During a PLLRS event at SoHo Works in Brooklyn, Grammy Award-winning artist Fridayy said when he figured out how to write about his life, he discovered his uniquely visceral sound. When you listen to his February 2025 album, Some Days I’m Good, Some Days I’m Not, you’re not just hearing songs, you’re hearing a man figuring out life in real time.

“[Recording in the studio] is probably my only way to understand my emotions. I ain't gonna lie, that might not be a good way, but it's my only way. Other times, I'll just be numb,” Fridayy told REVOLT exclusively.

In this installment of “Studio Sessions,” Fridayy explains how emotional it was to record a dedication to his late father with Meek Mill, his unique way of making music, and how his team helped build his career. Tune in below!

Following your self-titled project, how long did it take you to start working on Some Days I’m Good, Some Days I’m Not?

I would say probably like a year. I went on tour after the album, so that's why I took a long time making this album. I finally got some time to sit down and work. Even when I started working on it, it took a minute to really get in that zone because I like to be locked in when I’m doing music. I don't like to be moving around. So, it probably took me eight months to make this album.

You recorded your “GOD DID” vocals in your mother’s basement, but what’s a typical session like for you?

It’s the same way. Sometimes I go in the biggest studios with the biggest artists with the same sock over my mic. They be looking at it crazy, but it's what works for me.

On the song “Sun Comes Down,” you sing, “I know you see me down here fighting.” What were some moments that inspired those lyrics?

The hook goes, “When the sun comes down, that's when we look up.” When my dad died, I was on tour. Everything moves so fast. When it's going so fast, you’re just getting win after win, you kinda forget that you’re human. Making that song was probably the first time I sat down and realized, “Oh, s**t.” It really hit me in a different way. That's how I wrote that hook. I was in the studio. I was just thinking... sometimes the only way people look up is when some bad s**t happens.

You have a touching song about your father’s passing on your album called “Proud of Me” with Meek Mill. Was that the first time you wrote about his death?

I wrote something like a week after my dad passed called “Without You.” I dropped it as a single last year with a video. It was different. It was like a sad song about how I was feeling. I didn’t understand that s**t. This one is on another vibe. It’s more understanding. It’s called “Proud of Me,” so I'm speaking from a different perspective with more peace.

You spoke at PLLRS, an event highlighting the people who help build stars. There, you mentioned how important your manager/music A&R Edgar Cutino is to your career. Can you tell us more about how he’s played a part in your creative process?

I definitely use my manager and my brother to know if this s**t is hot. He knows everything I make. So, if he says, “I don't know about this one,” I take his word seriously. When it comes to the creative, the album titles, and putting the album together, that’s where I feel like your manager and your team play the biggest part. It doesn't just stop at the music. Everything else after the music is just as important. That's where he plays a big part.

You also mentioned that you two had different opinions about the intro to the album. How did you guys come to an agreement?

The intro I originally had is now the outro to the album. People kinda know what to expect from me. They either get a nice female song, or a slow song to get you through your day. I just wanted to shock people. I was trying to do this slow uplifting intro, but he was like, “Nah, we have to come big.” I was just thinking if there were people who didn’t give a f**k about me in one room and they say, “Fridayy just dropped a project. Play that s**t,” how would I want them to hear it so they could keep going through the project? I feel like the intro I chose that has more energy will help keep them listening to the album.

I loved how you spoke about the value of your team at PLLRS. You spoke highly of your publishing A&R Eddie Fourcell and how he was instrumental in getting “GOD DID” to DJ Khaled. In terms of placements, how else did he help your career?

Shout out to Eddie, man. He definitely helped change my life. Anybody I want to get in with for a session, he sets it up. He signed me to Prescription Songs with a lot of other producers and songwriters. He helped me get in with some great producers. He’ll suggest producers. I did some songs with Daniel Church for the album. That's someone Eddie introduced me to.

You have 21 songs on Some Days I’m Good, Some Days I’m Not. What was your favorite session?

The Meek Mill joint. Every session is my favorite, but the Meek Mill one is just a personal song. We’re both from Philadelphia. I watched him record his verse. He was in the booth for about 12 hours. We was in the studio from 10 p.m. to 10 a.m. He didn’t leave the booth. He was in there for 12 hours. When you say it's probably one of his better verses, it’s probably because he was really in there. I struck a chord. He lost his dad just like me, so it was an emotional session. We were crying in there and all of that.

Do you usually use the studio as a way to understand your emotions?

That's probably my only way to understand my emotions. I ain't gonna lie, that might not be a good way, but it's my only way. Other times, I'll just be numb.

Why did you name the album Some Days I’m Good, Some Days I’m Not?

That is just the point of my life that I’m at. I told you I lost my dad at the highest point of my life. I was on a sold-out Europe tour. At first, I thought the vibe was bittersweet. There are the good, the bad, the highs and the lows. I was telling my manager that, and we came up with Some Days I’m Good, Some Days I’m Not. I think everybody can relate to that.

How important was it for you to represent your Haitian culture on the LP?

I grew up in that wholeheartedly. Going on tour just made me see it more. I’ll do a show in Miami, and it's really all Haitians. Before the tour, they would try to tell me to do the smaller venues. Some people don't understand, there might be five to 15,000 Haitians coming out to New York, Miami, and Boston. They support me wholeheartedly. I feel like I'm one of the only artists to introduce this to the mainstream, outside of Wyclef [Jean]. Shout out to Wyclef.

What do you have planned for 2025?

I got a tour coming, and I just want my fans to hear and love this album.