Growing up, I was always able to express my creativity using any kind of medium I wanted. There was a time I once dabbled in the art of beat-making, getting my first cracked version of FL Studios and losing myself in the world of production.

Over time I guess I was dragged away from that passion. However, I’m still always fascinated by what new sounds the newer wave of producers are able to manufacture.

Introducing Certified Genius, a Jozi-based mind both skilled in the art of beatmaking and being behind the mic, crafting enticing bodies of art for music lovers to enjoy. His contribution towards Richi Rich’s “RICHB4FAME” is what stood out for me and an interview between the two of us is what I had been craving.

My prayers were answered after he had contacted me, alerting me that he’d be in Cape Town for a short while. That was more than enough time for me and we eventually enjoyed an intriguing conversation over a cold one at Trenchtown.

Firstly, could you tell us the background story behind Certified Genius?

“Okay so before Certified, there was Phemelo, born in the year of 2001 in a small town called Carletonville just outside of Joburg.”

“Basically, my grandparents had churches. My grandfather was a reverend and a taxi owner. Obviously my grandmother was big on Sunday church, and from Monday to Saturday she was a midwife. And growing up in that environment, I was always the first of everything. I was the first child, the first grandchild, and the first everything. Because of that I felt everybody was just on me.”

“And because my grandparents had a church, they knew a lot of people, they helped a lot of people, and that was something I was always experiencing. Attention is the one thing that I always had growing up. And how I actually started with music was because of the church, and my grandmother had a choir.”

“So, I was always around while they practiced their performances, and I followed the whole process behind practicing the songs, going to competitions, and watching the crowds react to their performances. For me that was a whole process. From a young age I always knew that whatever I do in life, I would need to have people’s attention.”

“Even watching my grandfather preaching at church, you could always see how the people were listening to this man. For me as a youngin, I just knew this is what I wanted to do. I don’t know what or why, but I always knew this is what I wanted. Whatever I do in life, I want that adrenaline so growing up I was always fascinated by the idea of fame and celebrity lifestyle.”

“And growing up I was also a big gamer. You know when you game bro, you’re always the best! That concept of gaming is something I always took with me in life. Whatever you do, you’ve gotta make sure you are amazing at what you do.”

With the gaming background now travelling over to your music, would you consider yourself a competitive person in everything you do now?

“Nah, I'm not really competitive. I guess the problem with me is that I’m an artist and a producer. With producing, it’s not about you. It’s about what this other person wants. I’d say that kind of took the competitiveness out of me.”

“For instance, the song “CNR. JUTA” (alongside USanele & Pumas+Roses), I’m not looking for the best verse on that song. I did the beat, and I wasn’t even supposed to be on that song. I killed the beat and for me, that was enough.”

“If USanele has the best verse that’s cool, if Pumas has the best verse that’s also cool, but all I’m cool with is that I killed the beat! And bro, I love collaborations. That’s why I even started making beats in the first place.”

Your early background involved a lot of Church experiences. Besides that surrounding, what other influences shaped your sound growing up?

“Church was home, but when you’re out in the streets you meet friends, there’s all the older brothers, and all the cousins are around. Sundays were for Church but during the week people were alive with the music.”

“I’d even be chilling with the grootman who would be in Church on Sundays but during the week they’d be playing some Biggie, some Pac, and some Nas. My aunt was also very influential to me, always playing some Michael Jackson to 50 Cent to like Chris Brown and Beyonce and even some Joyous Celebration. So there was a whole mix of sounds I was hearing. I remember having this case of just CDs and whenever I would visit her, I’d go through the booklet filled with music. I miss those times bro.”

“I feel like that’s why I take my musical and creative direction so seriously. Growing up it was always about the booklets to me bro. I don’t mind the whole streaming thing and being able to play any music off your phone, but I miss the whole thing of having, collecting, and organizing physical copies of music. They need to bring that back.”

Earlier on you established yourself as both an artist and producer. Which came first though?

“Damn…being a producer was actually a mistake. How it happened was that we had a crew that included Apollo, Siya, and myself. We were locked in the whole of December 2016 bro. As soon as we finished writing our last paper, we were going to the studio every day. Until the day before school opened in 2017. We didn’t have one song recorded.”

“Because Amo would get there, he’d make a fire beat, we’d write to it, and when it’s time to lace everything together, he’d suddenly not fuck with the beat. And I think it’s because we were whack at the time. And maybe he felt that because we were his homies, he’d rather not tell us and rather say that.”

“At that point, I told them to slide me that FL Studios, I went home, started watching tutorials, and started making beats. I did it to spite him actually! But that’s how I got into beatmaking. Bro my mom could tell you, there was a time when I was writing exams in Matric and I’d wake myself up at 4am not to study, but to make beats until 6am when I’d get ready for school. Bro, that’s how committed I was.”

“And to me, it was always like what the fuck is this? These are sounds, I’m creating all kinds of sounds, a nigga hops on this shit, and now it’s a song. Like bro what the fuck?”

So, would you say it’s moments like those that make you love what you do as a creative?

“Yeah man, for me I would always say this: growing up I was a heavy Boyzn Bucks fan. And now for me to be able to sit with USanele and see how he creates his music is amazing. For me bro, it’s just getting to know the creative.”

“As a producer, especially when you’re working in-house with a person, just doing a track and you’re locked in with an artist, just getting to know this person beyond the artist is a beautiful thing. It helps me be more creative for the artist. And with the people I work with, there’s a friendship that comes with it.”

“Maybe I have entitlement issues but, I’m a long-term person. I don't like that shit of working once and nothing more comes from it. I hate it. Let’s see what we can do and let’s do it for a long time bro.”

Going back from your earliest releases like “TLC” to “LLC” and all the way through to your latest “500 DAY$ IN BRAAM”, how do you think your sound has evolved and developed over the four years?

“I break my sound into two. There’s the family-inspired shit, and the other side is what I grew up on from the streets. So like, “POST TRAUMATIC” is a refined version of “TLC” and “5OO DAY$” is a refined version of “LATE LIFE CRISIS”.”

“So from early on, I experimented a lot. “TLC” was heavily R&B inspired when I was trying out some shit. With “LLC” I kind of took it back to the rapping vibes. But I’d say “POST” is when I really had it all figured out. After that is when I realised, I knew my sound.”

“However, in everything I do, I’m super melodic. From my performance to even the beats. I always want some shit that you can like cry to. It has to touch you emotionally, you know?”

So “500 DAY$ IN BRAAM” is finally out for the people to hear. Can you tell us what the message or story behind the project was all about?

“Honestly, when Riky Rick died, they did a whole prayer on the whole of Braamfontein for him bro. It made me feel like I needed to do something for this city. Something so impactful that when I’m gone, people will remember this shit.”

“That’s what inspired me, and I really felt I needed to do something for Jozi. It’s nobody’s home but it’s everybody's home. It’s where everybody goes to push. I also just aired out my experiences of the city. Like the good and the bad.”

“And with “500 DAY$ IN BRAAM”, I want the people of Jozi to know that they’re represented bro. Even the whole trailer that I put out for the project was basically giving people a whole rundown of Jozi and its history.”

In your experience navigating the Jozi creative environment, have you come across any negatives holding artists back?

“Honestly, I’d say all the negative things like the gatekeeping is still there. But even with the gatekeeping, I still managed to get the USanele feature.”

“For me, it’s there bro. But when you get that shot, make sure you don’t waste it. Opportunities will come bro, not every day but they will come. And you need to make sure that you kill that shit.”

“Like I don't know what to say. If niggas are gatekeeping you need to kick that door down. I feel like it’s really on the person to make something happen. Look at The Qwellers for example. They came all the way from Durban to Jozi and they’re now taking over Joburg. I guess it’s really on you and what the fuck you’re doing bro.”

“And without opportunities, you can always find things or events happening where you can create your own opportunities. Events like Puma Select every Thursday were happening, or even your Boiler Rooms.”

“Those are the types of events that you go to and you meet possible opportunities. Those are the opportunities you can find in Johannesburg. You just need to be smart and to know what’s going on around you.”

“If you have the internet, be as active as you can on all socials. Like bro, just put yourself out there, you know what I’m saying?”

So obviously the project is done and out there. What’s next for Certified Genius?

“I’ll definitely be producing more for other artists. There’s also like a ten-part series that a homie is filming and I’m going to be involved with.”

“I love film, and damn do I love making scores for them. With scores, it’s all about the background music behind audiovisuals.”

“You know in films when there’s no dialogue and there’s music playing in the background? Yeah, that’s what I’m doing, and I love it.”

Any last words you want to put out there for the people?

“Yeah man. Well, the way I see it is…you know when you’re a kid and you start drawing? And even if the shit is whack, your parents will always tell you it’s good and to keep on doing it?”

“For me, that’s how I see things in life. When you start off with anything, it won’t be the best. But you shouldn’t immediately try to be the best. You just gotta try and learn this shit. And there’s beauty in flaws. As a kid, you’re not overthinking your drawings. You’re just drawing. That’s how I’ve approached my editing and producing.”

“Even if it’s a bad edit, it could be a new editing style now. You know what I’m saying? It’s like what Virgil Abloh said: you can put a can next to a garbage bin and its ass, but if you take that same can and put it in a museum, everyone will be impressed by that.”

“So yeah, that’s how I take on life bro.”

This year really has seen a turning point with our vision. Initially starting VERVE as a platform for Capetonian creatives, we’ve quickly opened up for artists all over the nation, and it’s possibly the best decision we ever made.

We’ve allowed ourselves to encounter brilliant creatives like Certified Genius and it’s these moments that hype me up for whoever else’s story we have yet to uncover.

I loved how forward Certified was with his responses. It’s clear these thoughts had been wandering in his mind for a long time and it was such a pleasure to have him express his truest thoughts.

We can’t wait to see what else he has to cook in the near future. I can guarantee you, this is just the beginning for the young genius. For now, peep his newest release, “500 DAY$ IN BRAAM” to fully understand his qualities, available on multiple streaming platforms.

Certified Genius & The Art Of Production & Performing

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