Kadeem is native son of Boston—Mattapan specifically—and revels in both his neighborhood and city’s shunned cultural significance to black music. His seeds of frustration spore into a product more substantial than he planned for. The meticulous lyricist/producer grew with a slew of local creatives musically and ven as time passed, fads faded, interests dimmed—Kadeem’s sense of self crystallized as his past woes fueled his urgency towards his community’s future. Kadeem has often documented his growth and chooses to reinvent himself with each record and has emerged as an underground favorite in his city. Outside of experimental projects released since 2010, once honing his sound he released his first product The Game Is The Game in 2018. He then followed up with his debut album World Sport which arrived in 2019. The album re-introduced him to the scene as a mindful curator who could weave in and out of styles effortlessly. Then in 2020 when the world came to a halt via a global pandemic; Kadeem chose to further explore the depth of his technical prowess, lofty production, and vulnerable storytelling. He released Passing Exchange; a short film coupled with a robust 6-song EP, Find, Don’t Look!; his first solo venture into production, and Remains of a Man; a critically-acclaimed hazy project with wonder-producer Loman. more swagger than prior releases. Then rolls in 2021, he released Universum with cultural icon Frank The Butcher. The sprawling album that found it’s voice in panic, hyper-awareness and death, reflected a piece of Kadeem rarely seen, but listeners knew lingered in his aura. Enter 2023 and so does Rubber Meets Road, a 3-song quick strike to remind the audience that variation in alliance with lyrical skill are not foreign for the virtuosic writer. And what rolls in last is the latest—if not best embodiment of his craft—his second album of Who Cyan Hear Must Feel.