Inside Look Ep. 13 : Red Light

“RED LIGHT”

Florida/New York Vs. The World!

Red Light AKA Almighty Red is an executive producer and manager for DP Beats. You might know DP Beats for his work with Lil Uzi Vert, Chief Keef, Playboi Carti, and his mixtapes DpBeatsOnTheVol. Almighty Red calls himself “the voice of the underground,” and he’s not wrong. Red has executive produced songs for artists such as Yung Beef, 645AR, Slimesito, ATL Smook, Pollari, and more. He’s also managed XanGang, 645AR, Slimesito, and more. The executive producer/manager takes a lot of pride in his work, and he doesn’t take bullshit from anyone. His favorite hobbies include smoking exotic and living his self-made lavish lifestyle the way he wants. Almighty Red might be quiet, but that doesn’t mean that he’s not a force to be reckoned with. Red can get things poppin’ the way no one can. He keeps it real about the music industry and tells things like it is. I recently spoke with Red Light to discuss the music industry, his role in it, why he got involved, his connection to DP Beats, advice for artists & producers, and more. Check out the conversation below!

Chandy: Give us an inside look into you! Name, age, where you’re from, and who you are/what you do?

Red Light: My name is Red Light AKA Almighty Red. I am an executive producer. I’ve done records with Slimesito, SD from GBE, 645AR, Pollari, Yung Bans, Chxpo, Lil Tracy, Nutso ThugN, Summrs, S.O.S., Goth Money Records, Yung Beef, and more. I’m also a manager. I’ve have managed artists and producers such as XanGang, DP BEATS, 645AR, Tony Shhnow, 10K Dunkin, and Slimesito. I have a management firm which is called “Almighty Red Management Firm,” which is under 300 Entertainment. I’m originally from South Florida.

Chandy: Growing up, what music did you listen to? What role did music play for you?

Red Light: Music was everything for me growing up. I listened to a lot of Hot Boys, Ruff Ryders, Dipset, G-Unit radio w/ Whoo Kid, Max B, and the Coke Wave era with French. Wop, of course, was a hood legend and had an influence on all of us. Also, Ross from the crib (South Florida) during the mid to late 2000s. Hip hop is what makes me me. I used to love going into CD stores and buying DMX Flesh of My Flesh, Blood of My Blood, or buying Dipset mixtapes, or DJ Big Mike’s Public Domain series with Max B. All of that music defined who I am as a person today, and I am grateful for it all.

Chandy: What made you decide to work in the music industry?

Red Light: When I was living in South Florida, I created a website with a dear friend of mine named Giovanna and many other good people (don’t kill me online cause I ain’t mention ya name!) called “The Foul Hundreds.” When I created it, the intentions were to make a website similar to WSHH minus the fake porn and wannabe “fights.” I really wanted to put a spotlight on the emerging music scene that was happening down in South Florida. I became inspired to do this, by YouTube searching a bunch of artists from South Florida one night back in 2013 at my house.

At first, it was a website that premiered music videos and new music from artists in South Florida. Then we started doing interviews with local artists to give specific light to those we deemed were doing something that others should notice. While doing this, the fan base began to grow like crazy. We expanded to doing coverage on all artists and began doing local shows in the South Florida area.

Our first concept of shows was unique. I wanted them to be similar to an “MTV Unplugged” session, similar to the early and late ’90s. Then we incorporated taking an artist from each county (one from Broward, one from Dade) to mesh crowds that typically wouldn’t mingle together. We did a few successful shows, and it gave us the confidence to start doing larger shows and taking on larger sponsorship responsibilities.

Our biggest show we did was booking Migos in 2015 in Fort Lauderdale. All the shows and sponsorships we were apart of were great and gave us amazing exposure. After doing shows for a while, I got bored with that concept and was already bored with the website “blogging” concept, so I started a radio show in 2016 called “Foul Hundreds,” which was broadcasted on TuneIn. We had DJ set shows from MexikoDro, Icytwat, DP BEATS, and more. I grew those relationships with these producers through managing some local artists that I got familiar with through posting their music. Those relationships with those artists aren’t solid anymore, but the relationships with the producers stayed solid, so I kept acquiring beats and placing them with other artists which kept my buzz going. When I moved up north, DP and I had a meeting with 300, and I began building my relationship with them there. The rest is history.

The music industry kinda picks people, in my opinion, to be apart of it. When you’re talented in any specific aspect of music, you just kinda find your way into doing something with it on a higher level eventually.

Chandy: What’s it like working in the New York music scene? How do you feel about the New York music scene?

Red Light: It’s cool working in the New York music scene. For the most part, people are very gracious, and crowd turnout for all (not a lot, so it isn’t the best sample to choose from) are pretty decent. Venues aren’t easy to obtain in NY, especially in the city (Manhattan). We (in partnership with ESCAPE2NY) had a spot before the virus in The Bronx, where we had a show with S.O.S., ATL Smook, Fluhkunxhkos, Skip Gocar, etc in December. Obviously, that venue is gone due to Covid-19.

I am originally from South Florida, so I am not too tied into the local scene of artists from up here, besides a few local artists I like from The Bronx. A lot of the music I push is southern trap, and it does well up here. In my opinion, consumers of hip hop up here (minus the hardcore boom-bap fans) like trap music. With that being said though, I believe that the trap music is a little bland up here, so with more melody and bounce in the beats and working with artists that fit those beats, it creates a better sound of music from our side, and it’s going brazy up here in NY right now.

Chandy: What insight can you give to independent artists and producers who might want to sign a label deal?

Red Light: The best advice I can give anyone who wants to sign is to learn how the music business works first before trying to go get some money off your craft. Know what royalties are. Know what a split sheet is and know how to fill one out. Read your contracts. Know what you are responsible for giving up in return for receiving money. A really huge thing too is having a great manager. You can’t do it by yourself. To get signed, you need a team behind you that can do the things you need to get done to build your portfolio to get signed while you are focusing on rapping or producing. The ones that have a team and have a solid game plan are the ones that typically win in the long term.

Chandy: What’re your goals with music? How do you want to leave your mark?

Red Light: My goal in music is to be someone who puts quality Hip-Hop records together that can become hits for years to come. As cliche as it sounds, borderline corny, I believe my vision and my prior work shows that I can help evolve the sound of Hip-Hop. It takes a while for the masses of ears to come around. The people I’ve worked with before reaching newfound success, and records that have become underground classics that I have helped put together, are special. I cherish that and build on it daily. The more people I work with and get through, the more it cements my legacy.

Chandy: How’d you connect with DP Beats and end up managing him?

Red Light: I actually connected with DP through Twitter back in early 2015. I was managing an artist at the time and needed beats, so I was a client at first. Then later that year, we were on FaceTime while he was living at Sosa’s crib, and he told me that he wanted to come to Miami for Art Basel. He was trying to get a hotel booked down there and couldn’t find one. I suggested he could come to stay at my house. 5 years later, and we’re still going brazy.

Chandy: Your Twitter bio states “anti-social genius” can you describe why you feel that way?

Red Light: “Anti-Social genius” to me means someone who is incredibly smart and amazing in what they do, but their work may not be as clear to the general public as others. A lot of the songs you and your readers my consider “hits,” I could have had something to do with it. I think that the whole situation is unique and special in its own way. So, I put light on it and embrace the role.

Chandy: I know you smoke a lot. How’d you get into smoking?

Red Light: When I used to live in South Florida, I was smoking heavily, but around that time, it wasn’t no “exotic” Cali dispensary mylar bags going wild in the streets. It was mids mostly, so it was a lot of “haze” and a lot of “glues.” Then I quit for a few years, and when I moved up north, I connected with some people with exotic from out west and been happy ever since!

Chandy: What’re you doing to keep busy during the Coronavirus?

Red Light: During Covid-19, I have been focusing on personal shit I neglected due to being busy moving around before the pandemic, which was important and good. Music wise, I’m still getting records done with artist. I tend to drop once in a while on my platform on SoundCloud and Audiomack to keep people refreshed. I will always have music that’s unreleased, and it’s the goal to eventually get all of it out in a way that each record gets its maximum exposure. So, I work on ways to line up plays (marketing & promotion) for potential tracks I think may work in a specific lane. I had a lot of success doing that with 645AR prior to him getting signed with Columbia Records, so I use that similar formula with others that I think may have something.

Check out records Red Light and the records he’s executive produced below!

https://twitter.com/almighty_red/media

https://audiomack.com/artist/the-foul-hundreds

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