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One of the most useful things you can be thinking about as you build your career is what your next level looks like — and more importantly, what you do to signal to your audience that you're heading there.

Yeat is a good example of how to think about this. At one point, he was reportedly the artist with the highest streams-per-listener ratio on Spotify, more so even than Taylor Swift. That's the kind of stat that makes a lot of sense when you understand what Yeat does: he makes very specific music that's outside the mainstream of hip hop — a very particular motion — and the people who are into it are deeply, deeply into it. That enthusiasm, though, doesn't automatically translate into mainstream attention. In the same way, Billie Eilish was top 500 artists in the world, and you could talk to a lot of people who had no idea who she was, Yeat sat around 18 million monthly listeners without necessarily crossing over into the broader conversation.

So what do you do when you go to launch a new record and try to change that?

The Feature Strategy on ADL

One of the last times we talked about Yeat on the stream, we discussed how his previous record had about 250 producers working on it, with one main producer herding all of that creativity and funneling it into things for Yeat to rap on. Those producers were mostly underground, below-ground, not names.

On ADL, the move is completely different. He took out a full-page ad in the New York Times to reveal the tracklist, and the feature list is wild: Julia Wolf, Swizz Beatz and Elton John getting to the older heads, Grimes, Dylan Brady of 100 gecs, NBA YoungBoy touching hip hop, Don Toliver, Joji. This is a very deliberate strategy of tying yourself to enough different worlds that you start getting into the conversation around all of them.

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