In a deep dive on BagFuel, producers Mike & Keys sat down with hosts ES$O and Hynaken to discuss their journey with Nipsey Hussle, their production philosophy, and the evolving landscape of the music industry. The duo, who crafted 14 of the 17 tracks on Victory Lap, reflected on their years working alongside Nipsey, the final days before his tragic passing, and the shifts in hip-hop’s creative and business structure.
For nearly five years, Mike & Keys were Nipsey’s in-house producers, shaping the sonic blueprint of Victory Lap. Some tracks on the Grammy-nominated album originated as early as 2013, initially intended for Crenshaw. It wasn’t until they were deep into the process that they realized they were crafting something special.
“Nipsey was an orthodox artist. He didn’t rush the music,” they explained, recalling how he once went a full year without laying down vocals despite having beats ready. However, when around competitive artists like Young Thug, he would record swiftly, driven by the energy of collaboration.
The producers spoke about the devastating loss of Nipsey, revealing they had seen him just days before his passing. One of the last texts Nipsey sent was in response to a photo of Mike’s newborn daughter, simply stating: “God sent you a blessing.”
They also recalled industry legends like DJ Khaled and Redman visiting the studio during Victory Lap’s recording process. Khaled even told them the album had the makings of a classic—a sentiment later echoed by fans and critics.
Beyond Nipsey’s legacy, Mike & Keys shared insights into their production philosophy, drawing inspiration from pioneers like Dr. Dre, DJ Premier, Pete Rock, Timbaland, and Mannie Fresh. They praised Mannie for his hands-on approach, revealing that he produced nearly every Cash Money hit through Tha Carter III with just an SP sampler.
The duo lamented the homogenization of modern production, arguing that today’s beats lack the signature styles that once defined producers. “Back then, you knew a Dre beat when you heard it. Now, everybody sounds the same,” they remarked.
The conversation took a controversial turn when they discussed figures like Suge Knight, arguing that, despite his notorious reputation, hip-hop once benefited from having powerful gatekeepers who enforced quality control.
“Some of that gangster energy is missing,” they said, suggesting that industry veterans who once set high standards are either incarcerated, silent, or pushed out. They also criticized the industry’s shift toward signing artists based on analytics rather than talent, with labels prioritizing short-term hits over long-term artistry.
The producers voiced frustration over streaming services reducing music’s worth, with artists making mere fractions of a cent per play. They mocked how some artists flex their streaming stats online without realizing how little revenue they actually generate.
“Music is a promo tool now,” they explained. “It’s not about the songs—it’s about selling merch, getting brand deals, and going viral.” They also mourned the decline of live performance culture, pointing to the closure of iconic venues like House of Blues on Sunset.
Despite their critiques, Mike & Keys remain optimistic about the future of music. They highlighted current projects with artists like L. Russell, Smoke DZA, and Lefty Gunplay. When asked about dream collaborations, they mentioned Anderson .Paak and Bruno Mars—though a debate sparked over whether Bruno’s success is cultural appreciation or appropriation.
They also gave a nod to rising female rappers, particularly GloRilla, praising her authenticity and relatability.
The BagFuel episode closed with reflections on the importance of knowing one’s worth in the industry, with a humorous story about DJ Clue refusing to DJ a party until he was paid in full.
