In the landscape of modern hip hop and R&B, few producers navigate the space between classic soul and contemporary sonics with the quiet confidence of JohnG. The multi platinum producer has become a trusted collaborator for a diverse roster of artists, crafting beats for the likes of John Legend, Anthony Hamilton, Doja Cat, Dom Kennedy, Larry June, and many more. His work, which blends a reverence for 90s sampling with fresh, intricate drum patterns, has made him a distinct voice in a crowded field. In a wide ranging conversation, Riley sat down with the Haitian born producer to discuss his faith driven creative process, the philosophy behind his sound, and the journey that shaped his unique perspective on music and life.
Your sound has this incredible texture, a blend of something classic and something entirely new. When you sit down to create, are you consciously trying to bridge those worlds, or is that just the natural rhythm that comes out of you?
JOHNG – You are right, my sound is definitely a mix of both old and new. Growing up in the 90s gave me a deep love for sampling, and my musical tastes are rooted in legends like Marvin Gaye, who is my favorite artist of all time. As the culture and sonics of music evolve, I focus on adding modern drum patterns to complement that old school flavor. My ultimate goal is to create a sound where the new generation and the older generation can connect.
You’ve worked with such a dynamic range of artists, from the smooth flows of Larry June and Dom Kennedy to the multifaceted artistry of Doja Cat and the soulful depth of John Legend. How do you shift your creative energy to meet the unique universe of each collaborator?
JOHNG – The key to my creation has always been to be myself. I have a deep and honest faith that whatever emotion I channel into my art will be felt by another great creator. That shared understanding is the foundation upon which we can build something truly special.
Let’s talk about your journey. You were born in Port au Prince, Haiti, and moved to Miami. How much of that cultural journey and the sounds associated with those places inform the beats you’re making today in Los Angeles?
JOHNG – I never got to experience working with Anthony Hamilton face to face. That record I worked on came about from working with another producer in Los Angeles who heard my productions and felt like my drums were amazing and he and John Legend did the record and they asked me to be a part of it because they needed some dope drums . Coming from Canada being mentored by guys like Boi1Da in Toronto i took my drums to another level because of it – and when i came to LA to work with Dom Kennedy , that same producer was engineering for Dom Kennedy and he loved my drums and that led to me producing “Better Than Me” for Doja Cat which also led to this opportunity to work on this Anthony Hamilton and John Legend record that should come out very soon.
The producer artist relationship is a sacred one. When you’re in the studio with someone like Anthony Hamilton, a voice that carries so much weight and history, what’s the conversation like before a single note is played? How do you build that trust?
JOHNG – While I didn’t get to work with Anthony Hamilton face to face, the opportunity came about through a series of key collaborations. My journey began in Toronto, where I was mentored by producers like Boi-1da who helped me elevate my drum production. That foundation brought me to Los Angeles to work with Dom Kennedy.
During those sessions, the engineer, who was also a producer, noticed my sound and loved my drums. This connection first led to me producing the track “Better Than Me” for Doja Cat. Building on that success, the same producer and John Legend asked me to contribute to a record they were creating with Anthony Hamilton, specifically because they needed a strong drum presence. That song is expected to be released very soon.
Your production on Doja Cat’s “Better Than Me” from Hot Pink went multi platinum. Can you take us back to the moment you first heard her vocals over that beat? What did that feel like, and did you know you had something special?
JOHNG – It was an unreal moment when I first heard Doja Cat rapping on my production. To this day, the feeling is still hard to process. It is a profoundly humbling experience, especially coming from Haiti. To have my work reach that level is something I am beyond grateful for.
The West Coast has a definitive sound, and you’ve contributed to its modern era with your work with Dom Kennedy. How do you approach creating a sound that’s so geographically rooted yet pushes the boundaries of that signature style?
JOHNG – When Dom Kennedy and I first connected, he specifically chose beats that did not have a traditional West Coast sound. Our first project together was Addicted to the Underground, for which I produced five tracks. I will never forget what he told me during a phone call back then. He said, “If Just Blaze, Kanye West, and Pete Rock had a son, it would be you.” He wasn’t looking for a West Coast producer; he was drawn to the soulful style and hard drum patterns I brought because they were a fresh addition to his sound.
Many producers have a signature sound that’s instantly recognizable. Do you strive for that, or is your goal to be more of a chameleon, adapting and evolving with each project?
JOHNG – That is a good question. For me, the mission is simply to make good music that resonates with my soul. I resist being boxed in because I love music as a whole, without categories or limits. My guiding principle is that if a track feels true to my heart, I know it will connect with someone else out there.
What’s the one piece of gear in your studio you can’t live without? The one that, no matter what, is part of the initial spark of creation.
JOHN G – My creative process requires a few specific essentials. The core of my technical setup is an M-Audio M-Box and Fruity Loops 11, which are my go to tools. For sound, I use either Beats by Dre headphones or Yamaha speakers. To complete the environment, I need a nice bottle of wine or champagne, and a television in the background playing a basketball game or a Martin Scorsese film.
You’ve seen the industry from various angles. How has the streaming era changed your approach to making music, if at all? Do you think about playlists and algorithms, or is it purely about the art?
JOHNG – Honestly, I do not think about playlists or algorithms when I create. To me, that would feel like being boxed in, and my only goal is to make music that feels good and true. My approach is built on authenticity. I believe that if you pour a real emotion into your work, the right people will feel it and connect with it. That is a much more powerful connection than an algorithm can make.
With that said, I do think about how my music fits into the world today. That is why I love to blend styles. I will take the warmth of a gospel sample from someone like Fred Hammond and lay modern drums over it to make the sound both familiar and fresh. The aim is to create something special that lasts, not something temporary that trends. You build a real legacy with peace and faith, not by chasing numbers.
When you’re working with an artist like Dej Loaf, who has such a unique cadence and delivery, are you building the beat around her voice, or is she finding her pocket in a world you’ve already created?
JOHNG – Dej Loaf’s talent is immense; she is my favorite female rapper of all time. Working with her is an amazing experience because our chemistry is so natural. As long as I create a beat with soul and space, she will find a home for her unique melodies and flow. Every time we work together, it just clicks. She is one of the greatest of our generation, and I feel beyond fortunate to have collaborated with her directly.
Is there a particular sample you’ve flipped or a drum pattern you’ve created that you’re most proud of? One that felt like a true breakthrough for you as a producer.
JOHNG – The production I am most proud of is “Intersection” by Dom Kennedy and Hit-Boy. The track is built on a sample from the gospel record “Prodigal Son” by Fred Hammond, and it is my favorite because it represents my effort to honor God with the gift He has given me. That feeling is amplified by the memory of the session. Seeing the immediate reaction from Dom and Hit-Boy when I first played the beat, and watching them turn that energy into a finished track, will always stick with me.
How do you know when a beat is truly finished? Is it a technical decision, or is it a feeling?
JOHNG – My creative process is driven entirely by feeling and mood. When a beat feels right, it gives me the same deep satisfaction as eating good Haitian food. It just connects on a visceral level. The time it takes is never fixed; some beats are finished in ten minutes, while others might take a full day. Interestingly, I have found that most of my successful placements have come from the beats that I created in the shortest amount of time.
You came up inspired by legends like Kanye West and Pharrell. What was it about their process that captured your imagination and set you on this path?
JOHNG – What captured me about Pharrell and Kanye West was that they were always more than just musicians. While their ability to create beautiful music was incredible, they showed that it could also be an instrument to unlock other doors. They inspired me to see my own creativity as something that could extend into business, fashion, travel, and collaboration. More than anything, they set the bar for dreaming big and pursuing every creative impulse.
Beyond the music, you founded Blue Sky House. What’s the vision behind that? Is it about building a legacy beyond the records?
JOHNG – I have always seen Blue Sky House as my Noah’s Ark. It is a place dedicated to generating a positive, blue energy that represents God’s ocean and sky. To me, that energy symbolizes peace, love, and sincerity expressed through the artistic gifts He has given us. Jesus was a carpenter; He built things with his hands. I feel certain He understands our mission to create.
What is the emotion or feeling you’re chasing now in your music? What is the next frontier for JohnG Beats?
The emotion I am chasing now is a sense of purpose. I want to demonstrate to the youth that success is possible with Jesus Christ, and that it does not require selling your soul. A life of peace, knowing you did things with integrity, is far more valuable than riches alone. It is a philosophy of taking the stairs instead of the elevator, even if the climb is longer.
