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Ain’t Nothin’ but a Kids’ Party: Divinity Roxx brings playful energy to ‘World Wide Playdate’

Divinity Roxx, known for her work with Victor Wooten and Beyoncé, returns with 'World Wide Playdate', an energetic album blending 90s hip-hop with positive messages for children under twelve.

NOTE: This interview was originally published in the August edition of Bass Empire magazine.

Divinity Roxx is no stranger to making a mark in the music world. From touring with Victor Wooten to playing bass for Beyoncé, she has explored a wide range of genres—hip-hop, rock, funk—reaching audiences across the globe. Now, Roxx is turning her musical skills towards a younger generation. Following the success of her 2021 debut in family music, Ready Set Go!, she’s back with World Wide Playdate, an album for children under twelve that combines the playful spirit of the ’90s with contemporary hip-hop and pop sounds.

“I play music for a living, so I am always in some state of play. It helps keep me joyful and curious.”

World Wide Playdate features ten tracks that blend elements of 1990s music with contemporary sounds. The album aims to foster connections and convey positive messages through hip-hop and pop singalongs. It emphasises themes such as friendship, family, self-empowerment, and the realisation of dreams, aligning with the National Institute For Play’s assertion that play is crucial for reducing anxiety and promoting emotional well-being. In discussing the inspiration behind World Wide Playdate, Roxx emphasised the importance of play in both her personal and professional life: “I believe that there is power in play. I grew up in a time when we played outside, used our imaginations, and came up with games that taught us how to resolve conflict, how to socialise with one another, and how to make new friends. We were active and always looking to play. When I think about it, I play music for a living, so I am always in some state of play. It helps keep me joyful and curious. I wanted to share that with children. Play keeps us curious and joyful. There is a lot of depression in young people these days, and I believe that if we played more as a society, starting young, we would be able to find more joy. That’s the inspiration behind this album.”

Roxx shared a story that highlights her connection to the 1990s: “It’s funny because I was hanging out with some teenagers at Victor Wooten Space Camp recently. One girl said to a guy, ‘Oh, you look really ‘90s today.’ I thought, wait a minute, is that what you’re into now? The ‘90s were my era—that’s when hip-hop was fun. There was party music, vibrant colours, and female rappers were really prominent. The beats were banging, and artists like Missy Elliott were taking over the scene. Hip-hop was thriving in the ‘90s.”

She continued, “I wanted this album to feel like that time. The music had me out in cyphers, having fun with my friends, exploring hip hop and its five elements. To keep it contemporary, I called up my good friend Wayne Gerard, a producer. For the ‘Ready Set Go!’ album, I produced almost everything myself, making all the beats and recording at home during the pandemic. But I believe in the power of collaboration. Wayne and I had worked on a project together with Jessica Care Moore. He’s from Detroit, an incredible guitar player, and a fantastic producer. We had worked on some singles before, so I reached out to him. I described what I wanted for this record, and he got excited. He started sending me cool beats, and I sent him my ideas and voice notes. He nailed the essence of what this music was supposed to be because he loves that era too. We collaborated and created this music together. As a contemporary producer, he has worked with all kinds of artists, and he was able to bring the sounds together and create the glue that made ‘World Wide Playdate’ come to life.”

Photo by @ogata_photo

“I definitely wanted to have Victor Wooten on a record of mine, as I’ve been on several of his records before. So, I invited him to the playdate.”

In discussing the collaborations on the album, Roxx drew parallels between musical partnerships and childhood playdates: “When you think about playdates, who do you have playdates with? You have them with your friends, right? So I called up some of my friends. I had these ideas and I called Vic (Victor Wooten). We actually started working on a song called ‘Raise Me Up’ in 2022. I called him up, saying I was going to be in Tennessee. I had this bassline that was so funky when I wrote it. I took it to Vic and said, ‘It’d be super cool if we did this record together.’ The bassline’s bouncy playfulness reminded me of his essence. We went into the studio and started bouncing ideas off each other. He grabbed a few basses, added to it, and threw a drum beat down. It was our first time playing in the studio together, and we laughed, talked, and bonded. I definitely wanted to have Victor Wooten on a record of mine, as I’ve been on several of his records before. So, I invited him to the playdate.”

Roxx also brought in MalcolmJamal Warner, “an incredible poet and bass player”, for the song Raise Me Up. “The melody just stuck with me. When I took it to Vic, the chorus was already there, and all I had was the chorus and the bassline. The idea was to ‘raise me up to be kind, raise me up so I shine,’ almost from the child’s perspective, telling their parents and caregivers to lift them up. When I think about my relationship with Victor, he has always lifted me up in these ways. There was a spot where I felt a poem could be, and I thought, ‘Who can I invite to this playdate to write a poem?’ So, I called Malcolm. By that point in the record, I had all these female features, and I wanted to balance male and female voices on the album to show that we can work together to create something beautiful. That’s one of my favourites on the record. Everyone who listens to the album takes note of that song. The beginning with Victor’s bass part is just so beautiful and magical.”

When asked about being labeled as one of the funkiest women in the music industry, Roxx humbly downplayed the notion, expressing her admiration for her peers: “There are so many incredibly funky female bass players. I’m just inspired and in awe of how the bass guitar has evolved in the hands of women. They bring something new and different to the instrument, and it’s really beautiful. I see so many female bass players now. When I was young, there were only a handful, but now they’re everywhere, each bringing a unique voice to the instrument. I’m excited to see how it continues to evolve.”

The conversation naturally shifted to the role of social media in this evolution. Roxx emphasised its significant impact, stating, “Absolutely, social media plays a big role. You can’t be what you don’t see. It’s important to expose young people to diverse role models, so they can see people who look like them doing different things in the world. That inspires them to think about what they’re going to do and be. As a young black woman, it was hard to know I could play the bass guitar until I saw another young black woman doing it. That inspired me and lifted me up.”

In the pre-internet era, there were fewer female bass players visible on mainstream platforms like MTV. Roxx reflected on how social media has transformed this landscape: “Before social media, we didn’t see this wave of female bass players. Social media gives people so much access; you can just pick up your phone and see almost anything. Everyone wants to put their best on social media, so you’re opening up Instagram and TikTok and seeing women blazing on the bass, like Mohini Dey and Ida Nielsen. You think, ‘Wow, they’re amazing. I want to do that.'”

However, Roxx also acknowledged the downsides of social media, pointing out, “While social media has changed everything, it has also created spaces where kids compare themselves to images that are almost impossible to replicate. This leads to many young people feeling depressed and having body image issues. Too much of anything can be harmful, but there has to be a balance.”

Divinity Roxx delved into the details of her current bass setup, providing a glimpse into the instruments and gear that support her performances and recordings. “Right now, I’m playing a Fender Ultra Jazz Bass. It’s active-passive.
Of course, I play on my DR Strings. I love the DR Strings. This particular bass is from the Custom Shop and it has the original Fender electronics in it. I really love this bass because it gives me a good punchy Fender sound. I can slap it and pop it, and it gives me all the range I need. I can manipulate it, I can change it; it just gives me a full spectrum of things to work with. So that’s my number one bass.”

“Kids like to see things that are flashy and fun, so I had Fender make me this silver, sparkly bass guitar.”

Photo: Courtesy of Divinity Roxx

In addition to her regular performance setup, Divinity Roxx has customised her gear to engage younger audiences. She shared how specific instruments enhance her music for children: “I did reach out to Fender for a bass guitar to play for the kids’ music. Kids like to see things that are flashy and fun, so I had them make me this silver, sparkly bass guitar. It’s the Player’s Bass, a Jazz Bass. It’s nice, and I have the neon DR Strings on that bass. All of it is new for me. It’s a new sound, and it’s new to get adjusted to, but it really works for the kids’ music. For the studio stuff, I play one of my Fender Jazz Basses. I have that five-string Marcus Miller Jazz that I love; it’s just so heavy. That bass right there [she points to the bass on display in her home studio], I love it, but it’s so heavy, so I can’t pick it up often. When I really want that full-scale bass guitar, I still pick up my Warwick Streamer, the original Warwick Streamer, all white with P pickups.”

“I think it’s something really special when an instrument company makes a bass specifically for you. There is a connection between you and that instrument.”

Discussing her Warwick bass, Roxx highlighted the personal significance of this instrument: “I hounded them; they really went in and made that bass specifically for me. I think it’s something really special when an instrument company makes a bass specifically for you, from the inception of choosing the wood to going into the shop. There is a connection between you and that instrument. As everybody’s making it, they know it’s Divinity’s bass. That energy really goes into the bass guitar. That Warwick Streamer is a really special bass. It’s a four-string made out of cherry wood. It has a wenge fretboard. It’s just a really special bass. As for the electronics, I changed the original ones. I can’t remember if I went with EMG or Bartolini. I need to open that bass up and see. But I did do something different with the electronics on that bass. Everybody who hears me play that bass, the first thing they say is, ‘That’s a Warwick?'”

Divinity Roxx’s Tiny Desk audition left a lasting impression with its intense and aggressive performance style. Reflecting on this, Roxx shared how she channels such intensity and what she hopes her audience feels. “It’s funny because I played this really intense set last night. I sat in at this venue in Atlanta called the Dark Horse Tavern, where they do a lot of karaoke and jam sessions. I played Rage Against the Machine because I love that song. I’m channeling this energy of youth, hip hop, frustration, and angst. It comes from a lineage of dark times and people who have suffered. We’ve all suffered in our lives, and music allows us to release some of that suffering. When I’m on stage, that’s what I’m doing—releasing all that frustration, whether it’s political, social, or economic. Early hip hop was about what’s happening in our neighbourhoods and why. Sometimes, I think people misinterpret that energy, especially when it comes from people who look like me, but it’s more accepted from others. When I express myself in that way, there are connotations, as though I’m not supposed to feel the brunt and weight of the history of my own people, family, and personal experiences. Rock and punk music have allowed us to express these feelings, and jazz does it in a different way. So, when I’m performing, I’m expressing everything deep down inside that needs to come out. Now, with the kids’ music, I’m expressing a completely different side—the joyful side. We are not one-dimensional as humans. We feel joy, we feel inspired, and as artists, we want to inspire. That’s the energy I want to put out when I’m playing kids’ music. I want these kids to feel joyful, to want to dance and move, to feel inspired and to learn. I’m not going to rock out intensely because they don’t have that yet, and I don’t want to give it to them. I want to give them love, empowerment, and inspiration because that also exists inside of me.”

“The kids’ music sounds like me, the rock music sounds like me, and the hip hop music sounds like me.”

When it comes to navigating different audiences while ensuring her music remains authentic and impactful, Roxx explained, “I hadn’t given it much thought until recently. I started thinking about the differences. Essentially, all of it is me. The kids’ music sounds like me, the rock music sounds like me, and the hip hop music sounds like me. It’s all about the intention. What is my intention when I’m writing songs for different audiences? How am I thinking about these audiences? How am I taking into consideration who I’m talking to and what they’re capable of ingesting from me? I think that’s really important. When I’m talking to adults, I talk in a completely different way than I would talk to a five-year-old. Although I won’t talk down to a five-year-old, I will use different language and be colourful to keep their attention. I love engaging with two-year-olds, for instance, and I like to become a two-year-old myself when interacting with them.”

In the latest album, the inclusion of contributions from young family members and community groups adds a unique personal touch. The Genesis Innovation Academy Cheer Team, along with Roxx’s niece and goddaughter, were featured, enhancing the authenticity and relatability of the project. “When I was writing this music and collaborating with all of my incredible collaborators, I could hear the kids. I really wanted this to be for kids. When kids see and hear other kids on a project, they know that it’s for them. My niece is a cheerleader at the Genesis Academy, and she’s on the cheer squad. There were songs where I could hear the chanting and those beautiful voices of a group of children. There’s something really special about hearing a group of children sing and chant. I just thought, ‘Oh, we have to take them into the studio.’ And I had to come home to Atlanta to do it. That was so special to me because, as a kid growing up in Atlanta, I was part of these big choruses. I still talk to my music teacher from elementary school because she really got me into music. She loved to hear all the children sing together. She imparted on me that there’s something so special about that. So, I had to have the Genesis Cheer Squad come into the studio. My goddaughter is so prolific, right? Kids are so prolific, and they’re so funny with their perspectives on life. When you ask them questions, you never know what answers you’re going to get. I asked my little goddaughter why she likes to make new friends, and she had a really thoughtful, amazing answer. I felt like the world needed to hear her. It’s also a little selfish for me because my niece, my nephew, and my goddaughter are only going to be that age at that time. Capturing that moment—this is who you are, this is your personality at five years old—on a recording is so special to me. They are going to grow up, their voices are going to change, and they will evolve into adults. I love having that little pure piece of them forever. My nephew was on my first album when he was about five years old. He’s on that song, ‘Just When U Think.’ Now he’s six foot four and has a deep voice. When I listen to that song, it reminds me of my sweet little baby when he was so young. He’ll never have that voice again, so it’s really special for me. It’s like a time capsule.”

Beyond her professional achievements, Roxx explores a range of activities that help her unwind and embrace play in her personal life. “I like to be outside. Kayaking is something I enjoy, though I haven’t had the chance to go recently. I also love going for hikes and riding my bike, which has been a passion of mine for as long as I can remember. In the song ‘Girl Dad’ from this album, I reflect on how my father taught me to ride a bike. Skating and biking are activities I continue to enjoy. Staying active is important to me, and I also like to shoot basketball occasionally. Additionally, I have a keen interest in reading and learning. Spending time with friends to discuss politics, life, and spirituality is something I find fulfilling. These activities allow me to balance my professional life with personal enjoyment and relaxation.”

From Underground Beats to Global Stages

Divinity Roxx has navigated an extraordinary path in the music industry, from leading underground hip hop groups in Atlanta to performing on the world’s biggest stages alongside Beyoncé. Reflecting on her journey, Roxx provides insight into her evolution and the key milestones that have defined her as a musician.

“People forget that I’ve always been a solo artist. I had a hip hop group in high school called DATBU (Divinity and the Breakfast Unit). In the 1990s, we were one of the premier underground hip hop groups in Atlanta. Then I had my own band, The Roxx Boxx Experience, and when I was touring with Victor Wooten, he was featuring me as a solo artist in his show. I would go out and lead the band during his show; he would give me that space.”

Reflecting on her transition to working with Beyoncé, she said, “When I got the Beyoncé gig, it was really the first time in my life and career that I was a side person. It was on that gig that I really learned what it meant to be a bass player. Just a bass player, you know? You’re not the lead person, you don’t have to make any decisions, you aren’t writing the music, you just play the bass. That was odd for me for a while. I was like, ‘This is it? That’s all?’ It was really weird. Naturally, I am a performer, a creative, and an artist. I love expressing my art as a full artist. When I’m a side person, I’m expressing a part of me that I love and I’m in the support role. I think there’s a balance to be had. I still love to do that, but I also love to be able to express my whole and full self. So any opportunities I get to do that are always going to come first because it always has come first.”

Joel Costa
Joel Costahttps://bassempi.re
With over two decades of experience in the music industry, I've worn many hats - from running a record label and a PR agency to contributing to esteemed publications like Metal Hammer and Terrorizer. I've also authored books on iconic subjects such as Kurt Cobain's guitars and The Beatles. My journey led me to the editor's chair of Guitarrista, a print magazine dedicated to the crafts of guitar playing and building. Despite this diverse background, my true passion has always leaned towards the bass guitar. I have a particular fondness for offset basses and play a Thunderbird.
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