Destin Conrad On Imposter Syndrome, Black Queer Representation in R&B And His Debut Album 

Most of Gen Z met Destin Conrad, 24, over a decade ago on Vine, where he shared hilarious clips that frequently intersected with music. In one classic clip, for instance, he freestyled “To the- to the- to, to the left!” over a lunch table beat.

Music has remained at the center of the Tampa native’s creative output in the years since, with his debut EP, Colorway, arriving in 2021. The year prior, he wrote several songs on Kehlani’s It Was Good Until It Wasn’t, setting the foundation for his slow-burning ascent in the R&B world. His ethereal mélange of hazy acoustic guitars, explicitly Black and queer lyrics and soulful, heartfelt vocal performance quickly spun early hits out of cuts like “In the Air,” which he recently performed as a surprise guest at the first Brooklyn show of FLO’s Access All Areas Tour. 

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Across a slew of post-Colorway EPs – including Satin (2022), Submissive (2023) and Submissive 2 (2024) – Conrad continued honing his sound, slowly crafting a singular lane in the contemporary R&B space through his incorporation of left-of-center subjects like the worlds of leather and BDSM. Those projects landed him supporting gigs on tours by alt-R&B stars Kehlani and Syd, as well as his own 2024 headlining tour.

Over eight years since Vine disappeared, Destin has finally unleashed his debut studio album, Love on Digitial. Released on Friday (April 25) via Above Ground Entertainment and EMPIRE, Love on Digital trades on the futuristic percussion of turn-of-the-century R&B and disarmingly frank lyrics that explore the intricacies of navigating Black queer love in the digital age. Assisted by Lil Nas X, Kehlani, Cari, Teezo Touchdown and serpentwithfeet, Love on Digital is a stellar full-length project – and one that feels extra sweet for fans who have patiently waited for Conrad songs longer than two minutes. The new set is the culmination of all the things Conrad has learned in the years leading up to his formal debut. 

“I’m still learning so many important things, but one of the main ones is that whatever I see for myself can be real,” he tells Billboard over a saucy Cava bowl. “There’s also a lot of different jobs and moving parts — making the music is literally just one part. Being onstage is another job, and then I gotta market myself too, there’s so many factors. Learning what I like most and what feels most natural to me has been fun.” 

In a candid conversation with Billboard, Destin Conrad talks Love on Digital, performing with FLO, Black queer representation in R&B and defeating imposter syndrome.

How do you feel now that your debut album is finally out in the world? 

Happy for it to be out. I’m also excited to move on. I’ve been trying to not make [the pressures of a debut album] real because it’s only real if you make it real. I’ve been reminding myself that I will keep making music after this; this isn’t the end-all be-all, even though it’s my debut. I’m going to grow and make better music. 

Do you view Love on Digital as an introduction, a re-introduction or neither? 

An introduction. I feel like people haven’t gotten to hear a full-length from me, and that’s been a common theme with my last couple projects. Everybody’s like, “All these songs are so short!” And I’m like, “Okay, well, I’m going to give y’all a bridge and you’re gonna know what a full song sounds like from me.” It also feels like I’m actually putting thought and intention behind a lot of things that we didn’t really do in the other projects for whatever reason. It feels like an album. 

When did you officially begin and finish working on the album? 

I recorded the first song [“Kissing in Public”] almost two years ago. I’ve had that one for the longest time; I made it in Tulum. I made a lot of the other songs in many different places: London, L.A., New York. I knew that I didn’t want to put “Kissing in Public” on Submissive, but I didn’t know it was going on my album. It didn’t fit [on Submissive], but it’s stood the test of time. 

How would you characterize the sound of your debut? Would you say it builds on or moves away from sounds you’ve explored on your EPs? 

I describe the sound as digital. It’s R&B through a different lens than what we view it in. Loud. Queer. 

How and when did you land on the title? 

I don’t know! And that’s the crazy part — I don’t remember [specifically] thinking about it. I called it Love on Digital because it’s a nod to the digital era of R&B. I feel like R&B used to be very instrument-heavy and then there was a shift where we got new software, and it became a different sound and style. Over time, [the title] gained a new definition and reason. It’s also me thinking about love from a long-distance standpoint and using the Internet to stay connected to people. Over the past year or two, the title has been in my ether. 

What frustrates you most about navigating love in the digital age? 

I hate being on the phone for hours talking on FaceTime. I really envy the people that can just sit and talk to their boo. That’s how I know I really like you – if I’m sitting on FaceTime with you. And even then, I don’t like it! I really enjoy being present and I love doing things with my time physically. One of my love languages is definitely physical touch. I need whoever my partner is to be there. I’m not equipped enough to do long-distance. 

Have your feelings of imposter syndrome subsided now that you’ve made it to your debut album? 

1000%. I still experience imposter syndrome, but not to that magnitude. Going on tour watered a lot of that down for me, seeing real people and real faces. [Those feelings] were there because I dropped Colorway during the pandemic, so I didn’t really get to do a full, traditional rollout.  

After that, I toured Submissive, and I opened for Syd — that was my first time singing my songs anywhere. And then I opened for Kehlani, which was also really tight. But it’s a different feeling doing my own headlining shows. My fans have helped me navigate my imposter syndrome. 

You were giving Main Pop Boy energy in the “Kissing in Public” video, hitting choreography and all. What was that video shoot like? Do you want to dance more in the future? 

I definitely want to dance more! It was so fun shooting that video. [It was directed by] Zev York, who I’ve shot a couple of videos with, and my friend Kassidy Bright choreographed it, and she’s a joy to work with. I’m excited to keep pushing that and seeing what it looks like when we add movement to the visuals. 

“Mr. E” is so witty. What was your songwriting process like for this album? 

I wrote all of Colorway, and then I slowly started working with more writers. With [2022’s] Satin, it was me, my best friend Ambré, Jean Deaux, and one of my friends Astyn [Turr]. We went to Joshua Tree and made a good chunk of Satin in a week.  

I’ve been working with a lot of different writers that are established in their field; I feel like that’s what’s different with this album. I worked with Starrah on “P.B.S.,” which was really different for me. Mack Keane also was a huge collaborator for this album. I wanted to challenge myself and push it in a different direction. 

When you bring new cooks into the kitchen, how do you still keep the essence of Destin at the center? 

I’m just not going to lie on the song. If it’s not something I genuinely resonate with, I’m not going to sing it.

Conceptually, you pull from a lot of really cool places, from leather and BDSM to the evolution of technology. Where do you get the confidence to create R&B through these lenses? 

Fear is definitely still a thought; it’s not a non-factor to me. I definitely think about things all the time. I kind of just throw myself into s—t and see what sticks. I’m also very gay and that’s a factor. I feel like there’s not a lot of people like me in the R&B space, so I want to poke at people a little bit and not be mute or minimize myself – and do it in a way that’s still tasteful and authentic to me. 

You and Lil Nas X reunited again on “P.B.S.” What does it mean to you to be able to connect with another young, black gay music star and have the work penetrate the mainstream? 

I think what he’s doing is so bold that I wanted to bring it into my world a little bit. And he’s actually my friend! That was something I was very adamant about: working with people I’m actually cool with in real life and not just getting people on my album because they’re popping. I was like, “Who genuinely inspires me?” And [Lil Nas X] was definitely on that list. I sent him “P.B.S.” and he was like, “I’m going to do a verse tomorrow and send it.” 

Who were some artists you felt a connection to growing up? 

Brandy is at the top of my list when it comes to any form of inspiration in music. My mom loved Luther Vandross, and I grew up listening to a lot of him. Michael Jackson’s fearlessness. Stevie Wonder’s approach. I’m a melting pot of inspiration. 

“Soft Side” is so intimate and Black. Talk to me about linking with serpentwithfeet for that one. 

Serpent is also a huge inspiration. He’s somebody I’ve wanted to work with since I first heard his music. He’s a Cancer like me, and he’s so well-spoken and articulate. He asked me what my perspective was from my verse, and I feel like a lot of artists don’t really ask me what I was thinking when I made the song. “Soft Side” is definitely one of my favorites. 

You popped out for FLO’s first Brooklyn show on their ‘Access All Areas’ tour earlier this week. How was that? 

I love FLO! I’ve been a fan of them since they popped out. It’s so amazing to see them blossom and become such amazing performers. The last time I saw them was in D.C., I had a college show and they had a show the same night. I went to go pull up on them and it was a really small, intimate show. Going to see them play last night in front of thousands of people was so inspiring. They’re definitely at the forefront of the argument against R&B being dead, and I love that. 

What does it feel like as a rising R&B artist to constantly hear people say that the genre is dead? 

I never hear anybody say rap is dead!  I just feel like people aren’t digging. They want it to come to them. Sometimes I just go on my Apple Music, and I literally just search for music. I feel like people don’t want to do that anymore. I feel like people just want it to be handed to them on a silver platter. I’m not going to lie, I like some artists, but I don’t love every song by them. I find what I do like and keep it pushing, it’s all subjective. But for you to say the whole genre is dead, that’s a stretch. 

Can we expect a Love on Digital tour anytime soon? 

Very soon! We’re actually working on it right now.