For such an artsy school, it’s no wonder Wesleyan has produced such a long list of celebrities, such as Ben Goldwasser ’05 and Andrew VanWyngarden ’05 of MGMT, action-movie director Michael Bay ’87, and playwright Lin Manuel-Miranda ’02.

One promising contender for post-graduation fame is Black Rasberry’s Vocal Director Nolan Lewis ’25, whose ninth (yes, you read that right) studio album, Can’t Afford to Care, drops this Saturday, Feb. 22. Having honed his musical craft since the age of 12, Lewis is ready to move onto the main stage with his genre-defying music, which deftly fuses rap, pop, hyperpop, electronic, and more. The Argus sat down with Lewis to discuss influences, genre, ambitions, and the healing power of music.

The Argus: Okay, [what are] three albums you have on rotation right now?

Nolan Lewis: Those albums are When I Get Home by Solange, one of my top albums of all time, Isolation by Kali Uchis (also one of my top albums of all time)—those are the two that I use for homework. And then…oh, brat [by Charli xcx]. Well actually, it’s a tie between brat and Scarlet by Doja Cat.

A: What would you tell your college freshman self?

NL: Oh my god…(laughs) I would tell my college freshman self: don’t bleach your hair. I think you can still bleach your eyebrows, just not your head hair. Or, if you are gonna do it, get a haircut first. Slightly less superficially, you’ve heard it on so many platforms, but keep grinding. I know you’re frustrated, but you’re on the right path. Just stay on the course and keep creating and keep writing. Keep making remixes. I know that you think they’re for nothing, but keep making remixes. 

And then, outside of music, I would tell freshly 19-year-0ld Nolan: don’t take biology and chemistry at the same time. Please. Be a bit more wise about your course selections. Maybe save the fun classes for the upperclassman years. You’ll still have time to do them, but you would have had more time had you budgeted.

A: If Anthony Fantano showed up to campus right now, what would he have to say about your upcoming album?

NL: I don’t think Anthony Fantano knows anything about my upcoming album, but in a world where he did—and he’s heard Turn the Tables—he is definitely excited! [Fantano] is excited, but he is not expecting a lot of variety. But, little does he know, there is still plenty! Even if, for the first time, I am strictly defining the album under a genre—which in this case is pop—there is still [a] diversity of sounds and genre in there, and I think that sometimes his opinions on music can be a little shallow.

A: What are your ambitions for the future? Do you see yourself becoming famous, [or] going on tour? Where do you see yourself in a year, or in five years?

NL: My ambitions for the future are, in a word, massive. I think they might even be outside the realm of what my brain thinks I can comprehend, but I most definitely see myself becoming famous at some point in my everyday. Whether I’m walking to class or having a meal or something, I will whisper to myself, “…And the Grammy goes to Nolan Lewis,” and practice my reaction and section of my speech. I believe that that constant manifest[ing] is very important to see[ing] your goals actualized.

But I most definitely see myself being in the conversation one day for rap GOATs, for super-powerful lyricist. And in terms of touring, I want to do a global tour one day, [or] at the very least, a nationwide tour. I am planning something in that realm soon, so…stay tuned! Long story short, I see myself being the meanest mainstream out there. I want all the “industry plant,” “overrated” allegations, because I am so tired of being a small, independent, underrated artist. I want everything, like all the critiques Beyoncé is getting…I’m gonna have that one day.

A: Would you like to tell The Argus more about what your musical style is, what your influences are—you say pop is your main genre?

NL: My musical styles have always ebbed and flowed, waxed and waned, et cetera. I have been songwriting since I was 8, and I’ve been producing since I was 12. I released my first song when I was 12, and then another when I was 13, but then when I was 14, I officially did an EP [extended play], and every year since then I’ve released a project like that. 

In terms of genre, it’s always been pop rap, now that I reflect on it a bit more. I had Mandela Effect-ed myself into believing I was strictly rap, and then I branched out. But no, I have always been doing pop rap. That kind of expanded into hyperpop-rap with PLASTIQUE, and then with Negative Space. That was when it was kind of, like, the Big Bang of it all.That was when I really started branching out, because nowadays, even though I’ll say an album is within a genre, I do think that on a project there should be something for everybody while staying true to what I want to do musically. My ideal project is something that a country fan, a jazz fan, a hyperpop fan, and a rap fan—well, I always have something for my rap fans—[can all enjoy]. 

In terms of influences, I do have a list for this one. I don’t think a lot of people would expect that Chaka Khan influences me. I looove Chaka Khan. One [influence of mine] that people on social media have clocked is Solange—Beyoncé’s sister, for anyone who doesn’t know. She is just a kind of [a] psychedelic soul blueprint for me. And just artistry, in terms of transitions, image, and how you market yourself. Tyler, the Creator, I think that [influence is] very clear. I definitely think that, in terms of transitions, he really inspires me to do more, I’m definitely not there yet. And Ravyn Lenae. My close, close friends know that I don’t shut up about Ravyn Lenae.

A: Who is that?

NL: She’s kind of considered Steve Lacy’s musical sister. The first time I ever performed at Wesleyan was Open Mic Night for [New Student] Orientation, and I did “The Night Song” by her because that was a song that I saw while I was getting into drag culture, and Naomi Smalls [from] RuPaul’s Drag Race is in [the song’s music video]. Then I actually listened to the song more, and I got a Spotify account. She’s finally starting to get a bit of an incline in her career, so she inspires me from that standpoint.

Lightning round: Amine, Doja Cat, Doechii. I should explain more about Doja Cat. I mean, I met the woman, so. I think those five are all just weird Black queer people. Well, not all of them are weird. But weird Black artists, especially if you’re a woman—I’m like an instant fan of you, and you will undoubtedly influence me in some way.

A: They don’t necessarily fit within the musical box. From what you’re saying, I love how you described it, I was thinking of Neapolitan ice cream. You take a bite, and it’s yummy, but there’s multiple [flavors]: strawberry, vanilla, and chocolate.

NL: And I’m just taking my hand, grabbing from the middle, and getting all of it…and it’s oozing out of my hand, and I smear it all over my face. And that’s my music.

A: What was the moment you realized you wanted to be a musician?

NL: I know the exact moment. I know the exact song. Well, I had been consuming music for a while prior to that, just because my parents love music. My dad makes music, too, and my mom doesn’t think she can sing, but I think she can sing. I was a passive listener until I saw the music video of “California Gurls” by Katy Perry, featuring Snoop Dogg. That was when I was like wait, this is her job. She doesn’t do anything else, she’s just having fun, and I want to do that. And Snoop Dogg was also there. But yeah, it was that video, and also “Starships” by Nicki Minaj. Oh, I forgot her, but she definitely influences me.

A: What did you have for lunch today?

NL: Hmm, okay. I went to Red and Black Café. Bacon-egg-and-cheese with avocado on a plain bagel and a small strawberries-and-cream smoothie. I’ve ordered that so much, I think they need to name a menu item after me. I think that’d be a cute way to end my time at Wesleyan. I just need to immortalize myself on the [Red & Black Café] menu.

A: Scenario: SpongeBob and Patrick just got in a huge fight, and they’re each texting you privately asking you to pick a side. What are you doing?

NL: I’m always on both sides. I’m going to make them each think I’m on their individual [side] when, honestly, I’m just collecting information. I’m not gonna do anything with that information. I just need to utilize the trust and love that SpongeBob and Patrick each have for me.

A: Because they both bring valuable friendships to you.

NL: Exactly. And so I don’t want to see that friendship disintegrate, but I’m not going to be the one who starts a conversation between them because they just both happened to talk to me. So, I would sit back and just take it in and gather info. Drink all the tea.

A: I just have one final question to wrap up: name me a perfect 10/10 album and why. Any album besides your own.

NL: A 10/10, no-skip album is Red Moon in Venus by Kali Uchis. She also inspires me a lot. That came out March 3, 2023. 

A: The memory!

NL: Well, I remember because that was the album that really helped me write after my breakup, which happened three days later, on March 6. And it was very funny because the album is so topical to that, and I obviously didn’t relate to it when it first dropped. Like, oh this just sounds beautiful. Had that not happened, I wouldn’t have appreciated it as much and really sat with—held space for—the lyrics. I listened to it a lot over spring break, so I really had time to sit with my emotions and all of the lyrics. So, I give it a 10/10 emotionally. I think if that album did not exist, and that still happened to me, then I would be so much more of a mess today, almost two years later.

This interview has been edited for length and clarity.

Conrad Lewis can be reached at cglewis@wesleyan.edu.