With n=40 now released, Jairic reveals just how far a self-driven vision can travel. Born in Detroit and now creating from Cannes, he was shaped by a family steeped in music and began producing hip-hop for local acts before forging a sound that fuses raw storytelling with the grandeur of vintage rock, classic funk, and cinematic scores. His latest work has drawn early praise from Wonderland Magazine, NOTION, CLASH Magazine, EARMILK, and NPR stations, while his live shows have lit up venues like Château Les Alouettes, Villa Balbiano, and the Paris premiere of Azur. Nearly two million streams later, each new track sketches a world that feels both refined and deeply rooted.
Across eight tracks, n=40 finds Jairic sharpening his sonic identity. The production pulses with crisp drums and thick basslines, carving out room for lyrics that hit hard yet stay honest. At its heart is ‘Yolo 2 Yoga’, a song that erupts from jittery beats into a surge of energy. In the video, directed by Vansh Luthra, Jairic journeys through his younger selves, confronting growth head-on instead of letting it slip by unnoticed.
The song captures the EP’s broader spirit. ‘Yolo 2 Yoga’ works as its ignition point, pushing the record toward a space where resolve becomes its own kind of propulsion. Jairic had this to say: “n=40 isn’t midlife. It’s mid-war. I’ve spent my life building things that last—this album is no different. The music, the visuals, the moves—I’m making every second count.”
n=40 EP Tracklist:
1. Antagonist (Intro) 2. Mitt Rock Me 3. Yolo 2 Yoga 4. Young, Old, Short & Tall 5. Don’t Let Me Put A Track On You 6. UDK WTF I Am 7. Stick Figaro 8. Still AF Gospel
On October 10, 2025, Q052 released his fourth studio album, Thunder Child, via Musique Nomade, a set that cements his status as a Mi’gmaq hip-hop force tackling systemic inequities head-on. Quentin Condo, the man behind the name—drawing from his first initial and the 052 code for his Gesgapegiag, Gaspésie roots—now operates out of Sherbrooke, Canada, where he amplifies calls for Indigenous youth empowerment and safeguards for women and girls. With streams topping 140K on Spotify, he’s claimed Best Male Hip-Hop Artist at the 2023 International Indigenous Hip-Hop Awards, alongside noms for Indigenous Artist of the Year at the 2021 ADISQ Gala, Expressive Music Artist/Group and Blues/Rock Artist/Group at the 2022 Teweikan Gala, and Hip-Hop Album at the 2022 GAMIQ. His commanding live shows have drawn coverage from CLASH Magazine, spins on Radio Canada, and support for ‘Loud Sunday‘ from BBC Radio 6‘s Don Letts on Culture Clash Radio. Q052 has rocked major lineups with Cypress Hill at events like FEQ, La Noce, OFF Québec, Innu Nikamu, Festival Kwe!, FME, Festival Bleu Bleu, and Festival en chanson de Petite-Vallée.
The album’s tracks demand close listens, stacking Q052‘s sharp wordplay against instrumentals that nod to classic hip-hop roughness, infused with grunge and alt-rock elements from influences like Ty Segall, Immortal Technique, Cypress Hill, Black Sabbath, Rage Against the Machine, Public Enemy, Run DMC, and King Gizzard and The Lizard Wizard. Leading the charge is ‘Look It Up‘, the focus single that dials back the layers to spotlight his aggressive verses dismantling authority, in the vein of Talib Kweli, Mos Def, Danny Brown, and KRS-One. It embodies the project’s push for awareness and resistance, blending spoken-word intensity with hip-hop’s backbone and rock’s snarl for a sound that’s grounded in urgency.
Q052 had this to say: “Hip Hop artists are considered to be street journalists who share stories from their environment. In this album, I’m taking listeners on a tour in my mind and expressing how I view the world right now. It’s gone to hell!! From world leaders to the environment, from television shows to the news, from law enforcement agencies invading homes to assassinations, from social media platform addictions to a cold beer!! I’m reporting on it…is this mic on?”
Thunder Child Album Tracklist 1. Whap Bam-Boo 2. Wickedness 3. Look it Up 4. Thunder Bows 5. Piece of Man 6. Loud Sunday 7. Post Like Addict 8. Space Invaders 9. Restricted Radio 10. Sláinte
Jairic put out his new single ‘Don’t Let Me Put A Track On You’ last week on September 25 through Rich Air Music, keeping his streak of do-it-all releases alive. The guy got his start in Detroit, where music filled the house from day one, and he spent those early years making tracks for rappers around town before going solo with a sound that’s all his own. He pulls from Nas and Wu-Tang Clan for the weight in his words, folds in the grit of Detroit’s lesser-known spots, throws in some classic funk grooves, ’60s rock bite, and those big film-score swells. Over the summer, he turned heads with low-key sets at Château Les Alouettes in Cannes and Villa Balbiano on Lake Como, and popped up live for the Paris debut of the short film Azur. Jairic handles the writing, the beats, the vocals—everything—then pairs it with visuals that balance sharp luxury against rough edges, landing him right where rap rubs up against cinema and high fashion.
What makes this one stick is the way Jairic layers his delivery: straight-talk bars over a beat that builds from knotted-up chaos to a smoother vocal turn, then kicks back into a full-throttle hip-hop drive. It’s got that forward momentum, the kind his production always carries, making you lean in for the next switch. The video takes it deeper, shot by Vansh Luthra, the Indian director out of Prague who’s built a rep on films like Two Words as the Key and the award-pulling Destination Paradise—it even grabbed an “Honorable Mention by the Press” at the Academy-qualifying Festival Internacional de Cine Lebu. Jairic shows up sharp in a suit, caught in this drawn-out push-pull with assistant director Julie Weber playing the part of someone who drifts in close with a loaded stare. They move through empty nighttime streets, lights carving hard lines across faces, and a single rose keeps popping up as this quiet thread—turning the whole thing into a tight story about who ends up holding the cards.
Jairic shared: “The video is built around the symbol of a rose. It moves through a dark, seductive world, exploring power, obsession, and how the hunter can quickly become the hunted. The song itself carries that same energy — a warning, a dare, a promise: don’t let me put a track on you.“
From the gritty streets of Detroit to the sun-soaked vibes of Cannes, Jairic has carved out a fierce spot in hip-hop as a self-made musician, producer, and storyteller, blending raw lyrical punch with genre-bending production that draws from icons like Nas and Wu-Tang Clan, alongside Detroit underground edges, classic funk, 60s rock, and film scores. With nearly 2 million streams across platforms from his fully self-written, self-produced, and self-performed tracks—paired with visuals that mix luxury and grit—he’s a rising star at the crossroads of music, film, and fashion, having delivered standout performances at elite spots like Château Les Alouettes in Cannes, Villa Balbiano on Lake Como, and the Paris premiere of the short film Azur, while his work spans France, Italy, Prague, and the U.S.
His latest drop, ‘Don’t Let Me Put A Track On You’, hit on September 5, 2025, via Rich Air Music, premiering on CLASH Magazine and earning props from EARMILK, packing quick-witted bars, chaotic sound design, a Caribbean pulse, and a bridge with warm female vocals that echo his unfiltered energy.
We sat down with Jairic to dive deeper into his journey, influences, and this bold new track.
What’s it like growing up in a musical family in Detroit, and how did that shape your early days in hip-hop?
I’m incredibly grateful I had music around me from such a young age. In Detroit, rhythm was everywhere — every get-together had live music, and I grew up playing drums and piano. That foundation shaped everything I do in hip-hop.
How did you transition from producing beats for local Detroit artists to creating your own independent sound?
I loved producing for others, but I love writing too much to stay quiet. It’s therapeutic and engaging — I had to find my own voice.
Can you talk about the influences from Nas, Wu-Tang Clan, and classic funk that show up in your music?
Part of me is always chasing that standard — a beat as timeless as ‘C.R.E.A.M.’ or lyrics as poetic and hard-hitting as Nas. Classic funk adds the groove that ties it all together.
What’s been the biggest adjustment living and working in Cannes after coming from Detroit?
The toughest adjustment has been being away from family. I was performing and working on a project in the South of France, and ended up missing part of my daughter’s soccer season — that was hard.
How do you blend elements from film scores and 60s rock into your hip-hop production style?
When I produce, I see it like a film scene — every track feels like part of a soundtrack. That’s where the cinematic elements slip into the hip-hop foundation.
Tell us about performing at places like Château Les Alouettes and the Azur premiere—what stands out from those experiences?
I’ve been fortunate to collaborate with incredible people — but at the end of the day, it’s the relationships, the audience connection, and the places themselves that stand out most.
What inspired the lyrics in ‘Don’t Let Me Put A Track On You’, especially that “don’t run up on me” vibe?
Someone in my family was going through a really tough time — they got attacked for doing the right thing, and I had their back. As it started to spill onto me, I thought, ‘Oh no, you don’t want any of this.’ That energy sparked the track, and from there it took on a life of its own.
How did writing this track in the south of France bring in that Caribbean pulse and contrast between smooth and chaotic elements?
I was staring out at the Mediterranean, layering these wild percussion. It felt peaceful and soothing, but underneath it was a fight song — I was missing my family. That ‘manic, full of nonsense and grammatical’ section is where it really explodes. The bridge had been written for another track, but against that ocean sunset, it finally clicked and came together.
Can you walk us through the sound design choices in ‘Don’t Let Me Put A Track On You’, like the stirring intro and the bridge with female vocals?
The intro is actually a king cobra — a subtle nod to danger. I love layering percussion; sometimes I overdo it, but that’s where the beat takes me. The bassline has a reggae rhythm that locks in with the drums, then halfway through the verse it explodes into chaos — my favorite part. For the bridge, I originally sang it myself, but I wanted a female voice to bring contrast. Her harmonies and background vocals really added to the tension and build of the track.
If you could collaborate with anyone from your influences on a future track, who would it be and why?
Nas would be dope. I saw his Illmatic anniversary show in Germany with my son last year — legendary and effortless.
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