Raz Fresco & Futurewave: «The Gorgeous Polo Sportsmen have become Stadium Lo Champions»

Peace guys! It’s been at least a couple of years since you last shared fragments of your music, story, and artistic vision with our platform. Raz Fresco, over these years, you’ve continued to release your projects, even collaborating with a legend like DJ Muggs. Meanwhile, Futurewave, you’ve produced a series of outstanding projects for some of the best emcees in the underground scene in both the U.S. and Canada (Estee Nack, Pro Dillinger, and Daniel Son, just to name a few from 2024). You both represent the Canadian Hip-Hop scene on a global scale in an amazing fashion.

So Guys, how have you both experienced these past few years, and where do you feel you are now in your artistic journey after all the experiences you’ve accumulated? And what’s the most valuable lesson you’ve learned, or the most powerful tool you’ve added to your artistic arsenal in the last two or three years?

RAZ FRESCO: Since 2020 (the last time me and Futurewave connected on an album) I put out A LOT of material. To be exact, 27 projects, 5 beat tapes, and produced 4 albums. That being said, I feel like I’m getting started on a new chapter in my career.

I have gained a lot of respect from my peers and legends in the game for what I do, my work ethic and overall creativity. That being said, I am working on further building my brand, serving more dope releases and adding on to the cultural fabric of hiphop with art that resonates/inspires people.

One of the most valuable lessons I’ve learned over the past few years is the power of collaboration. Being a rapper & producer myself, I had always worked almost exclusively on my own production up until the album I did with Futurewave, which was in the middle of me completing the Magneto Was Right series. Gorgeous Polo Sportsmen was the first album I did entirely with another producer. I remember at the time it felt kind of refreshing to just rap and not handle all the production which I was accustomed to doing for the most part.

I respected Futurewave as a producer so I stepped into his world sonically. As someone who is also Canadian and in the same lane as me doing his thing it made sense and felt like the right move. The project turned out incredible. It was my first album on wax and since then I have dropped a bunch of records. A big part of my growth over the past few years has been collaboration. Since the GPS (Gorgeous Polo Sportsmen) I’ve worked with a lot of dope producers like ALS, DiBiase, Nicholas Craven, Cookin Soul, DJ Muggs and more.

FUTUREWAVE: From 2020 on, everything’s been on the rise for me. I’d say 2023 was probably my slowest year, I only dropped “Dead Poets” ( the collabo album with Eto n.d.r) at the top of it, but I was still putting in work behind the scenes. That grind set me up for 2024, which turned out to be the biggest year of my career so far. All my projects sold out and I hit my highest numbers on Spotify.

The biggest lesson I’ve learned over the last few years is the power of consistency. It’s not just about dropping music, it’s about staying visible and active. Whether it’s touring, dropping regular content on YouTube and social media, or releasing music consistently, staying relevant is key. As a producer or artist, if you’re not putting something out regularly, someone else will, and they’ll take that spot.

As we write this, your new collaborative album STADIUM LO CHAMPIONS is about to be released, serving as the follow-up to “Gorgeous Polo Sportsmen” from 2021… In what ways does this new album represent an evolution compared to your first project together? What are the main differences, if any, in terms of sound, the creative process behind the album, and even in relation to your personal and artistic growth overall?

RAZ FRESCO: This album was made mostly in person together at The Bakery which is the biggest difference. In comparison to the last album we made together there isn’t a huuuuge difference sonically because the previous formula wasn’t broken. Aside from making the album, we talk and chop it up and I see Futurewave as a friend as well as someone I collaborate with, so it’s been dope to see how we both have kept putting out dope work, improving and making moves. We weren’t trying to go a completely different route sonically. We understand each other’s “DNA” musically so the chemistry is easy.

Since GPS, we both got better at what we do respectively, so it was more of us catching up & knowing that when we lock in we are both going to be bringing next level material to the table. With the mutual respect we have for each other it makes the process easy. We both were focused on performing on a high level like basketball players in the playoffs or soccer players in the World Cup. We know we are some of the top artists representing Canada  when it comes to the type of hip-hop we do, so the whole “Stadium Lo Champions” idea is us making that statement.

I feel my overall skills as a rapper and performer have been refined over the years. Same with Futurewave’s production. We just added on to what we already do sonically and attempted to take it a step up in all aspects. There are more “moments” on this album than the last one to me. I picked each beat as if it was a scene in a movie.

Futurewave has his own sound that I rock with so when we linked up, the process would be us listening to beats, talking about life and things that inspire us, and then that would lead to me catching a vibe and writing (or not) then recording.

 

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FUTUREWAVE: This album reflects the growth that both Raz and I have gone through since Gorgeous Polo Sportsmen. We’ve both accomplished a lot and sharpened our skills over the last few years, and that experience shows in this new project. My goal was to craft a different sonic palette, something that stood apart from my usual sound. When Raz and I locked in on the concept, I knew exactly where I wanted to take it. The vision was to blend emotion and contrast, sadness and joy, struggle and triumph.

When I think of the Olympic theme, I think of what it originally stood for: hard work, dedication and achieving greatness on a global stage. That idea became the foundation for the sound. We built on that with the aesthetics too, using the Polo Stadium vibe as the skeleton.

The title and artwork of STADIUM LO CHAMPIONS evoke two parallel worlds: the Olympic sports realm on one hand, and the Polo/Lo-Life culture tied to the Ralph Lauren brand and its Stadium Collection, which has held significant meaning in Hip-Hop culture. How and why did you choose to reference these two aspects? How did this concept come to life?

RAZ FRESCO: The day I manifested the name we recorded the song “What’s The Word” and since then it just stuck. It kind of rolls off the tongue and it felt good. I wanted a name similar to Gorgeous Polo Sportsmen. Another three-piece combination. Once I put it in the air, it just made sense and Futurewave was with it. We have solidified our places as serious figures in the Canadian Hip Hop scene. It was and still is a battle but we have been victorious in our efforts to grow.

The word CHAMPIONS in the title is to represent that idea of victory. The word STADIUM evokes the imagery of a big stage. A big event. A higher level of performance. Making this album feels like we are performing on a bigger stage than before with more eyes on us. We both know how much work it takes to make a career and eat off your music. So by linking back up after making all these moves separately the story and album named itself because… the Gorgeous Polo Sportsmen have become Stadium Lo Champions.

FUTUREWAVE:  Both Raz and I have always been fans of the Polo aesthetic and what it originally represented. The Stadium Collection, in particular, was designed for the ’92 Olympics, and a lot of its visual inspiration came from classic USA Olympic jerseys. But it goes deeper than just the look, it ties into powerful historical moments that resonate beyond fashion and culture.So when Raz came with the concept of blending the Stadium Collection with an Olympic backdrop, it felt like the perfect direction. It gave us a framework to not only tap into the visual legacy of Lo-Life and Polo culture but also speak to the deeper meaning behind competition, excellence, and overcoming adversity.

Ok, so guys as in sports to reach certain milestones, whether as athletes or artists, one must overcome challenges and rise after setbacks. What have been the biggest challenges in your artistic journey, and how have you overcome them?

RAZ FRESCO: It’s easy for many people to be distracted and thrown off course in life. To really build a solid foundation you have to be locked in to your goals regardless to whom or what. The same way water can erode a coastline overtime, a small wave of momentum can become a huge wave that leads to major results and success over a period of time. Pushing myself out of my comfort zone to stay active and learning as much as I can to be as self-sufficient as possible is what has helped me overcome and maintain.

FUTUREWAVE: Even though it might not seem like it from the outside, consistency has definitely been one of my biggest challenges, along with battling negative thoughts that come with the territory. One of the hardest things as an artist is maintaining focus when the people around you don’t fully believe in your vision. Not having that support system, whether it’s friends or family, can weigh heavy, and honestly, I think that’s one of the main reasons a lot of talented people give up. What’s helped me push through is learning to be a little selfish, not in a bad way, but in a focused way. You’ve got to protect your energy and your time so you can keep creating at a high level without letting outside noise distract you. That discipline is probably the hardest part of the journey.

You two are not only “carrying the torch” for the Canadian Hip-Hop scene worldwide, but you also represent a very specific vision of Hip-Hop and Rap culture on a global level. What does this key concept of “carrying the torch” mean to you in an era where the scene is in need of fresh air?

RAZ FRESCO : Before there was a corporate side to this thing it was a raw expression. The driving force that sparked this whole Hiphop culture is raw energy from the people and creative cultural expression. To “carry the torch” is to keep putting out that raw authentic music that is pure to self.

That is what maintains the integrity and impact of the art form in general. The core principle is keeping it raw. We are all unique individuals so we should not all sound the same. Uniquely developing your own style of artistry is what breathes fresh air into the scene.

FUTUREWAVE: For me, carrying the torch means maintaining creativity at the highest level. It’s not a knock on other producers, but there’s a lot of repetition in the sound right now, a sound that, to be real, I helped shape. So the question becomes: do I keep trying to outdo the next producer using the same formula, or do I push the boundaries and elevate the sound while still staying true to my vision? My sound will always be gritty and grimey, that’s my foundation but I’m focused on evolving it, adding new sonic textures while keeping the essence intact.

Carrying the torch is about more than just preserving tradition, it’s about trailblazing a new path, not just for myself but for Canadian hip-hop as a whole. It’s showing the world that we can innovate while still keeping the music raw and authentic.

So guys, what was the creative process behind Stadium Lo Champions? Did you work together in the studio, or was it a remote collaboration with pre-selected beat folders for the album? How did you connect the vision to the sound and lyrics of the project? Any behind-the-scenes moments or interesting anecdotes to share?

RAZ FRESCO: Yes we worked together in the studio for all the recording except for maybe 1 or 2 verses. Those days we locked in and just focused on the task at hand. Making the dopest joints we could that day. “MIND LIGHT” the first song on the album was made in one of the earlier sessions and that was a dope night. In the timeline of the album there are songs that kind of served as milestones towards completion and this was one of the earlier ones that automatically made me know we were making something special.

After talking about Hiphop, life and the world I ended up vibing to that beat because it was playing in the background and I ended up just writing the whole thing in my head. When I get into a vibe like that it’s only when I’m super inspired and captivated in the moment. The rhymes/flows are coming so fast at that point that writing might mess up the process, I gotta just sit for a second then go straight to recording. OK LET’S GO was another earlier one that was a standout beat for me. The moment I pressed play on that one it stood out. We both have similar tastes in Hip Hop so we just vibe out and make dope tracks together. It’s not a super complicated process to be honest. It was great to work in person though.

FUTUREWAVE: I’d pull up to The Bakery with a batch of fresh beats, and we’d run through them, just vibing. From there, Raz and I would start building, talking about music, life, the good and the bad. That energy would naturally spill into the creative process. Before long, he’d have a beat on loop and start forming rhymes in his head.

About 99% of the album was recorded together, in the same room. Since we’re both in the same city, it only made sense to build in-person. That in-the-moment chemistry played a huge role in shaping the sound and the overall feel of Stadium Lo Champions.

What can you tell us about the features on the album? Why did you choose these specific artists to collaborate with on this project? And speaking of the cover art by the incredibly talented Chris B. Murray—it’s not the first time you’ve worked with him. How did your relationship with him come about?

RAZ FRESCO: The voice is another instrument in the mix with the drums, piano, bass, guitar. etc etc That being said, some voices and cadences just blend well with certain beats. If me and Futurewave agree on that sonic blend then we reached out and got the feature from the artist. Chris B. Murray I have worked with through Futurewave. I have nothing but great things to say about him and his work. Extremely talented and I appreciate his eye for detail on every piece that he has worked on for us

FUTUREWAVE : The features on the album all came from real connections. Artists we both rock with personally and who naturally fit Raz’s vibe. I hate forced or unnatural features. Every collab I do is rooted in genuine relationships: Daniel Son was a no brainer, not only is he from the same city, but him and Raz actually live in the same building. So that chemistry was already there. Grit and 6th Letter from The Bakers Club had to be on it too, that’s family. Estee Nack & Al.Divino are the perfect duo to link with Raz. We both have solid relationships with them, and Raz definitely has a deep connection with them beyond just music. It all came together organically.

As for Chris B. Murray, I was introduced to him by my boy Ben, who used to run a podcast called Da Fuck You Mean. He knew I was on the hunt for dope illustrators and linked me up with both Chris and CEP. Chris has a unique aesthetic, he can bring a sense of fun and energy to something dark, and I really vibe with that. Him and RDRB are my go to cover artists. They’ve got completely different styles and approaches, but both of them are masters at bringing my vision and the artist’s vision to life.

Guys, what other solo projects and collaborations do you have in the works for 2025 that you can give us a sneak peek of?

RAZ FRESCO: I have self-produced collab albums that I been wrapping up. One with ESTEE NACK and another one with CAVALIER + me and NICHOLAS CRAVEN have our next album done. Aside from that I am also working on more work with BKRSCLB and some instrumental projects + a few other things that I can’t mention right now

FUTUREWAVE: Boldy James and I are finally dropping The Pop Catcher with FxckRxp this summer. I’m also releasing a project with Daniel Son called Baggage Claims. It’s made up of unreleased joints we recorded during the Pressure Cooker and Yenaldooshi sessions. Between 2017 and 2019, him and I made so much crazy music, it only made sense to put some of it together and give it a proper release.

Listen to or Buy RAZ FRESCO & FUTUREWAVE “STADIUM LO CHAMPIONS” ALBUM: