Trauma Tone

Meet Trauma Tone, Virginia’s Multi-Platinum Production Genius

When people think of Virginia in terms of music, artists such as Pusha T and Pharrell Williams are typically the first to come to mind. Although producers and beatmakers like Trauma Tone are also putting the city on their back through a series of collaborative works with artists across the states.

Trauma Tone has seen success in a major way, producing numerous #1 records and working with rappers like Migos, Kevin Gates, and Young Dolph amongst others. Since learning to produce at age 12, his soundscapes have been ever-evolving and continue to break the mold. He’s well-known for working on Cozz’s “Knock Tha Hustle,” Yo Gotti’s “I Know,” and Chief Keef’s “Blew My High” but the list doesn’t end there. Through his Southern influences and ability to adapt, Trauma has risen to the challenge while staying true to himself.

2021 is no different for the Virginia-born producer as levels up with every record. Trauma Tone recently produced Migos’ “Roadrunner” from off their Culture III album. This past month, he got to executive produce Welcome To Jetlife II by beloved rapper and West coast legend Curren$y alongside Kino Beats. “Our chemistry is crazy and we know how to get the job done and just be ourselves and have fun with it,” Trauma Tone shares.

We got to chop it up with Trauma Tone in regards to his childhood, advice to his adolescent self, executive producing Curren$y’s new album, and more! Check out the conversation below.

Not a lot of people make it big from Virginia, especially as a producer, what was your childhood like and how did that impact who you are today?

Yeah, it’s tough tryna make it out of Virginia because there really is no market geared towards our type of music there but we definitely have a lot of talented artists and producers who have made it out and some on the come up as well. As far as my childhood, it wasn’t the sweetest but it was cool for the most part not having everything I wanted as a youth made me go harder and find other ways to get the money so I could get what I wanted.

You started producing at a young age, how did you fall in love with beat making? If it weren’t for this, where do you think you’d be right now?

Producing came when I was in like 6th grade. I wanted to be a rapper but I wanted to make my own beats, also before that, I used to go to this studio with my older cousin when I was young and just watching him mess with the MPC, a drum machine, blew my mind.

Obviously, you’ve worked with a handful of hip-hop staples over the past few years. Do you remember the moment of feeling like you made it?

I never had that feeling, I’m doing good I’m straight but that hunger for more is what keeps me going. I’m not even fully in my prime I’m just getting started.

You got to produce “Roadrunner” off the new Migos album, walk me through how that came about.

I had reached out to Zaytoven right when all this coronavirus stuff hit like let’s get in and cook but obviously, we couldn’t link cuz everybody wanted to stay safe so he flooded me with some vibes he cooked and then I put my twist on with the drums. The “Roadrunner” beat was a part of the first batch we did but it’s more on the way. 

Not only that, but you got to executive produce Curren$y’s Welcome To Jet Life II with Kino Beats. Tell me how that came about as well as the emotions and feelings that went into working with such a legendary artist.

Shout out to Curren$y, Mousa, and the whole Jet Life first and foremost for trusting us with this project. I knew I wanted Kino Beats involved because our chemistry is crazy and we know how to get the job done and just be ourselves and have fun with it. The same goes with Curren$y we really got in there and just had fun while recording and that’s how we made 40 records also a big shout out to my manager Brett, he and Mousa made it easier for us to just focus on the music and vibes.

What song off the project did you have the most fun creating and why?

The whole experience was fun, just imagine locking in going to New Orleans for like four days then flying to Los Angeles for three days and knocking out damn near three projects. That experience probably is my favorite thus, I can’t even choose a song yet cuz it’s so much more that we have tucked away.

Picture this: you go back in time and get to tell a younger version of Trauma Tone some advice that would’ve made life a lot easier if you knew it then. What do you say to yourself?

Bet on ya self Young Trauma.

If you enjoyed our interview with Trauma Tone, check out our conversation with Jenius!

Leave a Reply