Written by Kelley King
G-Eazy knows first-hand how hard it is to “make it” in the music industry. The road to success has been long and winding for the 26-year-old rapper/producer, but following the chart-topping release of his debut studio album in November, he’s definitely made a name for himself in hip-hop. If you haven’t heard of him, do yourself a favor and look him up. His single, “I Mean It” has had nearly 40,000,000 plays on Spotify, and his classic, James Dean-esque style makes him a hit with the ladies (to say the least).
About four years ago, Brooklyn-based photographer Bobby Bruderle started working with the up-and-coming artist. At the time, Bobby was still in college and G-Eazy was virtually unknown (he had had a few “hits” on Myspace, but nothing really significant). They met through mutual friends during Mardi Gras in New Orleans, and connected over their drive to be successful in their respective careers:
The day before I was going to fly back to the east coast, G played me some of his music and it blew me away. An hour later we did an impromptu shoot in his girlfriend’s apartment with the one speedlight I had brought with me. The images I got that night are still some of the best photos I have of him. That was the start of a collaboration that has spanned four years, three albums, four tours, and more music videos than I care to count.
Since then, Bobby has been following G-Eazy’s journey to stardom, documenting him every step of the way. To say that he’s responsible for his visual image would be an understatement: Bobby’s shot everything from album covers to tour photos, and he’s even directed his music videos. I recently caught up with Bobby to talk more about his work with the rapper, and the impact it’s had on his career as a photographer. Check out the photos and videos and read more from Bobby below.
How has this collaboration fit in with your photographic style?
I think G and I share a classic aesthetic. We both want to make things that will stand the test of time. Of course the work has to be innovative and relevant, but we both value timelessness over everything. Usually this means doing things in a very minimalistic way, which is rare in music and even more so in hip-hop. Going against the grain has definitely helped the work to stand out in a very noisy industry.
Can you tell me a little about joining him on tour and shooting his music videos/photos while he gained notoriety?
Whether in a van or on a tour bus, being on tour is always a surreal experience. Wake up in a new city, work all day, party all night, repeat. I feel lucky to have been able to document all the levels of touring. Most people don’t realize just how hard it is when you are first starting out.
Because we started working together so early in our careers, I think we have grown together. I have grown as a photographer and director, and he has grown more comfortable in front of the camera, all while his music catalog and fan base have grown exponentially. I have been around for every step of the journey, from his being an opener for a mid-level band, to headlining huge venues. It will never cease to amaze me how crazy the fans go nowadays … but for the most part, what we do is the same thing we have always done: try to get the best stuff we can with what we have.
Have there been any challenges? If so, how did you overcome them?
There are always challenges. It seems like every single project is the hardest I have ever done. I always try to push the limits of resources, people, and equipment to try to get the best thing possible, which never makes things easy.
Up until relatively recently, G was an unsigned artist. Everything was run by him and his (incredible) manager Matt Bauerschmidt. We were always trying to make things better than the signed artists with their bottomless budgets. It definitely forced us to be crafty.
I don’t think there is a single way to overcome anything, but I do know that it is critical to believe in the bigger picture. You and the work will both suffer If you don’t believe that what you are doing is worthwhile.
How has your relationship with G-Eazy affected your career? Have these photos directly led to any jobs?
The work I have done with G has definitely led to a few gigs, but the larger effect has been on my appreciation of collaboration and teamwork. Photographers tend to be loners (myself included) so being a part of a team—whether on a film set or on a tour bus—has really helped me grow as an artist. When you accomplish something as a team, you really begin to see that anything is possible.
Had you done video prior to working with G-Eazy?
Long before it in fact. Ever since the release of the RED One I have been interested in video. A flip switched when I realized a video camera could shoot a magazine cover. Cinematography became something that I had to learn about.
During summers in college, I worked at D.C. Camera, a camera rental shop owned by my mentor D.P. Erich Roland. Working at the shop got me plugged into the film production scene in D.C. I was doing work as a First Assistant Camera (focus puller) by the time I graduated college. From there I began working as a D.P. on commercials and music videos. I D.P.ed a few of G’s videos before I was asked to direct ‘Been On’ which was the first music video I ever directed. It is still one of my favorites.
What has the reaction to the work been?
People generally love the images and the videos. Younger fans (especially aspiring photographers) often reach out to tell me just how much they like the imagery. On rare occasions G’s fans will recognize me and ask me to sign albums or posters, which has been extremely surreal to say the least.
G-Eazy’s video for “Almost Famous” was directed by Bobby and has more than 12 million views on YouTube.
G-Eazy’s video for “I Mean It,” was also directed by Bobby and boasts more than 35 million views on YouTube. (It’s also hilarious)
G-Eazy’s debut studio album, photographed and conceptualized by Bobby.
Did you learn anything through this collaboration?
I suppose the most important thing I have learned is to trust your instinct. Over the years I have turned down lots of higher paying work to do no-budget stuff with G, all because I believe in him and the work we make together. You really need to be willing to roll the dice if you want to get in on the ground floor of anything.
Kids often ask me “How do I get your job?” The answer is to do the job before it exists. Which means doing it long before there is any money, resources, or notoriety to go along with it.
Check out more of Bobby’s work on his website, bobbybruderle.com. To see more of his work on tour with G-Eazy, follow along with his blog.