Soul, Struggle, and the Sound of Truth : An Interview with Gregg Green

 by Kenny Cheeba

Few artists manage to blend raw emotion, technical skill, and authentic storytelling quite like Gregg Green. With a sound that bridges genres and a voice that resonates with truth, Gregg has carved out a distinct space in today’s music landscape. Whether performing on stage, crafting lyrics in the studio, or connecting with fans through deeply personal tracks, his passion for music is unmistakable.

In this exclusive interview, Gregg opens up about his creative journey. From his early influences and breakthrough moments to the evolution of his sound and what inspires him today. Join us as we dive into the rhythms, struggles, and triumphs that define Gregg Green’s life in music.

First off, can you introduce yourself?

My name is Gregg Green. I’m an artist, musician, and family man. Born and raised in Holland. My father’s a jazz trumpeter from Memphis, Tennessee, who played with legends like Lou Bennett, Dexter Gordon, and Ben Webster. He also taught at the Sweelinck Conservatory of Music for over 40 years.

My mother was a powerhouse too.  A booking agent who worked tirelessly to promote and fight for recognition of jazz in the southern Netherlands. Together, they were a golden couple.

We grew up surrounded by unconventional thinkers, the so-called outcasts of society. People like Dizzy Gillespie and Art Blakey were regular guests. That environment shaped my worldview. Musicians feel natural to me. They're my favorite people.

My uncle Julius was a singer and choreographer with the Mad Lads on the legendary Stax label. De La Soul even sampled one of their tracks on "Eye Know." That man had soul for days — a natural performer, just like my pops. Must be something in the Memphis water.

What’s the first thing you do when starting a new track — melody, beat, or vibe?

It depends. If a producer sends me something, I cater to the beat, find the right vibe, lyrics, and topic to match. I go through my book of rhymes, find a phrase that resonates, and build from there. The hook usually comes last, it ties everything together. That’s often where the melody kicks in.

When I’m producing myself, I usually start with the bassline. That’s the groove, the foundation, like a sonic spaceship everything else orbits around. I want it to invite musicians to play and listeners to vibe. The lyrics? That’s just perspective, it’s easier to open up when the energy feels good.

Your sound feels rooted in raw hip-hop and something more introspective. How would you describe it?

I woke up one day and realized I was born a musician. Never really aspired to be one. I didn’t go to school for it, I learned by being around people, and spending hours with my guitar and other instruments. Playing is spiritual. It’s meditative. It teaches you about yourself.

I grew up on hip-hop and connected deeply with it. But I was also raised on Coltrane, Billie Holiday, Ohio Players, Aretha, Cannonball Adderley, Motown, James Brown, and even Richard Pryor. That whole soul-rooted-in-blues lineage. All of that shaped me.

Hip-hop is just blues in the city. It’s got the same roots, the same soul. The introspective side of my music, that’s me working things out mentally and emotionally. Artists like Guru, Black Thought, Tupac, and Nas made it okay to be vulnerable in that space.

Are there certain emotions or themes you keep returning to in your music?

Truth, justice, and history. I care deeply about those. Songs like Hypocrite and Propaganda are me trying to work out my thoughts around injustice and historical memory. We like to think things have changed, but a lot hasn’t. I’m not pessimistic, just honest.

There are powerful forces working to keep people divided. And I write about that. But I also write about whatever moves me. Writing lets me be a vessel for the muse.

What does a typical studio session look like for you?

I’m about service. Even in a studio, I want to make sure everyone’s good. I got that from my mom, she could feel the energy in a room like nobody else. So whether I’m leading or just supporting, I do what needs to be done to make the team win.

When I’m solo, I plan ahead and execute quickly.  Mostly because my studio is my son’s room when he’s at school. He wants it back when he gets home.

Who were your early musical influences — and who inspires you now?

It’s a long list. Through osmosis I absorbed everything.  Jazz, blues, Earth, Wind & Fire, Duke Ellington, Nina Simone, MJ, Jackson 5, Motown, African and Caribbean sounds.

My dad’s record collection stayed in our house after my parents split. It was like a DJ’s vault. Scott Joplin to classical. If the music has “that thing,” I connect with it. Trends don’t matter to me.

Right now, I love LaTasha Lee. And Lil Simz — would love to work with both someday.

Any non-musical influences that shape your work?

Brooklyn, New York City!!.

What role does UK hip-hop or lofi culture play in your sound?

There was a split in hip-hop in the mid-‘90s. It started feeling less organic, more corporate. Around that time, I found myself gravitating to the UK scene. Acts like Massive Attack, Tricky, Stereo MC’s they had that vibe I felt when I first fell in love with hip-hop.

Lofi’s similar to jazz ballads for me, space to reflect and write. Miles and Coltrane? That’s like listening to God whisper.

How does performing live change your relationship to the music?

Live performance is magic. It’s the moment, and that moment completes the picture. That’s when everything breathes.

Most memorable live moment?

Playing in Tokyo with Kenichiro Nishihara for his CD release was special. I got to bring my wife, and we were treated with love and respect. We made lifelong friends.

Also, any time I share the stage with my pops. He’s a master, soulful and electric. He lifts the whole vibe.

Another highlight was being invited by Larry McDonald to perform in New York with him and Yvad (from The Wailers). True legends. It was humbling and unforgettable.

How do you stay grounded when putting personal work into the world?

I try not to get too high or low because this isn’t about me. I’m in service of it. The act of creating, of sharing, that’s my fulfillment. After that, I want to use my gifts to do something useful. Connect with people. Build something that honors our elders and uplifts the community.

 

What are you working on now?

I’m really excited about two of my upcoming albums.

GrassRoots, which drops June 20th and was recorded with my band Innersoul.
And Protect Your Soul, written with Pimpernel Jones which includes the singles Hypocrite and You’ll See, with artwork by the legend Dan Lish and videos shot in Amsterdam via Goldstone Media.

Outside of that, I’m constantly collaborating — I’ve got work with Napoleon Da Legend, Vice Beats, Blurum13 (One Self), and an amazing group called Can’t Be Copied, among others.

 

Follow Gregg's Instagram Account HERE

Gregg's last EP is avalible to buy on 7" vinyl here: