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WOPTamii is leaning into the in-between on his latest EP, The Cross Roads. A reflective drop that picks up where his single “Foster’s Home” featuring EHLUMNI left off. The Cherry Hill, New Jersey, native uses the project as a checkpoint rather than a victory lap. In doing so, he is unpacking real-life transitions and quiet realizations as he gears up for his debut album, The Crossroads: A Liminal Space Album, arriving in the new year.
Rooted in nostalgia but built for now, WOPTamii’s sound lives at the intersection of hip-hop, R&B and alternative vibes. Influenced by the likes of Mac Miller, Capital STEEZ, Tyler, the Creator and Joey Bada$$, he balances sharp, thoughtful bars with smooth, feel-good melodies that don’t overstay their welcome. The Cross Roads feels intentional and unforced, giving listeners insight into where his head’s at rather than chasing a moment.
Bringing It Back To The Beginning
Since stepping into the booth in 2018 with his SoundCloud debut “Sacred,” WOPTamii has been steadily building a catalog centered on honesty and growth. After reemerging from a creative hiatus with “1999 (BWD),” this EP sets the stage for what’s next — including his debut album and the collaborative The K.I.D.S. Next Door project. It’s not about proving anything yet; it’s about showing progress and letting the music speak. Learn more about WOPTamii in an introductory interview below:
- The Cross Roads seems to center on transition and self-awareness. What specific moments or experiences in your life inspired this EP, and why did now feel like the right time to tell this story?
“The Crossroads” is absolutely the embodiment of transition and being in a ‘liminal space’ if you will. If I was to attribute specific experiences that propelled this project to the forefront, I’d have to take it back to when I spent a year in college. Initially, having a falling out with my father right after getting to campus triggered a lot of self reflection, causing me to take into account the reasons behind the decisions and choices I was making for my future. This also happening at a time when I was at odds with my mother surely had me introspective about how my life was turning out. Then going into trying to reconcile that relationship (with my mother), as tumultuous as it has been, came with its own set of challenges. Falling out with a majority of my childhood friends, who just so happened to be the members of the rap group we formed, while losing close friends to death that were more like family. Being in a committed relationship for a few years that came to an unfortunate end. Changing my career path a couple times. But then also, I feel as though there’s been a lot of topics in my life that I never allowed myself to be vulnerable enough to put into my rhymes. So I feel as though if I’m going to actually give myself an opportunity to be heard and adored, I have to let people inside my psyche more than I’ve felt comfortable doing before. A lot of things that have always been afflicting me but I just didn’t have the guts to speak on but that I know are relatable.
- Your work often balances introspection with feel-good melodies. How do you approach creating music that’s emotionally honest without becoming heavy or inaccessible?
This is something I’ve actually noticed myself a few years back. I kind of have always gravitated towards music and melodies that are very upbeat, happy sort of vibes, even just in my listening experience. So once I began crafting my own sound, I just have always leaned towards production that gives a feel-good energy, or I like to call it like ‘commercial soundtracks’. My introspection, I would say, comes from me using music as a means to release emotions and dialogue I don’t necessarily feel confident in expressing in any other way. One of my favorite unreleased bars of mine, which is an ode to a close collaborator brother of mine, is “Ain’t too good expressing feelings, so I leave ‘em on these tracks”. Music has become my diary in a heavy sense so anytime I’ve felt something really deeply, it’s gone into a song or verse of some sort, even if it’s only existing in my notes app.
Step Into The Sounds Of His Latest Offering
- “Foster’s Home” set the tone leading into this project. What role did that record play in shaping the direction of The Cross Roads and what did working with EHLUMNI bring out of you creatively?
“Foster’s Home” is actually an older track. That record was made back in 2020 during the pandemic times and I just never released it because I always felt as though I could get it mixed better before releasing, which tends to be a recurring issue for me when it comes to my music. But nonetheless, the reason I decided to release it before The Prelude is because my entire concept of ‘The Crossroads’, I conceptualized back during the time “Foster’s Home” was made. I originally had an entirely different tracklist, cover art and concept for the rollout than what is actually in fruition at the moment but I felt it was only right to include an original cut from the time of this conception so that it still felt like the same concept with the new version of the project. And then working with EHLUMNI has always been one of my favorite collaborations I’ve been blessed enough to engage in. I’ve worked closely with my brother for a plethora of years, he’s added vocals and lyrics to some of my most cherished records over the years and I’d like to believe the same can be said from him. This record in particular was at a time when I was timid, I would say, to attempt to explore my vocal range and see what I could do melodically. So allowing bro to bounce around on the beat in a way I hadn’t envisioned it, while making it melodic, certainly helped me to open up my creative mind and allow myself to freely express my thoughts in my records that followed.
- We would describe The Cross Roads as both a continuation and an introduction. What parts of yourself or your artistry do you feel listeners are meeting for the first time on this EP?
I would classify this as a reintroduction if anything. With this new exemplification, I would say I’m finally, truly allowing my listeners to enter my realm of thought and life experience. I feel like a lot of my earlier music was me speaking into existence the life I want to embody once I establish a presence in this industry but now I feel like I’m allowing myself to speak on my life now. I’m opening up and revealing parts of my life that have affected me and giving myself the chance to be seen, authentically.
New Music From The NJ Native
- Growing up in Cherry Hill, New Jersey, how has your environment influenced your sound, perspective, or work ethic as an artist?
Cherry Hill, NJ is a very unique place to say the least. Being born in Maryland, then moving to VA before finally landing in NJ, I was able to see a lot of different walks of life even at a young age. But Cherry Hill in particular is where I really grew up. Cherry Hill is sort of a melting pot in and of itself. So I would say Cherry Hill would definitely have been my most impactful place that I’ve ever lived, outside of Philly.
If I was to articulate how the town influenced my sound and work ethic, I’d say it really shaped how I see music. Because I was able to work alongside a plethora of multi-talented musicians and creatives of all natures. So my ability to be exposed to, and then in turn implement, different mediums of creativity allowed me to develop different interests. And be involved in experiences in many different roles, which I allowed to shape my understanding of the music industry. While also self-teaching myself the intricacies of the business side of the industry as well.
- Artists like Mac Miller, Capital STEEZ, Tyler, the Creator and Joey Bada$$ have influenced your music. How do you honor those inspirations while still carving out a sound that feels uniquely yours?
In one way, I still am an adamant listener of all of these artists. Even all of the music that introduced me to them. But even in crafting my own sound, I feel as though I’m heavily influenced by their sounds. A lot of the production that I tend to find being my style is reminiscent of the beats or melodies I heard in tracks I’ve been listening to for years at this point. So being able to hear myself sound similar, in a way, to those that shaped my love of music itself makes me sometimes even replicate certain bars in my own way to pay homage in my own kind of way. I hope to one day be able to collaborate with all of my inspirations in music. Time permitting of course but even if it has to be posthumously.
- You first released music in 2018 and later returned from a creative hiatus with “1999 (BWD)”. What did that period away from releasing music teach you about yourself and your relationship with art?
Being able to give myself time to breathe. Away from trying to chase a result from releasing my music fasho gave me a sense of new birth when I returned to making music again. I had allowed myself to get too enveloped in trying to maximize the outcome of a release. Instead of enjoying my creative process as it came to me. It even got so deep, I had found myself in a 6-month long writer’s block. But eventually, I told myself that I needed to go back to having fun with my music. I found my flow again and was able to regain my love for crafting songs. Which in turn made me a lot more confident in my abilities. As well as pushed me into a space where I began to experiment with my sound.
- You take a hands-on approach to songwriting, production, and visuals. How important is creative control to you, and how does it shape the way your story is told?
Since I first decided to actively pursue a music career, I always had it in my mind that I would one day be able to fully make a song that met my standard of quality. From production all the way to engineering the final record. That is something I always admired the most about my favorite artists such as Tyler, the Creator and Mac Miller. So from the standpoint of writing my lyrics and developing my unique sound through production, I would say being able to actually have full creative control over the creation of my music is still a goal I am in the midst of accomplishing.
Then in the respect of visual art, I am very particular about how I see my audible creations coming to fruition in visual forms and I always have been. I honestly believe when I write my songs, I envision the music video representation of my bars. How they would translate into the medium of visuals. Even down to the sequence of how the scenes would flow together. So even from conception, I already have a very specific vision for how my songs will come to visual life. I don’t necessarily believe it’s possible for another director, no disrespect to any of my collaborators crafts, to effectively bring to life a vision that’s really only in my mind.
I’ve definitely had the opportunity, over the years, to work with very talented directors. Who have allowed me to learn from them and helped me to further develop my knowledge of scene development/treatment.
What’s Next?
- The Cross Roads leads into your debut album, The Crossroads: A Liminal Space Album. Conceptually, how does the EP prepare listeners for what’s coming next?
This EP actually symbolizes a little more than just the leading piece into my debut album. It’s a culmination of a lot of time spent doubting and debating myself. A whole plethora of revisions of my album itself. Ultimately, an aggressive forcing of my own hand to stop making music and holding it hostage for years on end. That’s also why I led into the release of The Prelude with my single “Foster’s Home” with my brother EHLUMNI. Which is really a track from the pandemic era that I had held because of my self-destructive tendency to be a perfectionist with my art.
So with all that being said, I would say this EP reintroduces my artistry to listeners in a refreshing new manner. By giving myself the space to be heard, I put together what I believe to be a solid body of work. Consisting of mostly new tracks that I’ve crafted in no longer than the last 6 months. Another issue I always faced was not wanting to release any of my freshly curated music. I always felt as though I needed to clear out older tracks first. But I’ve since realized, that only contributes more to my perfectionist mindset. Causing me to not drop music relative to my current status.
- As a rising voice in the Tri-State music scene, what do you hope listeners walk away with after spending time with The Cross Roads—and where do you see yourself evolving next?
After sitting with this smaller body of work, I believe listeners will finally have a short glimpse of deeper introspection into my psyche. As well as where I’ve been at for the duration of my hiatus from releasing. I believe those that take the time to truly understand the project and appreciate it. It will have them walking away with a mini soundtrack that can be enjoyed amid multiple different listening experiences. That exemplifies the true back and forth battles that essentially I am conceptualizing to represent the liminal space that is “The Crossroads” album. I believe it will give them a look at where I come from in music and in life. In hopes of my stories being reminiscent, relevant and relatable.
What I see next for my evolution is the completion of my debut album. As well as my sophomore album following shortly behind. On top of that, I am working more on collaborating with my colleagues and artists that I am inspired and/or motivated by. Even working on 2 separate collaborative albums at the moment. Finally, I will be returning to teaching myself how to self-engineer my music. I will be looking into also tapping in with some of my collaborators to help me learn production as well. Getting a lot more visual content & music videos released for the public.
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