Drake Dubs Former Neighbor G.O.A.T. Musician After He Dishes About Their Creative Process

One of Drake’s most invaluable collaborators is likely his former neighbor.

Chilly Gonzales, or “Gonz” as Drake refers to him as, is a Canadian musician who most notably collaborated with Drizzy on 2011’s “Marvin’s Room.” Gonzales played the piano outro on the deep cut from Drake’s acclaimed Take Care album. He recently discussed his experience working alongside the Toronto rapper, revealing the intricate and detailed creative process that has resulted in Drake’s extensive discography of hits. The 6 God acknowledged his talented neighborhood companion in an Instagram Story post on Thursday (September 26), in which he praised Gonzales as one of the greats while remarking on their unique bond.

“Thank you Gonz,” Drake wrote in part. “This guy was my neighbor, and we ended up making incredible pieces together, one of the greatest musicians of all time to me.”

Gonzales, who is known for his work across a variety of genres, has played a key role in some of Drake’s most iconic songs, including “The Ride” featuring The Weeknd and “From Time” assisted by Jhené Aiko. His recent account offers insight into how Drake approaches the craft, transforming simple melodies into timeless hits.

“I’ll be at the piano, maybe there’s a beat playing, and he’s just kind of looking for a melody,” Gonzales began. “Then he’ll find something, and already I’m like, whoa, that’s like a super dope chorus. And then he finds something that’s even less specific, more universal, and all of a sudden what you thought was already a dope hook becomes like a verse.”

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Drake’s ability to refine and elevate his music, according to Gonzales, is a key factor in his success. But the creative journey doesn’t stop there. As Gonzales explained, Drake continually reworks his ideas, finding ways to make each element of the song even more anthemic.

“But then he keeps looking, and this happens three or four times,” Gonzales recounted. “Each time the thing he finds is more anthemic. And each time you have to just recalculate the whole song because, oh, that’s not the chorus anymore. I saw this happen with ‘Marvin’s Room.’ I saw this happen with ‘From Time.'”