ON FEELING, CRAFT, AND THE ART OF PRODUCTION
Editorial by Glitch&Gold
There’s a certain kind of producer who doesn’t chase a fixed sound, but instead follows instinct. For Karl “KP” Powell of The Colleagues, that instinct has been the foundation from the very beginning.
His work moves across genres, but at its core, it’s always driven by feeling, something deeply rooted in soul and R&B tradition. Not in a stylistic sense, but in intention. Emotion first. Always.
We spoke with KP about the craft of producing, the mindset behind great records, and the internal compass that guides his work.
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What was the moment you realized producing wasn’t just something you liked, but something you needed to pursue seriously?
Honestly, it didn't take long. I was introduced to Fl Studio my 1st year of attending a local community college. I spent all day and night on my mom's computer trying to learn the program. I would skip class just to stay home and make music. I made up my mind that first week that this is what I wanted to do. I was in class in the middle of my exam and I got up and left the classroom and never came back. I never made a dime, but I knew this was what I needed to pursue.
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As a producer, how do you define your own sound when you’re constantly working across different artists, genres, and even cultures?
I don't know how to define my sound. Since I am versatile, I view my music like being an actor. I love how they get to play different characters and roles. So that's how I view my sound. I get to do jazz today, kpop tomorrow, rap next week and whatever sound I want after that.
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When you’re building a record, what tells you a track is “right”? Is it technical, emotional, or something harder to define?
It's a feeling you get. I can tell when it's too lengthy, when the story feels incomplete, when it's boring. I feel like the music talks to you. But I can't be influenced by outside opinions. I just get that feeling when it's right. I've learned to listen to that feeling.
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Do you see yourself more as a creator, a facilitator, or a translator of an artist’s vision? How does that role shift depending on the situation?
All of the above. When I'm either working on beats or working on my albums, I'm in creative mode. I'm making what I feel is dope, what I want to hear and feel. I am in facilitator mode when I get brought in by another producer. What do you need me for with this particular artist? Drums? Melody? I'm here to do my part and let them take it from there. But when I'm working directly with a artist for their album, I'm bringing their vision to life. I'm still bringing my style but I'm catering to their style and vision.
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You’ve spoken about hearing “no” many times. What separates producers who break through from those who don’t?
So many people in general are so afraid of hearing no. So much to the point that they stay away from situations that'll let them down. I've NEVER been afraid to hear no. I'm so confident in myself that I absolutely believe that it's their loss. God has a way of not letting things happen because there is something bigger that he wants you to get. Producers can get in their feelings and get mad, don't get mad, if you believe in that beat/song, SOMEONE will also.
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When people experience a record you’ve worked on, what do you want them to feel, even if they don’t know you were behind it?
Whatever the record is about, I pray they feel and relate to the song as intended. That's the best feeling when someone you don't know tells you how a song you made got them through depression or a divorce. It means a lot.
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New album dropping June 2026.
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Regardless of genre, the foundation remains the same: music that connects on a deeper, almost soulful level.
Featured genres: soul, neo-soul, Gospel, r&b.
