GENA: Q&A

The intriguing backgrounds of Karriem Riggins and Liv.e — and the announcement in late 2025 that the pair had formed a new partnership as GENA, signing to London's Lex Records — piqued immediate interest in the duo whose debut album, The Pleasure is Yours, arrives at the end of February.

Three singles released over the fall and winter — "Circlesz," "HOWWEFLOW," and "Lead It Up" — went viral and amped up even more intrigue about the pair, who made their London debut at the end of January at a sold-out Institute of Contemporary Arts gig, with a packed crowd that included Common, Joy Crookes, and Yazmin Lacey. 

Detroit's Riggins is an Emmy-winning jazz and hip hop drummer and producer whose impressive CV over the last two decades includes collaborations with J Dilla, Common, Erykah Badu,  Robert Glasper, Slum Village and The Roots, and as Riggins' own solo albums. He also co-founded the Jahari Massamba Unit with Madlib. 

Dallas-born, Los Angeles-based Liv.e (pronounced as "Liv") is a singer, songwriter and producer who has spent the last six years focused her own rising solo career and multiple releases, including her debut album, 2020's Couldn't Wait to Tell You, and 2024's Past Futur.e mixtape. She's toured with Earl Sweatshirt and MIKE and has been championed by Badu.

As GENA, a moniker for "God Energy, Naturally Amazing," Riggins and Liv.e have tapped into their beguiling, kinetic alchemy, one born of respect, rhythm, dialogue, sensuality, strength and spirituality. Their sessions were entirely virtual — with session musicians that included Isaiah Sharkey, James Francies and Telemakus — but there's an earthy intimacy and presence to The Pleasure of Yours, and a timeless, unhurried vibe.

In a new FUV Q&A, Karriem and Liv.e unpack the many delights of The Pleasure Is Yours, their creative friendship, and they thoughtfully consider just what Black History Month means to them in 2026.

There is definitely a rhythmic-vocal dialogue between you and Liv.e on The Pleasure is Yours – for example, on songs such as "TGD"  and "Lead It Up." How do you build that conversation in the studio?

Karriem Riggins: I believe songs should change gears and have emotion shifts. I’m not interested in locking a track into one lane just because that’s the traditional structure. Life moves in waves, so I believe the music should too. What I love about Liv.e is that she doesn’t write in a conventional way. "TGD" is a perfect example because it showcases her MC skills as well. There’s cadence. There’s breath control. There’s rhythmic intention in the way she delivers. That inspires me as a drummer and producer. 

The album begins with "Who's Got a Problem with GENA" — what sparked that track and what you felt was essential to say by means of introduction?

KR: "Who’s Got a Problem With GENA" started organically. The music was already recorded. The groove existed first. The phrase came from singing ideas in the studio and playing with motifs until something locked and The track opens the album because it establishes presence right away.  

Karriem, you've worked extensively with J Dilla — and in a past interview, you've spoken about his knack for "spreading love." That seems to be important for GENA too — and how does that come through on the album?

KR: Working with J Dilla showed me that spreading love in music doesn’t always look the way people expect. Music can be competitive. People guard ideas. But Dilla moved differently. He brought me records to use. Shared things freely. Sometimes I’d later realize he used the same record himself. There was no ego attached. It wasn’t about possession. It was about creation. That generosity stayed with me.

That same openness exists with Liv.e. She shares her creativity with me without hesitation. There’s trust. Her voice is a gift to the world, and I’m grateful to have this art with her. God lives in this music. That’s the love running through this project. 

Liv.e, you and Karriem have seized on something really special on this debut album — in the studio, what were some of the discoveries you made in working on songs like "Circlesz" or "Howweflow" that really stood out for you, especially in the depth, adventure and resonance of your vocals? 

Liv.e: Well, Karriem and I weren’t in the studio together during the making of this album. The only time we actually convened in the studio was during the mixing process after everything was completed. My favorite discoveries were the fact that we have very similar ways we go about budding creations. I appreciate how much life Karriem’s production has in it, it sounds like it’s constantly breathing and that’s something I always search for in songs and also just in collaboration. 

Themes of respect and peace of mind come up concurrently in "TheybetterbegladIhavetherapy" — how do you maintain both in the music industry and on tour?

Liv.e: By minding my damn business and not letting anybody treat me outside of how I would treat myself. - 

What have you discovered about yourself over the recording of The Pleasure is Yours that's been a revelation in how you approach a song? 

Liv.e: I discovered that there’s still parts of me that need to be exercised. I will always love going outside the box and creating myself to be genre-less (although I will always consider myself a maker of Black-forward music, like the greats that came before me), but the revelation I got from the process of this album was definitely that it’s definitely great to keep learning the rules so that you know how, when, and where to break them.  

What meaning does Black History Month, as a designation or celebration, have for you, either in the past or present? What does it mean to you right now, especially in 2026?

KR: Black History Month means appreciation to me. It’s a time to acknowledge the impact and the contributions of our people across culture, music, business, and everyday life. But honestly, I try to celebrate that every day. Not just in February. Being Black is not a seasonal experience. The influence is in everything I do. The music I make. The drums I play. The collaborations I’m part of. That pride and awareness don’t switch on and off with the calendar. Right now in 2026, it just feels important to stay proud, stay aware, and keep creating. The month is a reminder. The celebration is ongoing. 

Liv.e: I’m in agreement with my g here! Sometimes I think Black History Month is more for others to remember who we are and what we contributed to this entire globe as Black people overall, of course, but most DEFINITELY as Black Americans.

Is there a particular charity or organization that is especially important to you and why?

KR: I don’t tie myself to just one organization publicly. What’s important to me is supporting spaces that nurture young artists, protect music education, and create access. A lot of us were shaped by programs, mentors, and environments that gave us room to explore. That kind of support changes lives. I care about initiatives that pour into the next generation. Especially programs that make instruments, studios, and creative education accessible to kids who might not otherwise have it. For me, it’s less about the spotlight on a specific charity and more about quietly contributing where it actually makes an impact.

Liv.e: Imma agree again here with Karriem, I think honestly my personal goal is to make charities for movements like so, especially young Black Americans and Black people abroad. I’m really about whatever takes us forward together.

Karriem Riggins and Liv.e of GENA
- February 2026