How Montreal Producer FREAKEY! Collaborates With Artists Across The World

FREAKEY! is one of Montreal’s best-kept secrets.

Hailing from the St-Léonard and Repentigny areas, the producer has been quietly building an impressive career in the shadows. He’s crafted beats for global heavyweights like U.S. star Don Toliver (on his gold album Heaven or Hell), Belgium’s Hamza and French rapper La Fève – artists on the upper echelons of international hip-hop scenes. He’s also a regular collaborator for Canadian artists making waves including Toronto’s KILLY and Quebec’s Lost.

Despite his high-profile collaborations, FREAKEY! is often overlooked by the media in his home province of Quebec — a disappointing reality considering the uniqueness of his hometown success story.

Born into a Haitian family in Montreal, FREAKEY!’s sound is as diverse as his city’s cultural mosaic. He fuses futuristic basslines, sci-fi-inspired aesthetics and a “banger” energy that makes his tracks stand out on playlists. More than just a beatmaker, FREAKEY! is a true producer, shaping sonics that elevate his collaborators.

It’s a sound that’s translated across continents, bringing him from North America to European scenes, often working with French artists like PLK, S.Pri Noir, Alpha Wann and La Fouine.

In 2025, FREAKEY! will release his own new album, Au Dessus De L’eau, showcasing his artistic growth and evolution.

So what’s it like for a Montreal kid to quietly take over the global music scene?

Billboard Canada sat down with FREAKEY! at the start of the year to explore his journey, creative process and what it takes to become one of Canada’s most fascinating exports.

What was your early life like in Montreal, and how did it influence your path toward becoming an artist?

I grew up in St-Léonard and Repentigny, in a tight-knit Haitian family where creativity and resilience were deeply valued. I wasn’t the best student in school, and that uncertainty weighed on me a lot during my early teens. [When I was] around 12 or 13, I started to see music as a possible avenue – a way to channel my energy and carve out something meaningful. Montreal’s multicultural vibe played a big role in shaping my sound. I was inspired by everything, especially international influences, and I became deeply motivated to explore music production.

What kind of music were you listening to growing up, and what styles or sounds drew you in the most?

Growing up, I was a huge fan of U.S. rap – 50 Cent, Kanye, Bow Wow and especially the Chicago rappers. I was obsessed with their sound and the energy they brought. At 14, my mom convinced me to create a SoundCloud account and start uploading my beats. That’s when things really started to take off. I began connecting with Chicago rappers and selling my first beats. It was through that platform that I started to get noticed and gain some momentum.

So your first beats were sold to Americans?

Yeah, definitely. I was really drawn to that sound – it felt different, and I wasn’t connecting at all with the scene in Montreal. I think that’s why I’ve always followed my own path.

In my early teens, I started connecting with artists like Rowjay from Montreal and Krisy, a Belgian rapper. Rowjay was an early supporter of my work, and I was really drawn to his style. Producing for him helped me refine my craft and gave me the confidence to keep going. Then, with Krisy, I was able to branch out internationally, which opened up even more doors in Europe. Working with both of them, along with seeing the success of artists like Hamza, pushed me to dig deeper into my sound and experiment more with my production.

How did you connect with Hamza, and what led to your first collaboration with him?

We met at the Mural Festival in Montreal in 2016, back when he was just starting to gain more recognition. I went straight up to him and introduced myself, telling him I was producing for Rowjay. He gave me his email, and I was stoked. I sent him an email, but at first, he told me my style wasn’t quite his vibe. Then we ended up having a studio session together, and once he saw how I produced live, he really liked it. I was 19 at the time, and that’s when he jumped on one of my beats for his 1994 project, which became a major turning point for him. I ended up producing the track “Mucho Love”. That’s really when everything changed for me – I started gaining more and more recognition, and from there, things just kept building.

Can you explain what happened next?

In 2019, having my song “Stick” featured on Hamza’s Paradise Deluxe was a pivotal moment for me. Then, success began to grow in Europe, and I started collaborating with major artists like S.Piri Noir, Alpha Wann, La Fouine, PLK and many more.

In parallel, I also started making connections in the Anglo market. In 2018, I began working with WondaGurl from Toronto [producer for Travis Scott, Rihanna, Pop Smoke and others], and we’ve been making beats together ever since. She also introduced me to a lot of people in the industry. In Toronto, I worked with Killy and Roy Woods.

In the U.S., I collaborated with artists like Key Glock, Young Scooter and Don Toliver, who went on to release many platinum albums.

Looking at the artists you've worked with, many of them have an underground approach. What draws you to their sound?

I would say that I'm always incredibly grateful and honoured for the opportunity to work with big names. But what I truly appreciate about working with underground rappers is their work ethic. There's a certain authenticity and rawness to their approach that resonates with me. The freedom I have in the creative process is a completely different experience compared to mainstream ones. There's less pressure to conform to a certain sound or trend, which allows for more experimentation and risk-taking. The vision we share often aligns in a way that feels more organic and less influenced by commercial expectations.

Your sound has been described as futuristic with a "gamer" aesthetic. What’s your take on that?

I would say that I’m all about different sounds. I love a good banger and that classic U.S. energy, but I also bring my own flavour. I feel like I live in the year 3050 in my head, you know?

When you talk about that "U.S. energy," do you have a preference for American rappers over Europeans? Do you think there’s a noticeable difference between the two scenes?

I’ve always been a fan of U.S. hip-hop, even more so than European or French rap. But over time, I’ve come to really appreciate French rap, especially after working with major artists in that scene. The lyrics, the energy – it’s really grown on me. However, my main goal is still the American market, not only because of where it could take me, but also because the exposure and opportunities there are on a whole different level. The audience is massive, and honestly, the financial potential is way better.

Are there any other scenes you'd like to explore?

Honestly, I’d love to tap into Afrobeats someday, especially with Rema, who I really admire. I’m also drawn to the U.K. scene. What stands out to me about it is the sheer creativity – how they blend different genres and push boundaries. Artists like Len from the underground scene really embody that vibe, and it’s something that inspires me.

What’s your relationship with the Quebec media? We don’t hear much about you in the press, despite your impressive career as a young producer.

Honestly, it doesn’t really bother me, but at the same time, it kind of does. I don’t really care because I’ve never felt represented in Quebec media, so it doesn’t surprise me that they don’t talk about me. But at the same time, I’d like to be a role model for future generations, especially for those who feel lost and think they can make it in music. I’m someone who believes that anything is possible, but without role models – especially for young Black men and women from Saint-Léonard who dream of becoming global producers – there’s no real reference. Personally, I’ve never seen someone from here make it on that level. And even in Quebec [when I was on the rise], you’d hear more about rappers and producers from the South Shore than those from Montreal. I’d love to see more recognition, because it’s important to offer that example to young boys and girls like I was.

What would your advice be to young people looking to get into production, especially considering the high cost of equipment?

That's a great question. The basics are really just a laptop. If you don’t have a laptop, I can’t help you. But seriously, I’ve produced tracks on speakers worth $100,000 and others on speakers worth $50, and there’s no real difference. If you're good, you're good, no matter the quality of your gear, despite what many people might think. You can have all the money and the best gear, but if you don't have talent, it doesn’t make much of a difference. If you're truly good, the gear will come with time. The important thing is to focus on your sound and on yourself.

Any upcoming projects in 2025?

My album Au Dessus De L’eau is on the way, along with some other exciting things I can’t reveal just yet. No matter what life throws at you, don’t let it bring you down—rise above it and turn negatives into positives. With this album, I want to show growth, take my time, and approach everything with intention.