In this exclusive interview, Variance's Ethan Ijumba sits down with Yellow Claw to discuss their recent success, cinematic influences, and genre-blending production. The duo opens up about how their track CRUSH landed a pivotal placement in the film Babygirl and the surprising impact of the “Babygirl Effect.” They also share their thoughts on scoring films, their approach to storytelling through music, and what makes a collaboration creatively exciting.
From working with DJ Snake, Steve Aoki, and Gucci Mane to incorporating trap, hip-hop, dubstep, hardstyle, and moombahton into their sound, Yellow Claw reveals their artistic process and future aspirations. Plus, they tease a major project coming in 2025. Be sure to read the full interview below:
Your song “CRUSH” was recently featured in the film Babygirl. How did this placement come about, and what was your reaction when you found out?
Halina [Reijn], the director, is a good friend of ours and we often talk. We send her music often actually. When we sent her "CRUSH" she instantly felt it would be amazing for her new feature and obviously seeing the result we 100% agree.
Seeing the impact of the “Babygirl Effect,” was it a major surprise to witness how a single scene featuring “CRUSH” could amplify the song’s reach and introduce it to new audiences?
Definitely. You never get used to these things cause they always happen in a totally different way. To reach such a big and new audience is always cool and for a lot of people that particular scene and song was extremely memorable apparently. A big compliment.
Your music has been featured in several major films and video games like 22 Jump Street, Good Boys, Madden NFL, and Just Dance. Is there an initial reaction either of you have when you find out your track is being placed in such a big project? Does it feel different compared to releasing a song on its own?
It’s special because you get the images with the song. An additional layer so to say. And that can add so much to a song. Which music video’s do similar of course. But cinema is so much bigger in terms of storytelling and production of course that it can really lift a song up to huge heights.
With such a strong cinematic background, do you see yourselves getting more involved in film scoring or soundtracking movies in the future?
We love to. To be earlier involved in the process would be amazing of course. To really create a scene. Scary definitely but also very exciting. Let’s hope we ever get an opportunity to do so.
Given your background in both music and film, do you find that cinematic elements influence your approach to production? Does storytelling play a role in how you craft your sound?
It does! We often think about video storytelling when we barely finished a song. Or when we listen to a first demo. We think ahead of these things for sure. Jim knows what’s possible in film very well of course and often runs with songs and comes back with great additional ideas.
With that being said, your music incorporates elements from trap, hip-hop, dubstep, hardstyle, and moombahton. How do you blend and mix such different genres when crafting your songs?
By not thinking about those genres and just following our creative heart.
Having collaborated with a wide range of artists, from DJ Snake and Steve Aoki to Gucci Mane and Tiësto. How do you choose your collaborations, and what makes a partnership creatively exciting for you?
If you can have a good conversation with someone you can probably make good music with that person too.
Are there any specific artists that you hope to collaborate or work with in the future?
So many. Not specific emerging artists but very inspired by names like Troyboi, Tisoki, WINK and many more. Also Yung Raja, a Singaporean rapper.
Aside from your upcoming shows in March, what’s next for Yellow Claw in 2025? Any upcoming projects, collaborations, or surprises that fans should be excited about?
A big Yellow Claw project is on the way this year.