Welcome to Chase Shakur’s ‘Wonderlove’ World: The Rising R&B Star Details How Gospel & ‘Pulp Fiction’ Influenced His ‘Surreal’ Debut Album
Everyone’s curious about the teens and twenty-somethings who make up Gen Z. How do they interact with each other? Do they even dance in the clubs anymore? What’s the dating world like for them? With his new Wonderlove album, rising ATL-bred R&B singer Chase Shakur may have a few answers.
Introduced by singles like “Focus on Me” and the TyFontaine-assisted “Fairytailes in Midtown,” Wonderlove arrived on Friday (Feb. 7) as Shakur’s debut studio album — and his second full-length project under Def Jam. His new record charts its moody, introspective emotional odyssey through a soundscape that amalgamates gospel, soul, dancehall, Miami bass, trap, Afrobeats and more. Inspired by the surrealist world of Quentin Tarantino’s Oscar-winning Pulp Fiction and the globe-traversing DJ sets of his closest friends, Shakur sought to make an album that truly examined what love looks like for Gen Z in 2025.
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“Sometimes we look at love kinda surface-level,” he tells Billboard just two days before the album drops. “We look at love for what we can get from it instead of adding to one another. I wanted to make a body of work that feels like a hug.”
After bursting onto the scene with his 2022 debut project, It’ll Be Fine, Shakur spent the next two years pumping out music and hitting the showcase circuit in 2023. Last summer, he toured the globe alongside The Kid LAROI on the Grammy nominee’s The First Time tour.
A rapper-turned-singer with deep reverence for the roots of traditional R&B, Shakur displays tremendous growth across his debut album, which he began recording while touring London in December 2023 and finished during The Kid LAROI’s tour. On “Fairytales,” he slickly flips Sexyy Red’s raucous “Get It Sexyy” into a brooding, sensuous ballad, and he even buried a trap-inflected hidden track on the back half of the album’s closer, “A Song for Her.”
Billboard caught up with Chase Shakur about Wonderlove, deepening his film knowledge, his forthcoming tour, and honoring his family legacy through music.
Do you have a favorite moment from the creative process for this album?
Just living in L.A. for three months and being hella disciplined. I was on a meal prep routine and going to the gym; we only wore black clothes so we could lock in and not be distracted by anything else.
How do you feel you’ve grown as an artist and as a person since your debut?
I have a better understanding of what I’m trying to do with my career and my art. I’m learning maturity in my music.
What are some elements that you would consider immature in your older music?
Being scared a girl I’m talking to might hear something that I say [on a record] and crash out on me. I used to be nervous about that, but now I’m like “F–k that s—t.”
How do you think your growth manifests itself on Wonderlove specifically?
I’m a lot more fearless on this project. I had a session with No I.D. and Raphael Saadiq, and No I.D. gave a n—a the illest advice about not giving a f—k about perception. Just tell your story and bring those special nuances. I was nervous as f—k because they’re my inspirations, but they’re mad cool. In between recording, I would walk out into the lobby and get to hear how they did “How Does It Feel” with D’Angelo. We [as up-and-coming artists] overthink it. Listening to them talk about how the song was made because D’Angelo was looking for weed… we overthink a lot of the time!
You dropped your first two projects in back-to-back years. Why’d you take a bit more time with this one?
I wanted to make a story that people could understand. This was my first time doing something that had elements of surrealism, but I still wanted to keep it rough at the same time. When I was on tour [with The Kid LAROI], I was watching a bunch of movies that I hadn’t seen but everybody else had seen. I watched Pulp Fiction for the first time, and it felt real but like… your friend not gonna tell you no s—t like that, you know what I’m saying? [Laughs]. I’m trying to blend that world with my production and lyrics and make a full body of work, not just one song.
What does the term “wonderlove” mean and when did you know that was the title?
I came up with the title after coming home from tour and going to my grandma’s house. I grew up in a house with eight people, split between the women in the family and the men in the family. In Black households, we all have that picture that everybody knows. I was flipping through the photo album with my grandma, and there’s a picture of her and my grandpa. I never met my grandpa, but my grandma used to always tell me about the love they had for each other and the type of man he was. In her telling me that, I wanted to make something that was the opposite of what people are talking about right now.
Other than Pulp Fiction, what else were you consuming while making Wonderlove?
I listened to a lot of stuff. Reggae, a lot of Afrobeats, R&B of course. I watched Belly and Paid in Full – I know, I’m supposed to have been seen that shit – and Eternal Sunshine of the Spotless Mind. I’ve just been studying film, man; I’m trying to make my visuals stand out with those elements of surrealism.
I think when people see me – I don’t know what they think really – but I feel like there’s an element of mystique. And with mystique, there’s a little bit of magic.
How did the Smino collaboration come together?
I was on The Kid LAROI’s tour, and he sent his verse a month before I left Baltimore. I randomly got it on the bus, and I was like, “What the f—k!” In my personal opinion, we got the best Smino verse in a minute. The video for that is gonna be wild too, so I’m excited. There’s always an element of unpredictability; I was playing his s—t months before that particular exchange even transpired. I like having a blend of vocals or a different contrast when I collaborate with people. I also want to step outside [my comfort zone] and mix genres.
You got a track on here called “Sex N Sade.” What’s your favorite Sade song?
“Soldier of Love!”
You end the album with a slightly more traditional piano-led ballad. How do you keep traditional R&B present in your style?
For this album, I would say the [main traditional] element was gospel music. With “2ofUs,” my mentor, Ari PenSmith, really helped me understand how to use my voice in a way that still has what I grew up on: the gospel and blues elements of traditional R&B.
In the past, I undermined my vocal evolution. I listened to the last project I dropped a couple of days ago, and vocally, I’ve made a 180 [degree turn]. When you listen to the first joint and then listen to me now, I’m much more confident and open.
“Undercover Angel” is a sick mix of Miami bass and dancehall. What was that studio session like?
Everybody thought I was crazy when I said [that was gonna work], ain’t gon lie. That’s slick how it goes a lot of the time, and then it works! A lot of my friends are DJs, and I go to their events and listen to their mashups and s—t. I record them when they blend Afrobeats and all that, I think it’s cool. I don’t know what made me want to have those dancehall elements, but I just wanted people to have fun. People be like, “What the f—k?” when they hear it – especially when the bass drops.
“Face It” also has some overt house influences. Do you plan on exploring dance music further on future projects?
I try everything in the studio. I have rock songs, I got jazz songs, I got country songs, everything. When I tried making dance songs for the first time, it wasn’t cause I could dance. I can’t f—king dance. When I started working on this album, I was going to a lot of clubs where it wasn’t section culture. I’m in Atlanta, so I’m pulling up on R&B nights and seeing it’s possible for us to have fun and be cool at the same time. That’s what inspired me to make and throw out more dance songs.
How have you grown personally and professionally since signing to Def Jam?
I learned that everything is a choice. Somebody told me that, at this stage, you can choose to do three shows a night or do one show and go home. But it’s all up to you to put in 10,000 hours — not just with recording, but performing and being an all-around artist too. I know I want to be an artist with longevity, and being on Def Jam is teaching me ways to be patient with that.
Do you have any tour plans?
It’s gonna be a family affair, man. I’m excited about the tour. I got SWAVAY opening up and my family with me. Got a couple of shows being opened up by artists from the [Forever N September] collective. We’re coming with a stage that tells a story. It’s my first time doing some stage design, so this is a real learning process. I’m most excited to perform “Say That You Will.”
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