Hello everyone, it’s your host Oliver from DULAXI, and today I’m delighted to welcome back Michigan City-based artist, producer, songwriter and performer Young V for another conversation with DULAXI. Also known as Vincent Young, the American artist continues to develop his distinctive approach to hip-hop and R&B with his latest original album, I Can See Earth From Here, released on 13 October 2026. Bringing together hip-hop, R&B, melodic rap and elements of emo rap, the album explores ambition, personal growth, resilience and the importance of seeing life from a different perspective. Before we begin our conversation with Young V, here’s what you need to know about today’s featured project.
About Young V
Hailing from Michigan City, Indiana, Vincent Young, professionally known as Young V, is a multi-talented artist whose work spans songwriting, production and performance. His musical identity draws from the relationship between hip-hop and R&B, combining lyrical storytelling with melodic expression and a modern production approach. Influenced by the songwriting and delivery of Lil Wayne, Drake and Rick Ross, alongside the production styles of Polow da Don, Mike WiLL, 808 Mafia and Timbaland, Young V has developed a creative direction that draws inspiration from established sounds while allowing room for his own artistic identity. His earlier single, “Bad Girl”, released on 14 February 2026, demonstrated another side of his musical personality, bringing together a love-song concept and a club-oriented feel.
His latest album, I Can See Earth From Here, represents a deliberate step towards a more expansive and futuristic musical direction. Rather than simply following the movements of contemporary music, Young V wanted to step back, observe the industry and approach the project from a different perspective. This creative decision became the foundation of an album that explores the relationship between personal circumstances, ambition and the possibilities that exist beyond one’s immediate environment. Tracks such as “Dollar and a Dream” reflect the determination required to build something from very little, while “Get Away” considers the freedom, enjoyment and experiences that can come from hard work. Together, the songs explore different stages of a journey towards independence and personal fulfilment.
One particularly interesting aspect of Young V’s creative process is his decision to write the songs before developing their instrumentals. Rather than allowing existing beats to determine his lyrical direction, he establishes the message, cadence and emotion first, subsequently building the production around the words. Recorded at Bright Star Studios, the album brings together atmospheric melodies, electronic textures, deep bass and rhythmic percussion to support his combination of rap and melodic vocals. The project also benefits from contributions and support from King Bizal, Love Ladda, 0400 Reup from Paper Route Ent, Trapperman Dale, Logan Garrett, Shanell “Red” Irving, Gene Foley and DJ Epps, alongside DJ Epps and other supporters connected to the wider movement. His work has also received support from platforms including XM Radio and Dope Trackz Radio, while independent music coverage has continued to introduce his music to new audiences.
Beyond the album itself, Young V’s creative ambitions extend into visual storytelling and broader entertainment projects. Through Bright Star Interactive Solutions, he is developing ideas involving animation, film and performance, alongside creative projects connected to artists including Smash Vanta, Chica Bonita, Kush and Simone’ South. With four additional Young V albums in development, as well as a cartoon and a movie in the works, his plans extend beyond individual music releases. I Can See Earth From Here therefore offers an opportunity to understand not only his current musical direction but also the wider creative vision he hopes to establish.
Having this brief introduction to today’s featured project, I’m sure both new listeners and longtime fans are looking forward to hearing directly from Young V. So, without further ado, let’s begin today’s interview.
INTERVIEW SESSION
Oliver:
Welcome back to Dulaxi, Young V. Since our last opportunity to connect, you have continued developing your sound and expanding your catalogue. Looking at your recent progress, how would you describe the biggest changes in your approach to music and your identity as an artist?
Young V:
Thank you for having me back. The biggest change has been becoming more intentional about the complete picture—what I’m saying, how the production supports it, and how each release represents me. My music still has that balance of rapping and melody, but I’m more confident letting those sides work together naturally. As an independent artist, I’ve also become more conscious of ownership and the business decisions that help me build a lasting career.
Oliver:
Your new album is titled I Can See Earth From Here. It is an unusual and thought-provoking title that immediately raises questions about perspective and distance. What does the title represent to you personally, and what do you hope listeners understand when they hear it?
Young V:
The title represents getting enough distance from the noise to see things clearly. When you’re caught up in everyday pressure, it can be difficult to recognize your progress or understand where you’re heading. To me, “I can see Earth from here” means giving myself room to think beyond my immediate surroundings. I hope listeners hear that sense of possibility and realize that where they are today doesn’t have to define how far they can go.
Oliver:
You have described the album as a project that came from stepping back and observing how the world and music industry were moving. Was there a particular moment, experience, or realisation that made you decide to approach this album differently?
Young V:
It was more of a gradual realization than one specific moment. I kept seeing how quickly attention moves and how much pressure there is to constantly release something. That made me think seriously about what I wanted people to remember about my music. I wanted to give the songs time to develop and build a project with its own identity. Stepping back helped me make decisions based on the music instead of the pressure to keep up.
Oliver:
You have made it clear that you wanted a futuristic direction rather than simply following what is currently popular. How did you define that futuristic sound during the creative process, and what musical elements helped you bring that vision to life?
Young V:
For me, a futuristic sound has to create a world you can step into. I was interested in atmospheric melodies, deep bass, unexpected textures, and enough space for the vocals to move. I also wanted contrast between the harder drums and the smoother, more melodic parts of my delivery. The goal was to make something that feels forward-looking while still having emotion and a strong groove. The sound has to serve the song.
Oliver:
One interesting part of your creative process is that you write your songs before building the production around them. Why is it important for you to begin with the lyrics rather than allowing an instrumental to determine the direction of a song?
Young V:
Starting with the lyrics gives me the freedom to figure out what I actually want to say. I can establish the emotion, the cadence, and the way one thought runs into the next before choosing the production. That’s especially important with my flow because the rhythm is already taking shape as I write. Once that foundation is there, I can build music that supports the delivery and gives the words the right setting.
Oliver:
The album moves between different experiences, with “Dollar and a Dream” reflecting the struggle and “Get Away” representing the rewards of hard work. Did you deliberately arrange the project to reflect different stages of a personal journey, and how important was that contrast to the album’s overall message?
Young V:
Yes, that contrast was important to how I wanted the project to feel. Ambition includes the struggle, but it also includes what you’re working toward—the freedom to enjoy your life, spend time with someone, and experience something beyond your daily routine. “Dollar and a Dream” and “Get Away” speak to different parts of that journey. Together, they show why the work matters and what can keep you motivated through the difficult stretches.
Oliver:
Let’s talk about “Dollar and a Dream.” The title suggests ambition, sacrifice, and the determination to build something from very little. What personal experiences or observations influenced the song, and what does its message mean to you at this stage of your career?
Young V:
It comes from understanding what it means to have a vision before you have the resources to fully support it. As an independent artist, you make decisions about where your time, money, and energy are going, often before you know what the return will be. At this stage, that message means persistence with purpose. Believing in yourself matters, but you also have to keep improving, learn from your decisions, and put consistent work behind that belief.
Oliver:
On the other side, “Get Away” presents a different perspective, one that reflects success and the results of putting in the work. When creating this track, were you reflecting on achievements you have already experienced, or were you expressing the future you are still working towards?
Young V:
It’s a combination of appreciation and aspiration. You can recognize the progress you’ve made while still wanting more freedom and new experiences. “Get Away” also has that personal side: wanting to leave the pressure behind and enjoy time with someone you connect with. Success means more to me when it creates room to actually live. The song captures that feeling of having something to look forward to beyond the grind.
Oliver:
You have mentioned Lil Wayne, Drake, and Rick Ross as lyrical influences, alongside producers such as Polo the Don, Mike Will, 808 Mafia, and Timbaland. What specific qualities have you taken from these artists and producers, and how do you make sure those influences contribute to your sound without defining it?
Young V:
Wayne’s wordplay and the way he connects ideas stand out to me. Drake shows how naturally melody and conversation can work together, and Ross brings confidence and vivid imagery. On the production side, Polow da Don’s musicality, Mike WiLL’s impact, 808 Mafia’s atmosphere, and Timbaland’s rhythmic creativity all give me something to study. I take inspiration from those qualities, then bring them back to my own voice, experiences, and instincts. My identity has to lead.
Oliver:
You recorded the album at Bright Star Studios. How did the studio environment contribute to the creative process, particularly when you were building production around lyrics that had already been written?
Young V:
Having an environment where I could focus and work through ideas was important. When the lyrics come first, you need room to listen closely to the cadence and figure out what the production should emphasize. Sometimes the right choice is adding something; sometimes it’s leaving space. Working at Bright Star Studios allowed me to stay connected to that process and keep shaping the relationship between the words, the vocal performance, and the music.
Oliver:
There are several contributors connected to this album, including King Bizal, Love Ladda, 0400 Reup, Trapperman Dale, Logan Garrett, Shanell “Red” Irving, Gene Foley, and DJ Epps. How did you bring these different people into the project, and what did each contribution add to the album beyond the music itself?
Young V:
Those connections developed through different relationships around the music, and I appreciate that their contributions aren’t all the same. The artists connected to the project—King Bizal, Love Ladda, 0400 Reup, and Trapperman Dale—bring their own identities and perspectives. I also want to acknowledge Logan Garrett, Shanell “Red” Irving, Gene Foley, and DJ Epps for their involvement and support. Beyond individual contributions, having people connected to the vision brings perspective, accountability, and opportunities to learn.
Oliver:
You also mentioned that some of these collaborators and supporters helped guide business decisions. How important has it been to build a circle of people who understand both your creative ambitions and the business side of your career?
Young V:
It’s extremely important because creative decisions and business decisions affect each other. I want people around me who understand the vision and can also ask practical questions about an opportunity, an agreement, or the next step. Encouragement matters, and honest feedback matters just as much. I’m building something I want to sustain, so I value relationships that help me make informed decisions while keeping responsibility for my own career.
Oliver:
Your music draws from hip-hop and R&B, while your broader sound also touches on emo rap and other styles. Do you see yourself working within a particular genre, or would you rather have the freedom to move between different sounds depending on what each song requires?
Young V:
Hip-hop and R&B are my foundation, but I want the freedom to follow the emotion of a song. Some ideas call for direct rapping and strong drums; others need melody, vulnerability, or a different kind of atmosphere. I don’t want to force every idea into the same shape. What connects the music is my voice, my writing, and how I deliver it. That gives me room to explore while still sounding like Young V.
Oliver:
You have said that you spent considerable time selecting the songs for this album because you wanted every track to offer something listeners could connect with. What was your process for deciding which songs deserved a place on the final tracklist, and were there any difficult decisions along the way?
Young V:
I looked at both the strength of each song and what it contributed to the overall listening experience. Did it communicate something clearly? Did it bring a feeling or perspective that the album needed? Could someone find a connection to it? The difficult part is recognizing that a song you like may fit better somewhere else. I wanted the final selection to have variety and purpose, with each record earning its place.
Oliver:
Your previous single “Bad Girl” explored a love-song direction with a club feel. How does that side of your music connect with the broader ideas explored on I Can See Earth From Here, and do you enjoy having room for both personal and more energetic records?
Young V:
Absolutely. Attraction, relationships, ambition, and celebration can all exist in the same person’s life, so it feels natural for them to exist in my music. “Bad Girl” represents that ability to bring a personal connection into a record that also has energy. With this album, I wanted room for different moods because perspective comes from experiencing more than one side of life. I enjoy making music people can feel privately and enjoy together.
Oliver:
You have received support from platforms such as XM Radio and Dope Trackz Radio, alongside recognition from independent music publications. How have these opportunities influenced your confidence, visibility, and understanding of the audience you are reaching?
Young V:
That support is encouraging because it gives the music opportunities to reach people outside my immediate circle. Radio exposure and independent coverage introduce the work in different ways, and both can help listeners discover the artist behind a song. They’ve reinforced the importance of being consistent and making myself accessible through interviews and promotion. I appreciate every platform that takes the time to listen and give independent artists a place in the conversation.
Oliver:
One of the strongest ideas behind this album is the invitation for listeners to step away from their usual perspective and look at the world differently. Is there a particular track you believe best communicates that message, and what would you want someone to take away after listening to the entire project?
Young V:
I would point to “Dollar and a Dream” because it speaks to seeing potential beyond your current circumstances. You may be starting with very little, but you can still imagine a future worth working toward. Across the whole project, I want listeners to feel that their lives have room to grow. Sometimes a different perspective helps you recognize an opportunity, appreciate your progress, or find the motivation to keep moving.
Oliver:
Looking beyond this album, are there any new sounds, collaborations, or creative directions you are interested in exploring? Has working on I Can See Earth From Here opened the door to ideas you would like to develop in your next project?
Young V:
I’m interested in taking the connection between music and visuals further. Through Bright Star Interactive, I’m developing ideas around animation, film, and performance that can give the songs another dimension. Musically, I want to keep exploring melodic rap and R&B while staying open to collaborations that bring a different perspective. This album has encouraged me to think more about how a complete creative world can develop around the music.
Oliver:
Finally, if listeners discover your music for the first time through I Can See Earth From Here, what would you like them to understand about Young V, not just as a musician, but as the person behind the music? And what should they look forward to from you next?
Young V:
I’d want them to understand that there’s a person behind the ambition—someone from Michigan City, Indiana, who started making music young and has continued learning, working, and believing in the vision. I take the craft seriously, and I want my music to give people something they can connect with in their own lives. Moving forward, they can look forward to more music, collaborations, and visual storytelling as I continue building Young V and Bright Star Interactive.
Oliver:
Looking beyond this album, are there any new sounds, collaborations, or creative directions you are interested in exploring? Has working on I Can See Earth From Here opened the door to ideas you would like to develop in your next project?
Young V:
Absolutely. I Can See Earth From Here has encouraged me to think beyond individual releases and consider how music, characters, and storytelling can connect. Through my company, Bright Star Interactive Solutions, I’m developing a broader creative vision that includes my artists Smash Vanta, Chica Bonita, Kush, and my country singer, Simone’ South. Each has a distinct identity, which gives me room to explore different sounds and audiences.
I also have four more Young V albums in development, along with a cartoon and a movie in the works. I’m excited about creating connections between those projects while giving each one its own purpose. The goal is to keep growing as a songwriter, producer, and storyteller, and to build experiences that people can connect with through both music and visuals.
Oliver:
Finally, if listeners discover your music for the first time through I Can See Earth From Here, what would you like them to understand about Young V, not just as a musician, but as the person behind the music? And what should they look forward to from you next?
Young V:
I’d want them to understand that there’s a person behind the ambition—someone from Michigan City, Indiana, who started making music at thirteen and has continued learning, working, and believing in the vision. My music reflects that determination, but it also makes room for relationships, vulnerability, and enjoying life. I want listeners to recognize something of themselves in it.
Looking ahead, they can expect more Young V music as I develop the next four albums, alongside the artists and entertainment projects I’m building through Bright Star Interactive Solutions. With Smash Vanta, Simone’ South, Chica Bonita, Kush, and the cartoon and movie in development, there’s a lot I’m working toward. I want every release to give people another reason to stay connected to the journey.
“I Can See Earth From Here reveals an artist thinking beyond the demands of individual releases, using music as the foundation for a much wider creative vision. Young V’s ambition is not simply to reach another destination, but to create something that continues to grow long after the music begins.”
~ Oliver (DULAXI Team)
EDITORIAL PERSPECTIVE
What stands out about Young V’s approach is the attention he gives to the relationship between songwriting and production. Beginning with lyrics rather than existing instrumentals allows the ideas to establish their own direction, while the album’s electronic textures and rhythmic arrangements provide room for different moods. Our conversation also revealed an artist thinking beyond music alone, with animation, film and visual storytelling becoming important parts of his future ambitions. It is an interesting stage in the development of an independent creative identity.
~ Oliver (DULAXI Team)
CLOSING
Our conversation with Young V has offered a closer look at the creative thinking, personal experiences and ambitions behind I Can See Earth From Here. From his decision to write before building the production to his plans for expanding into animation and film, it is clear that his interests extend beyond making individual records. We would like to thank Young V for returning to DULAXI and taking the time to share the stories, decisions and ideas behind this latest project.
For readers who have not yet experienced the album, I Can See Earth From Here is an opportunity to explore Young V’s approach to hip-hop and R&B while discovering the different stories and perspectives that shape the project. We encourage you to spend some time with the release and continue following his development as an artist and creative entrepreneur.
A special thank you to everyone who continues to support DULAXI and take an interest in the independent artists we feature. We appreciate you spending time with us, and we look forward to bringing you more conversations, new discoveries and insightful stories from across the international music scene.
Until our next interview, stay connected with DULAXI.
~ Oliver (DULAXI Team)