For Bilal, having fun after “being chased basically off the stage” was an influential moment in his persistence as an artist, and a lesson in building a tight-knit community. “There’s still such a strength in being with your crew. And now that I have this crew, now that I have Too Free,” explains Bilal, “we’re unshakable in our energy and in who we are and what we’re presenting.”
“I was like, ‘Hey, I’ve got a $100 interface and a Radio Shack mic, let’s make some music,’” Cox recalls. “I can’t stress enough how budget everything was. It was like, ’Let’s just plug all the gear in and make sounds.’” Those shows proved to be instrumental in the band’s sound coalescing on record. “Playing them live is what finalized a lot of songs on the record,” Cox says. “It wasn’t until we were in front of an audience that we were like, ‘This works, this doesn’t work.’”, which they recorded at Tonal Park after those shows, is a bass-heavy journey, bouncing sounds and samples off of soft, sultry blips of lyrical hope.
In November 2016, after performing at The Brudenell Social Club in Leeds, England, Cox collapsed. “Everything greyed out and I woke up on the floor,” he says. “I’m like, ‘what’s everyone looking at?’ I was reaching in the back of my mouth and pulling out parts of my teeth.” “You kind of feel a conveyor belt with a lot of music stuff when you’re doing it professionally,” he says. “You start to see a pattern and it takes a lot of the excitement out of it. Whereas Too Free, we’re able to have a sort of elasticity with how the band works and what we do.”
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