In the lobby of a Manhattan hotel, I’m waiting with Clipse’s publicist to be let upstairs to talk to the Virginia duo. Surprisingly, Pusha T walks up on us, wearing all black. He’s in a chipper mood, talking to us about the rollout for Let God Sort Em Out, the first Clipse album in 15 years, dropping July 11.
His publicist informs him that an ominous photo of him and his brother, Malice, posted online the day before at the Roc Nation offices, is going viral; I concur that I have seen it everywhere online. Push agrees, noting it “did what it needed to do.” Two days later, along with lead single “Ace Trumpets,” they revealed a partnership with Roc Nation Distribution for the independently released album. I spoke with the group last summer, where I got to hear the album (including the ballyhooed Kendrick feature) and expected it to drop sometime last year.
Upstairs in Pusha’s hotel room, the guys tell me that the delay was due to legal wrangling over Kendrick’s “Whips & Chains” verse. Though Kendrick doesn’t directly address Drake on the song, Clipse (and Pusha’s longtime manager Stephen Victor) have said that UMG’s lyric review department were worried that a particular line was “controversial” and would become game for the Toronto artist’s ongoing lawsuit against UMG, where he’s alleging that the company inflated the popularity of “Not Like Us,” the 2024 diss track Kendrick levied at him. Last August, Push told Ghetto Runways that there was one more verse they were waiting on to finalize the album. Their reveal solved the ongoing mystery, sort of.
After they negotiated a release from Def Jam (for Clipse and Pusha) after paying what Victor described as an “insane amount of money,” they inked a distribution deal with Roc Nation within 24 hours. “Hov found the business,” Push told me. And now, they’re forging forth with an album (free of censorship) and a 25-date national Let God Sort Em Out tour starting on August 3 in Boston. Tickets go on sale June 13 on Letgodsortemout.com, where fans can also find out about presale information and VIP packages.
Both men tell me they’re eager for their first national tour since 2009. “I’m excited about getting back out here and seeing those people that supported us the whole time, and the people that have expressed their anxiousness to hear the Clipse” Malice says, adding, “This one is for the fans, those that waited around, those that were looking to see if we would ever come back and do music together.”
Malice, who showed he’s still got it on “Ace Trumpets,” which features one rhyme scheme through the entire verse, says, “I hope to be able to show them this is real-time Clipse still true to life. And after all the time that has elapsed, we coming back living, showing you exactly where we are in life. I think that’s a part of rap that we don’t get to see often.”
He says that while “a lot of people try to follow what’s going on now,” he’s assured that when it comes to Clipse music, “None of this is contrived. It’s just us being us.”
Pusha, how has the past year as the Louis V. House Ambassador been for you?
It’s been really good. I look at all of these things like… Man, I remember rap from a very specific time, and just the access that hip hop had in certain places, and me as a house ambassador for LV is like, “Damn, I remember it was something that we could only bootleg it.” [Or] be made fresh via Dapper Dan. But that was the way to show our appreciation for a brand of that stature. But now I feel like… And not just starting with P — Well actually starting with P, to be honest, way, way, way back. I think P was probably the first with the LV deal, during the Marc Jacobs era.
And then Virgil, and then now P back again. It’s good. I feel like hip hop culture and those who have been entrenched in hip hop 360 degrees around, I feel like I’m a person who actually lives it. I live the whole idea. My favorite rapper had to dress good, he had to rap good, he had to have the fresh cut. He might’ve had the first kicks. He might’ve told you what jewelry to wear, or whatever the case may be. That’s the cloth I’m from. So, to see things come to fruition, like a house ambassador at the LV, walking in the shows, and just all the things that opportunity can afford you. Man, I’m super appreciative, and love to see it, and love to see what’s going to be the next step, or the next rapper, or next artist, where they’re going to take it.
You mentioned walking in shows. What are some of your other expectations in that role?
In that role, it’s basically just, whenever I’m visible, in some way, shape, or form, support the brand. They have brand activations. Let’s say for their [highest-spending] clients they may have them come all to Miami, surprise performance. You have the house ambassador, but then it becomes a business for me as an artist, because that’s a whole ‘nother fee, and everything that comes along with it. But you do things like that. You represent the brand at places like F1-One, Met [Gala]. You show up and show out.
How many times have you walked at fashion shows?
The first time, it was good. It was with my brother. It was the first LV show for P, we were debuting the music. It was good to see that energy, and see how people reacted to the energy of the Clipse on the runway, new music, and just to watch people receive it. Man, I keep that video of just watching the faces as we’re walking down the runway, watching people listen and be attentive to the music. It is great because Hov was like, “Wooo!” [Laughs] during “Chains and Whips,” he’s listening. But, the crowd is usually entertainers, musicians, [and] creatives. And it’s great to see how they reacted and took in the music.
So speaking of the Met Gala, how did your suit come together? How much creative input did you have on it?
Pharrell basically, and the LV team, built out a whole theme. So, you go there. Whether it’s beading, whether it’s crystals, whatever it is, Pharrell and them put that together. And man, he was just like, “Man, what you feeling?” I’m like, “Man, it’s the Met, I’m suited. I need to be all the way.” And I in turn brought in my stylist as well, Marcus Paul. He gives them his input. And it was Pharrell who was like, “No, you’ve got to wear this burgundy. This burgundy is for you, bro. I’m telling you, you’ll kill it.” And then by the time everybody collaborated, it was the embellishments, just figuring out what was going to be the extra oomph to the suit. And I think we figured it out.
A lot of onlookers made the snow connection with the crystal beads.
For sure. [Laughs]
You mentioned burgundy, do you feel like you wear a lot of colors?
Never. I never wear colors. I wear black all the time. And I’m not opposed to colors. I just like the idea of a uniform. And usually I’m on the go and I’m on a mission, so that just helps me get in mode.
Did you see the Esquire piece about the suit?
I didn’t. My man Mike, he drives when I come to New York, he just told me about the Esquire.
Did you see the actual headline? It said, “Pusha T’s Met Gala’s suit renewed my faith in red carpet tailoring.” How does that feedback feel?
Word? Wow. Come on, man. Listen, I’m glad that he felt that way. Totally appreciative. And just so he knows: Jonathan Evans, my brother, you spoke to tailoring, that was the biggest thing. They flew from Paris to my house in Virginia to fit me. A couple days before the Met, another fitting. They felt it was off. I went down to F1 a couple days before the Met and came back up [so] they could fit it again. It was four different nips and tucks, and everything else, to get that headline. So, I’m super appreciative that he said that, because it was a very stressful time for those who were working on it. I’m glad they said that. Wow.
So when they’re doing this process of the four different nips and tucks, are you getting what they’re saying as well? Are you feeling the same way?
This is the thing. So you put it on, people are critiquing as it’s on you, and they’re guesstimating, “Okay, maybe the button should be over a little bit more to the left,” so on and so forth. They pin it, they do everything. And then you leave with the idea that, “Okay, this is it and it’s perfect. It’ll be perfect.” When it comes back, maybe they were wrong, maybe it needed to be a little bit to the left this time, you know what I’m saying? And it’s trial and error. And it is about how they execute, and just making sure that they leave themselves enough room to perfect, because you can’t overdo it, especially with the crystals. You couldn’t cut into all of that. So the idea of the dandyism for the LV camp was centered around tailoring. It was centered around it being cut and sewn to perfection, and fitting to perfection. So they were heavy on that.
So at the Met Gala, we see everybody on the red carpet. But once you actually get in, what do people actually do in there?
It’s dope, man. So the Met Gala, you come in, you do the red carpet. Once you do the red carpet, whatever the theme for the Met is, there’s a museum installation. You walk through the museum installation. Huge. It’s history. It’s where the theme came from, what years, the origins. It just shows you everything from back in the day to present day.
And then once you leave the exhibit, there’s a cocktail hour. People are in a foyer drinking, food, hors d’oeuvres. And you’re just seeing people, different artists. People are walking around, appreciating each other. People are looking at each other, looking at the clothes everybody got on. And then after that, you walk into the dining hall. Once you go into the dining hall, it’s different tables for the different brands.
It’s like teams. So LV team, this table, Tom Brown, at this table, whatever, whatever. But people eat, people talk a little bit, mingle through the tables, and then everybody sits down to eat. And after everyone eats, there’s a surprise performance. The first time I went, it was Lizzo. This time right here, was Usher and Stevie Wonder. Oh my God. One of the best performances I’ve ever seen.
What were they performing?
They were performing their jams. Usher, all his hits. The dancers, everything. It’s a surprise. It’s not like [the musicians] get up from the table. No, no, no. It’s like a grand entrance. It’s a whole build out. It’s everything. So he comes out there, he comes up from back of house. Comes up, goes crazy. Choreography, hit after hit after hit. And then he’s like, “Man, we’re here, we’re at the Met,” talking about the inspiration. “I just want y’all to know I came from Germany to do this, because y’all told me I had the opportunity to perform with my inspiration. And I wouldn’t have missed this for nothing. There’s nothing that could have made me miss this.” So everybody was like, “Wait a minute, What you talkin about. There’s more?” Man, Stevie walks out, his son sits him in front of the keyboard, and I’m talking about people fanned out. Leonardo DiCaprio’s screaming to the top of his lungs. People are in tears, crying. And Stevie is going. He’s going hit for hit, for hit, for hit, for hit. Back to back, man, for about probably another 45 minutes to an hour, just killing it. Usher come in. And it was a sing-a-long, because everybody knows the records. So Usher come and chime in. But Stevie was smoking it, smoked it.
Malice (Who just walked in): What was this?
Pusha: The Met Gala.
Malice: Oh, wow.
Pusha: Smoked it, man. One of the best performances I had seen.
How many times have you seen Stevie live?
Pusha: Oh, I haven’t. I’m talking about just in general, performing. Across the board. Yeah.
That’s crazy. I didn’t know they had surprise performances.
You can’t pull the phones out this night. You can’t show nothing. You’re not supposed to do none of that. Somebody, I’m sure did, but as you can see, it hasn’t hit the net or nothing. I’m sure somebody did, but I didn’t. I wanted to. And I was like, “Man, why? It’s going to be me to fuck this up, put this out here or something.” But I didn’t do it.
The who’s who of everybody, is there. And to watch the who’s who be fans, to watch Diana Ross watch Stevie, it’s like everybody was on their fan time. Whoever you were, for that.
Last time I saw you all was in July, and a year later the fans are still waiting for your album. How has this year been as far as just wanting it to be out there? How have you all been navigating it?
Pusha: I think we’ve been navigating it pretty good. I feel like I don’t think we’re ever in a rush to put out the music, because when it’s ready and when the time is right, we know it’s right. We didn’t foresee these twists and turns, but I think it always works out for the best. One thing that we always know, is that the music is incredible. So we don’t stress the back office stuff. We’ve always just gotten through off of the greatness of the music.
I know last June you all were waiting on a verse, and I know you all were expecting it later that week. When did you receive that verse that you were waiting on?
Pusha: Oh man. See, I don’t even know what part of the process we were in. We’ve received a couple verses since then. Man, I think half of the problem, is receiving the verse that we received. I think that’s what has even changed up the course of this whole release.
Did the act tell you why it took so long?
Pusha: Oh, no. Just a lot going on.
How did you all feel when y’all first heard it?
Malice: Loved it, man, loved it. Thought everything was incredible. I think that he overdid it.
You mentioned you added some verses to the album. Were there any other significant changes since last year?
Pusha: No.
Malice: Yeah, another song, “Mike Tyson.”
Pusha: Yeah, “Mike Tyson” for sure.
What made “Ace Trumpets” the right single to roll out the album with?
Pusha: I think Ace Trumpets is a give back to the pure Clipse fan. For the fan who is looking for that level of rap. I think” Ace Trumpets” speaks directly to our base. No compromise, no nothing. And I feel like it’s the set off.
How often have you been recording Clipse records since last June?
Pusha T: We haven’t been doing much more Clipse stuff.
So I saw late last year that you all signed to Def Jam for this project. What made Def Jam the right choice?
Pusha T: There is no Def Jam. There is no longer Def Jam.
Malice: It’s The Roc.
Okay. I saw that photo of y’all at the Roc Nation office yesterday. Do care to speak to what made you all pivot strategically?
Pusha: The [Kendrick] feature had UMG in such an uproar. Once we turned in the album, it was like, “We’re not putting this out, We’re not supporting this,” so on and so forth. And they asked me to ask [Kendrick] to change his verse. And I was like, “No, it’s not happening.” This went on for months. And legal over at Def Jam was like, “Listen, man, at the end of the day, you guys aren’t changing it. We’ll drop the Clipse.” And it was like, “No, we’re not changing it.” And [then] it was like how that’s going to work [for me] still over here as a soloist? I was like, “We can do business.” And Roc Nation found the business, Hov found the business. But yeah, [I’m] totally off Def Jam. For everything. Pusha T’s no longer on Def Jam.
What do you think your next move solo-wise will be?
Pusha: Soon after. Get through the Clipse cycle, we got touring to do. So it’s a lot. Solowise, It’s cued up and ready.
What was it about the verse that made Def Jam and UMG so upset?
Pusha: I think just the connection of the parties. The Clipse, and [Kendrick] doing the song together was a little bit too much for them [with] what they’re going through with their lawsuits or whatever they got going on. I don’t know, I felt like the verse was clean, fair game, just good raps.
How are you all feeling about getting back on the road?
Malice: Personally, I’m just committed to doing this leg, doing this album, with my brother, whatever that entails. Whatever we have to do. I’m excited about getting back out here and seeing those people that supported us the whole time and the people that have expressed their anxiousness to hear the Clipse. And I’m looking forward to see the reaction after such a long time.
Obviously, the hometown show will be special. Do you have any other particular spots that you’re looking forward to hitting?
Malice: Everywhere. Definitely hometown, like you said, but the major markets. But wherever it is, the Clipse fans, wherever, that’s all that’s important to me.
Pusha: I’m ready to get back overseas personally. I feel like, “Man, overseas has always shown the Clipse a lot of love.” And that festival circuit [was] the first to embrace the Clipse. I even think we were like the first rap group to ever do SXSW. So whether it’s Europe, whether it’s the States, that festival circuit has been really good. And to get back in the mix of that is like, “Wow.” I can’t wait to see it.
Y’all debuted “Birds Don’t Sing,” at a Louis Vuitton fashion show. Do you have any Paris Fashion Week plans tied to the album this time around?
Pusha: I just think being out there and being out there for Fashion Week, I’m sure our presence will be felt. It’s a great platform, so I’m sure we’ll have something going on out there.
As MCs, how are you observing this Joey Badass vs. the West Coast thing?
Pusha: Man, I think the guys, I think they’re putting out a lot of music. If it’s something that sparks the creativity of everybody else, and just the rap of it all, I think it’s good for the game.
Yeah, I saw a tabulation that it was like 90 songs and 49 artists. And since then, there’s been even more.
Pusha: Listen, that’s what I take from this whole thing, “A lot of music.” People working. I think working is a good thing though. And seeing people actually work and put pen to pad.
One of the criticisms that people have of it is, “It doesn’t really seem to be rooted in anything.” How would you feel if someone came out and challenged you as an MC, for seemingly no reason?
Malice: I think first and foremost, they have to be formidable. And I come from the standpoint of: I want something to gain too. I don’t just want to win and beat you, I want to have something to get from it as well.
Push, do you feel similarly?
Pusha: Yeah, man, listen…
You’ve been through actual beef.
Pusha: Yeah, I did the dance man. I been through it.
Let God Sort Em Out Tour Dates
Aug-03 – Boston, MA @ Roadrunner
Aug-05 – Philadelphia, PA @ Franklin Music Hall
Aug-07 – New York, NY @ Terminal 5
Aug-09 – Fairfax, VA @ EagleBank Arena
Aug-10 – Virginia Beach, VA @ The Dome
Aug-12 – Miami, FL @ The Fillmore
Aug-13 – Orlando, FL @ The Vanguard
Aug-14 – Atlanta, GA @ The Eastern
Aug-16 – Cleveland, OH @ Agora Theatre
Aug-17 – Milwaukee, WI @ The Eagles Ballroom
Aug-18 – St, Louis, MO @ The Factory
Aug-19 – Fayetteville, AR @ JJ’s Live
Aug-21 – Denver, CO @ Mission Ballroom
Aug-23 – Los Angeles, CA @ The Novo
Aug-25 – San Francisco, CA @ Warfield Theatre
Aug-27 – Phoenix, AZ @ Marquee Theater
Aug-28 – San Diego, CA @ SOMA
Aug-29 – Las Vegas, NV @ The Theater at Virgin Hotels
Sep-02 – Houston, TX @ White Oak Music Hall
Wed-Sep-03 – Oklahoma City, OK @ The Criterion
Thu-Sep-04 – Dallas, TX @ The Bomb Factory
Sat-Sep-06 – Kansas City, MO @ Midland Theatre
Sun-Sep-07 – Minneapolis, MN @ The Armory
Mon-Sep-08 – Chicago, IL @ The Salt Shed
Wed-Sep-10 – Detroit, MI @ Masonic Temple
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#Album #Tour #Drake #Beef
