. Everything else will follow. I believe that. But yeah, there are definitely moments where I wonder, What am I doing? This is hard.
Alicia: Damn, you snap out of it really fast. Ten minutes is insanely quick. I can sit in that feeling for a whole week.
Keoni: No, I can’t do that.
Alicia: I don’t know why, but I feel like I'm always stuck in the same place, and it really bothers me. I see other people just doing it, growing, building bigger teams, and I think, What the fuck? Do I need more people on my team? But then I'm like, No, I like my team the way it is. And then I see people who are just starting out and already getting huge opportunities, and I wonder, What am I doing wrong? I get stuck between thinking, Am I not doing the right things? but also knowing that I'm doing my own thing. It’s like being trapped in that in-between.
Keoni: Yeah, that middle ground is tough. But you gotta realize that everybody starts somewhere. I remind myself of that all the time. When I do, I think about friends who have been pursuing this for years. They’ll tell me, It took me this many years to get where you are now. That’s not a comparison thing—it’s comforting. Some of them didn’t have management until two years in. Some put out music for two years and only got 100 streams per song. And here I am, eight months in, and already seeing some progress. But then the competitive side of me kicks in, and I start thinking, Why am I not further? This person isn't writing as complex as me, yet they have more recognition. But at the end of the day, it’s not about that. It’s about the journey. Everyone’s journey is different. Once you stop comparing yourself, things become so much more enjoyable.
Keoni: Then I think, Damn, I really get to do interviews like this. I get to work with cool artists. I get to be on stage. Like the event on the 16th—I looked at the RSVP form, and at first, I didn’t even think people would show up. Now we have nearly 100 attendees, and I capped it at 150. Maybe it’ll reach that. That’s insane. Time is valuable, and people choosing to spend theirs with you is dope. So yeah, we just have to keep grinding, stay appreciative of the journey, and believe in it. If we do that, it’ll happen.
Alicia: What themes do you explore throughout the album? Are there personal stories, emotions, or experiences that shape its narrative?
Keoni: The themes are pretty typical—love, heartbreak, loss, growth, setbacks. I took very personal experiences and made them as relatable as possible. Most of the songs are written as relationship stories because love is something almost everyone understands. But in reality, some of the "relationship" themes are actually about my mom, or about feeling alone after graduating when all my friends moved away. I wrote in a way that people could connect with because not everyone shares the same family or friendship experiences, but almost everyone has felt love or heartbreak. So a lot of the themes are presented that way.
Keoni: Where I grew up, many of my friends had what seemed like "picture-perfect" families. Even just seeing parents stay together seemed amazing to me. My parents had me young, and they never really settled. They didn’t get to experience everything they wanted before having kids, so things didn’t work out between them. I know my personal experiences might feel niche compared to people who had more stability growing up. But at the same time, there are people who had it worse than me. So I wrote my experiences in a way that would resonate, and the easiest way to do that was through love and breakups. A lot of the songs aren’t actually about romantic breakups—they’re about friendships and family struggles.
Alicia: I remember one song in particular when you sent it to me—Pretty Penny. I love that song. I don’t know why, but it really stuck with me.
Keoni: Yeah, that song is definitely more of a relationship song, but at its core, it’s about self-doubt—wondering, Am I the right person for this person? All the factors that make you question whether you are or not. But yeah, I’ll let people listen to it and interpret it how they want. Thank you for that!
Alicia: Is there a track that holds the deepest personal meaning for you? What makes it stand out above the others?
Keoni: Hands down, D.A.T. It’s the only song I went into the studio with fully written. I knew I had to finish that one. It’s dedicated to my uncle who passed away. I wanted a song on Spotify—something permanent—to honor him. I wasn’t going to post a picture of him on Instagram and be like, Yo, shoutout to my uncle. That’s not me. But I wanted to tell part of his story in a way that mattered to me. It’s meaningful not just as a tribute but as a message. If you’re in a bad relationship or struggling with addiction, there are other ways to cope. That song was my way of putting that message out there.
Alicia: Grieving is weird. One day, you miss them so much, and the next, you think you’re okay. But then all these emotions come back because they’re no longer here. How was it writing that song?
Keoni: It brought back a lot. When my uncle passed, I didn’t have time to process it—my parents were in the middle of their divorce, so my focus was elsewhere. It was sad, but I was just waiting for my dad to come home. Later, when I finally had time to process it, I was living with my dad. He’s the kind of guy who doesn’t talk about his feelings, but I saw him coping with his brother’s death in his own way. That was different for me. I didn’t want to bring it up because I thought it’d make things worse for him. But looking back, I think if we had talked about it sooner, it would have helped us both. It wasn’t until I moved out and was alone for the first time in years that I truly processed everything. That’s when I wrote the song. It was sad, but it was also healing—like I finally got to pay my respects when I was ready.
Alicia: How do you hope listeners will connect with the messages or feelings you've put into these tracks?
Keoni: My only hope is that people can interpret the music in their own way and that it connects with them however they want it to. I don’t have any specific expectations—like, I don’t want them to listen to it and feel a certain way, like how some people listen to Stevie Wonder and feel sad. That’s not how I approach it. If my music makes you feel prideful, nostalgic, or any other emotion, then please feel it. And if you want, tell me about it. Or don’t—just take it in and experience it however you choose. Yeah, to be honest, I made this project for myself. But I knew other people would hear it and interpret it in their own way. So, I don’t have any specific expectations for what my listeners take from it. However, one thing I do want new artists—or anyone who's thought about making music—to know is that we made this on a very low budget.
Keoni: We weren’t in a fancy studio. We were in a shed, with no air conditioning. Honestly, the most exciting part of that space was what we were creating. Oh, and there were LED lights that flashed whenever we hit the drum—we rigged them to react to the beat. You can buy those at Walmart for like 15 bucks. That was the wildest part of that setup. But I want people to listen to this project and realize that pursuing something you love is possible if you truly care about it. Looking back, I’m amazed that we pulled it off with what little we had. If people don’t connect with it emotionally, I at least want it to be inspiring—to show that you can make music in your bedroom, in your car, or wherever, as long as you have the passion and a story to tell.
Alicia: How do you feel when people interpret your music in their own way? I feel like opinions can vary a lot. When I write music reviews, the artist doesn’t tell me what the song is about—I just go off of how it makes me feel. How do you feel when people do that with your music?
Keoni: I love it. It means a lot. Time is valuable, so when people take time to share their thoughts on my music—music they spent their own time listening to—it makes me feel like I’m worth something to them. And that’s a really rewarding feeling. Hearing people’s interpretations, even if they’re different from what I originally meant, is never wrong. Because at the end of the day, the music did its job—it made someone feel something. That’s the goal. My experiences aren’t the same as anyone else’s, but we all feel the same emotions, just triggered by different things. Like, my heartbreak might come from losing 20 bucks, while someone else’s heartbreak might come from a breakup. Different things matter to different people. But if we can relate through those emotions, that means a lot to me.
Alicia: Do you have a favorite song off the album? If so, what’s the story behind it?
Keoni: D.A.T.T. and 7 Minutes—those are the two I’m really happy with. Oh, and Pretty Penny was fun too. That one was a blast to make. We already talked about D.A.T.T.—I love it because it holds a unique kind of importance. It’s not just enjoyable; it has meaning in its own way. Pretty Penny was just pure fun—the process of making it and writing it was a great experience. But 7 Minutes—that was tough. Even though it came together naturally, it was the one song that really made us stop and think, How are we going to pull this off?" It required the most thought. Going into it, I didn’t know much about music or songwriting, but listening to it now, I feel like I delivered exactly what I wanted. My producers did too. Their goal for the sound was achieved, and lyrically, I feel like I nailed what I wanted to express. That song is meaningful to me because it proved that you can figure things out as you go. I had no idea what I was doing, but we made it work.
Alicia: But I feel like no one really knows what they’re doing. You’ve mentioned that before, and I’ve been thinking about it a lot. I used to assume that everyone I worked with had it all figured out, and realizing they don’t actually gave me some peace of mind. Like, I don’t know what I’m doing either. And when I tell people that, they laugh because they think I’m joking. But I’m not—I really just do what feels right. Sometimes I mess up, and I’m like, "Oh, shit." But that’s part of the process. What you said about that really stuck with me, because coming from you—an artist, someone actively making music—hearing you admit that was reassuring.
Keoni: Yeah, you can’t really disappoint yourself if you accept that you don’t know everything. You’re not going to get an A+ on every test you study for, either. The important thing is knowing that you’re trying. Sometimes you surprise yourself with the outcome. There are moments when you think, "Wow, that sucked." But then there are times when you’re like, "Damn, that turned out way better than I expected." And that feeling makes you want to keep going—to try new things, to grow, to get better. It’s actually a beautiful thing to not know what you’re doing, but still make it work. Everything works out if you trust your gut. Don’t surround yourself with people you don’t like. Don’t do things that don’t feel right. If you like something, you like it. If you don’t, you don’t. There’s no reason to force it.
Alicia: Yeah, I’m learning that. I think I’m lucky, though. I’ll bring up Estephanie again—she helps me a lot with that. I’m a pushover, honestly. I let people walk all over me, so it’s hard for me to stand my ground. But she helps me with that, and I think that’s pretty cool.
Keoni: Yeah, having the right people in your corner makes all the difference.
Alicia: Exactly. Without my friends, I would’ve been screwed over so many times. And honestly, that’s on me. I just trust people too easily. I have this mindset where I assume everyone is a good person.
Keoni: Yeah, but the world is a selfish place. Not everyone is as pure and well-intentioned as you are. Or maybe they are intentional—but only about what they can get out of it.
Alicia: Yeah, for the wrong reasons. It took me a while to learn that, but I’m slowly starting to understand that not everyone has the same intentions as I do.
Alicia: I wanted to ask about writing songs. For me, I write reviews, essays, short stories—whatever, to be honest. How is that different from writing a song? What’s the process like?
Keoni: I think writing a song is actually pretty similar—it just depends on what you’re doing. For people who write pop songs, it’s kind of like writing an essay. In school, your teacher assigns you something, and you write it just to get it done, not necessarily because you’re passionate about it. But when it’s a project you truly care about, the words flow easier. And if they don’t, it’s because you care so much that you want it to be perfect. It’s the same with making music. Sometimes, the words come naturally because they’re just thoughts in your head that you’re putting on paper. Other times, when you’re recording and refining, it becomes about delivering it the right way—making sure the phrasing, tone, and flow are just right. It’s like proofreading an essay, ensuring everything is structured correctly and impactful. So yeah, writing songs and writing essays are very similar. It all depends on why you’re doing it and who you’re doing it for.
Alicia: Creating an album is no small feat. Were there times when you felt overwhelmed or questioned your abilities? How did you navigate through those tough moments?
Keoni: I didn’t really question my abilities because I went into it knowing I had no experience. I had no background in music—I just stepped in with confidence and told my management I had songs ready. In reality, I only had ideas, but I figured if I had the ideas, I could turn them into something. So when they sent me to the studio, I knew I had to figure it out. The opportunity was there, and I had to follow through. I told myself, I feel like I can do this, so I probably can if I try. That mindset helped me push through. Honestly, the process was probably easier for me than for most artists. One, because there were no expectations—no one knew what to expect from me since I was new. And two, I didn’t even have expectations for myself beyond making music I liked. The only way I could have left that trip disappointed was if I forced something that didn’t feel right. But everything was super chill. Making this first project felt smooth and natural.
Alicia: Now that your first project is coming out, was it easier to shape the second one? Did you have a clearer idea of what sound and message you wanted to put out?
Keoni: I think it’s about recognizing that I still have a lot to learn, but also knowing I’ve learned a lot already. The second project was about refining things—taking note of what worked and what didn’t in the first project. The first project felt like my one shot to make music, so I poured everything into it, emotionally and personally. But with the second one, I knew I’d have more chances. Half the songs are deeply personal, but the other half? I made them just because they’re fun, because I’d enjoy performing them. Going into this second project, I took everything I learned from the first one. Now, I know I can be an artist. I know I can make a song if I want to. That realization excites me because I have the opportunity to keep going—to do more, make more music. And I recognize that’s a privilege not everyone gets.
Alicia: What’s one of the toughest lessons you’ve learned in the music industry so far? Did you face any unexpected challenges?
Keoni: It ties back to what we talked about earlier—not everyone has the same intentions as you. I never thought I’d be in the entertainment industry, let alone doing music. So when I entered, I assumed that if I was doing it for the right reasons, everyone else was too. But that’s not how it works. Not everyone is in it just for the music. Some people are looking for opportunities, and they’ll do whatever it takes to get them. At first, that was a hard pill to swallow. I came in hopeful, thinking everyone meant what they said. But reality hit. People don’t always keep their word—just like in any job. It’s just different when your career is on the line.
Keoni: That being said, I’ve learned to be careful. Now, I’m really selective about who I work with, who I surround myself with, and who I share my ideas with. You don’t have to fit in with everyone to make it. You can carve out your own lane. It might take longer, or it might not, but the important thing is staying true to yourself. At the start, I thought, I need to be around these people to succeed. But now I realize—no, I don’t. They have their circle, and I have mine. I don’t need to force anything. So yeah, the biggest lesson? Read the contracts. And read the friendships.
Alicia: I think for me, it’s kind of the same. Just figuring out where I fit in. But at the same time, I don’t want to fit in. That’s my problem—I feel out of place everywhere I go, especially in this industry. I don’t have a big following. I’m not a major media publication. So when I get invited to events, I feel like I don’t belong. But at the same time, I like being in the background, so maybe it’s my own fault. People always tell me, Just hand out your business card. Talk to people! But I don’t want to. And yet, I also complain that I’m not making connections. It’s this weird cycle where I don’t feel like I fit in—but I also don’t want to.
Keoni: I think that’s just you subconsciously telling yourself that you need to build your own path. Some people find it easier to fit in, but for those of us who don’t, the only option is to create our own lane. And honestly? That’s not a bad thing.
Alicia: Right? It’s tough finding your circle. And it’s weird because I already have my circle—I don’t really want a bigger one. But in this industry, we’re both doing similar things, just in different ways.
Keoni: Different mediums.
Alicia: Exactly. And the hard part is, you kind of have to put yourself out there. Like, you don’t have to fit in, but you do have to engage with people to build something. And that’s hard for me.
Keoni: Yeah, and there’s nothing wrong with struggling with that. I think every stage of life comes with that challenge—middle school, high school, careers—you always have to find your groove. At first, I definitely felt that pressure. But now? I don’t care. If I don’t become friends with certain people, who cares? It doesn’t matter. I’m just focused on doing my thing.
Alicia: Yeah, I feel like that's such a good mindset to have. I don’t know... for me, at least, I feel like I just do what people tell me to do, and that’s such a bad habit. Like, I don’t know... I just—I don’t know how to explain it further, but it’s really bad.
Keoni: I think you just assume the best in people, which is a great trait to have. It just also invites a lot of people who don’t have the best intentions. That’s the hard part about life—when you’re generous, more people will come your way trying to take advantage of you. It doesn’t mean you have to work with them or help them, but they’ll present themselves regardless. It’s just a part of living. The more talented you are, the more people who lack talent will try to take from you. It’s almost like a survival thing. But that’s not your fault. I think it’s just about adapting and being selective—being selfish, in a way—about who you share your time and energy with.
Alicia: Yeah, that’s true. But my problem is that I feel bad if I’m selfish. I don’t know why—I just feel bad saying no to people or admitting that I don’t want to work with them. I can’t seem to say that.
Keoni: You just have good intentions. I think it’s always good to give someone the benefit of the doubt in a first interaction. But I do believe first impressions matter. People can learn and grow, but they don’t change overnight. If someone messes up the first time, then maybe you just don’t deal with them for a while—until you decide you want to. Maybe something that would work for you is setting an expectation: If someone rubs you the right way the first time, then yeah, work with them again. But if they don’t match your energy or effort, then there’s no need to work with them again. It’s up to you, but you have to respect your own time. There are billions of people in the world—you don’t have to be friends with everyone. And if someone is pissing you off, then don’t be friends with them. Go meet someone new. Go to a coffee shop and talk to the person next to you. There’s always someone else out there.
Alicia: That’s crazy because I lack that social aspect of things. I just struggle, man. It’s just a struggle.
Keoni: You’ll learn—either by making the decision yourself or by having someone push you to the point where you have no choice but to learn. And honestly, it’s better to force yourself to learn it than to wait until you’re so frustrated that you have no other option.
Alicia: There’s always pressure to "make it" as an artist. Did you feel that pressure while making this album? And if so, how did it affect your work?
Keoni: I never really thought of myself as an artist—I still don’t. I would consider myself more of a writer. If I had to describe myself in three words, I wouldn’t say, "I’m a singer, a writer, and a producer." I’d say I’m stubborn, blunt, and creative. Being creative doesn’t mean all my ideas are good. It just means I think of random shit at random times—sometimes it works, sometimes it doesn’t. I think, for me, the pressure to be a big artist or to be considered an artist at all isn’t really there because I don’t even see myself that way yet. I’m still figuring out where I fit in.
Keoni: Who knows? Right now, I’m making music, but a year from now, maybe I’ll be designing clothes, drawing, or painting. You never know where life takes you. A year ago, I thought I’d be working for a surf company. A few months before that, I was working at Costco. That’s the beauty of it—you never know what’s next. I think the moment you start calling yourself an "artist," you start competing with yourself and everyone else who identifies that way. And I don’t want to do that. I’ve had people tell me, You’re my competition in this music stuff, and in my head, I’m just like, Bro, I don’t know if you want to compete with me when I don’t even care what you’re doing. They didn’t mean it in a bad way—some people need that mentality to keep going. But for me, I’m not competing with anyone in this industry, no matter how big or small, because I don’t even fully know what I want yet.
Alicia: Yeah, exactly.
Keoni: Of course, I want to perform and do all these things, but I don’t need a million followers to do that. I have a show on the 16th, and honestly, that’s more people than I ever thought would listen to my music and be in front of me. I can perform for five people at an open mic, and that would fulfill my need to be a performer. So yeah, I don’t call myself an artist yet—I’m just someone trying to figure this out. Some people need to label it differently to stay motivated, but for me, I’m not chasing anything other than my own growth. Any great musician will tell you that their biggest competition—the biggest obstacle in improving their sound and their writing—is themselves. And I think I’m still learning that, just by listening to other artists I admire. Maybe one day, I’ll feel like an artist. But right now? I don’t think I’m there yet.
Alicia: As you look back on the past eight months leading up to this moment, are there any mistakes or setbacks you're grateful for now? What have you learned from them?
Keoni: Yeah, I think interacting with the wrong people was a big one. A lot of the mistakes I made were because I felt like I needed to fit in. I went to one too many of the same events and ended up surrounding myself with the wrong people. That was an error on my part. Sure, they were experiences, and some of those people I may never talk to again, but it takes two to tango. I put myself in those situations where they had the chance to make me feel out of place or uninvited. But I’ve learned from it, and I’m probably not going to do it again.
Keoni: The same goes for false promises. I’ve realized I don’t need to believe everything I’m told. I just need to work hard for what I want, and whatever opportunities come along the way, at least I’ll know I earned them instead of getting handouts. Those are the main lessons. I try not to hold grudges or blame others for things that happen. If something didn’t go the way I wanted, I acknowledge it, figure out why, and make sure I don’t put myself in that situation again.
Alicia: That’s a great mindset. How do you separate yourself from those situations? How do you know when it's time to say, "OK, I’m leaving. Bye"?
Keoni: Luckily, I’m very stubborn. And I’m also very outspoken. If I don’t like something, I’ll say it. That was a problem for me growing up—I’d get in trouble at school a lot because I argued with teachers and other kids. But it was never just for no reason. I’d argue if I felt like a teacher was disrespecting other students or if someone disrespected me. Respect goes a long way for me. The moment I feel like a room lacks respect—even if it’s not directed at me but at someone else—I’m out. If I see my friends being mistreated, or even if it’s a stranger who’s being treated unfairly for no reason, I don’t need to be there. There are millions of people in the world I can talk to; I don’t have to stay in a room where people are being disrespectful. I also try to avoid environments where I know people will upset me. Living outside of LA gives me a built-in excuse—I can say I live too far or my car isn't working. And honestly, if I skip an event, the party will go on without me. It’s not a big deal. That’s how I separate myself from unnecessary drama.
Alicia: How do you manage stress and mental health while balancing creativity and the business side of things?
Keoni: I try to only do things I actually want to do and be around people I genuinely enjoy. Like you mentioned earlier, at first, I welcomed everyone in. But that wasn’t good for me. Everyone has a different personality, and I’m lucky that I’m naturally stubborn and honest. So when I didn’t like something, I started telling people straight up: Yeah, I don’t like that, so I don’t need to talk to you anymore. Of course, that doesn’t always go over well. Some people don’t like me because of it, but that’s fine—I don’t need to be liked by everyone. As long as I’m honest with myself, that’s what matters. And if I strongly believe in something, but someone else completely disagrees, then we don’t need to be in the same room.
Keoni: Beyond that, I have a strong support system. My friends and my management help keep me on the right path, especially when I’m struggling mentally or feeling insecure. I think a lot of bad decisions come from insecurity. The times when I was insecure or shy were when I made the worst decisions and treated people poorly. But now that I’m in a place where I’m confident enough to stand my ground, the choices I’ve been making feel a lot better.
Alicia: With the album coming out , do you have plans for live performances? Any tours? Are you excited to get in front of people to perform?
Keoni: Yeah, we have a few shows lined up. The one on the 16th is the one I’m most excited about because we’re creating that environment ourselves, which is really cool. We have college shows in April and May, and I’m pretty sure this project—I’m not calling it an album, just a project—will open up even more opportunities for live performances. A tour with a friend of mine is already in discussion. We don’t have the dates set yet, but we’ve been texting, and things are looking really good. By the time this interview is out, maybe we’ll have announced it, maybe not. But either way, this year is going to be an adventure. Even if the tour with this specific person doesn’t happen—because, you know, the music industry is complicated—I’ll still find a way to make it work. There are people all over the U.S., Canada, and even the Philippines who want me to perform, so I’ll figure out how to make it happen.
Alicia: That would be so cool. I say this to a lot of people I interview, but I just feel so proud watching you guys grow.
Keoni: If that tour happens, I think it’ll be a pivotal moment. Next time we do an interview, and you ask me about an important milestone, that tour would be it.
Alicia: Dude, if that tour happens, that would be insane! You’ll catch me at a few stops for sure.
Keoni: I can’t say who it’s with yet, but hopefully, it happens. We’re hitting a few UCs—we have UCR next month and UCSD again. Hopefully, we’ll do UCI and UCLA, too. Colleges are fun because I didn’t really get the college experience, but a lot of my friends are graduating this year. Performing at their schools is kind of funny because it’s full circle. They’re graduating, and I’m performing there—it’s like, We’re even now. Just kidding, we’re not even. To all my friends graduating from UCs—congratulations. I wish I could do what you guys are doing, but my brain just doesn’t work that way.
Alicia: College is hard. I give so much credit to people in fields like medicine and dentistry—props to you guys.
Keoni: You know that stubbornness I was talking about? That’s the reason I didn’t go to school. My problem wasn’t grades—I got good grades growing up. The issue was, I don’t like being told what to do. If a teacher told me to do something, I’d purposely not do it or turn it in late just to prove a point. I had teachers say, You got an A, but I had to dock points because it was late. Why didn’t you just turn it in on time? And the funny thing is, I’d usually have it done before the deadline—I just didn’t want to do it on their terms. It’s so stupid, but that’s just how my brain works.
Alicia: No, yeah. I feel like college gives a lot of people anxiety. It definitely gives me anxiety. You have to meet all these expectations from professors, and it’s like—what about my life outside of this? They pile everything on you all at once.
Keoni: Yeah, it’s like you’re constantly meeting expectations.
Alicia: Exactly. And sometimes, there are things going on in life that make it impossible to submit something on time. But boom, they dock you 20 points anyway. It’s tough.
Alicia: What type of live shows are you envisioning for the album’s release?
Keoni: Very intimate. Of course, I love playing big venues—bigger venues allow me to bring more of my band, which is great. Ideally, I’d love to have a seven- or nine-person band, but right now, I have six members because that’s what’s most feasible. Bigger venues give me room to experiment and do more exciting things, but smaller venues allow me to connect individually with the people who truly listen to my music. When it comes to live performances, I want everything to be meaningful. The instruments I use—like the violin—are very emotional. I want people to leave the show and remember it for a long time. The songs don’t all have to be hits, but I want the experience to stick with people. I’d love to eventually create concerts that are deeply emotional and meaningful, where people look back on them during significant moments in their lives. That’s my goal—to make something that resonates.
Alicia: Yeah, your band is insanely talented. They’re crazy. And the violin—when I first heard it at the flea market, I was like, Holy shit. You didn’t have the violin before, right? It was a whole different vibe.
Keoni: Yeah, it’s a whole new emotion. That day, we didn’t even play any emotional songs. But my thing is, a lot of artists like bright lighting so people can take pictures of their faces and all that. For me, it’s about the music. I’m still getting used to the entertainment aspect, but I like it when it’s dark, with just a lamp on, so the main focus is the music. The second project will probably lean more toward entertainment, but for this first one, I just want people to have an emotional connection with what we’re playing and what we’re saying through the music.
Alicia: How do you want the live experience of your music to differ from what’s heard on the album?
Keoni: I want people to know that everything I do is intentional. The reason the project is so produced and diverse is because it’s meant to be a soundtrack. The more diverse your sounds are, the more interesting it becomes in film, visuals, and events. It can fit into different artistic mediums—stop-motion, live-action, animation—if the music has that range. But live performances are different. I want them to be relatable and immersive. Not everyone connects with a bunch of robotic, electronic guitar sounds, you know? But if I carefully place sounds in certain moments during the live show—moments that really strike the audience and draw them in—then I’ve done my job.
Keoni: My live performances are very different from what you hear on Spotify. I structure the songs differently, and I give my band more freedom than a lot of performers do. But that’s because they’re insanely talented. The way they make me feel when they play is how I want the audience to feel. Mario, Jacob, Eyen, Michael, Toni, Aidan—those guys are generational talents. I think a lot of instrumentalists don’t get the recognition they deserve, but they push live music forward in a way that you can’t experience unless you hear them play. I want people at my shows to focus on what they want—whether that’s the guitarist’s skill, the emotion of the music, or my vocals. Everyone should take away something personal from the experience.
Alicia: Looking ahead, what are your long-term goals for your music career? Any big dreams or milestones you want to hit in the next few years?
Keoni: I just want to do this for as long as I can, in a way that makes sense. Of course, I want it to be self-sustaining, to take care of my family, and to make sure the people who’ve helped me along the way are taken care of. That’s the big goal. I didn’t grow up with money, so I don’t have that hunger for material things. I could wear the same clothes every day, and as long as they smell good, I’m fine. I don’t care about impressing people in that way. My biggest goal is just to make sure everyone around me is okay—and that’s tough, especially with how expensive everything is now.
Keoni: I also want to write for some amazing artists. That’s a big goal of mine—to get into the studio with people I admire. I want to perform, travel, and experience as much as I can. But by the time I’m 28 or 30, I’d like to be done with touring. I’d rather settle down, do the occasional show when I want to, or make guest appearances with friends. I want my music career to be impactful during the time I pursue it. And when my music has served its purpose, I’ll be ready to move on to the next journey.
Alicia: Do you ever feel pressure to evolve and change your sound with time, or do you prefer staying true to your roots?
Keoni: I don’t feel pressure to change my sound at all. Luckily, a lot of the artists I admire just make music when they feel like it. They’re not forced into it. They release a project when it makes sense for them, and sometimes they take years before making another one. That gives me confidence that I can take the same approach. This project could flop. It might not do well for years, and then 10 years from now, someone might discover it and say, "This is generational talent," and suddenly it blows up. That’s just how it works. I do push myself to improve, though. I always want to get better at what I do. But I’ve never been the type to want to be like anyone else. I don’t like being pressured into something—it makes me resist it even more.
Alicia: When you think about the future, how do you want to be remembered? What kind of legacy do you want to leave behind?
Keoni: In our first interview, I said I wanted to be one of the best writers representing my culture—Filipino and Hawaiian culture. I want to be a pillar for my genre and my community. I’m not trying to compete with the artists who inspire me, but I do want people like me—who come from where I come from—to know that they can do this too. More than anything, I want to be remembered as someone who was honest and intentional with their music. I don’t want to be known as a sellout. If I ever lose an opportunity because I stayed true to what I wanted to create, I’m okay with that. As long as I know I was honest with myself and put my heart into my work, that’s what matters. And beyond that, I want to inspire people who might be afraid to pursue something like this. Just go for it. I’m not saying it’s guaranteed to work out—I’m not even guaranteed that it’ll work out for me. But at least there’s fulfillment in knowing you tried.
Alicia: Yeah, that’s true. As cliché as it sounds, you have to chase your dreams. If you don’t, you’ll always wonder, What if? I was literally thinking about that the other day. If I hadn’t taken this path, I wouldn’t have met half the people I know now. And every person I meet teaches me something.
Keoni: Yeah, you don’t want to grow up with regrets.
Alicia: Exactly. Regret is such a weird thing. I regret a lot of things. Like, even while doing this, sometimes I think, "Ah, fuck."
Keoni: There’s regret in not doing things. And the worst kind of regret is knowing you could have tried but didn’t. Just go for it.
Alicia: To wrap things up, is there anything you’d like to say?
Keoni: Thank you for having me! I’m looking forward to releasing more music and meeting more of you guys.
