PS: So what do you think of the Australian talent?
KR: Honestly, it threw me. Completely threw me. I didn’t want to come in with any expectations — at the end it’s just important to just allow yourself to have an experience and that's exactly what's happened. So when I came in, the first day I remember I was like, "It’s dope, it’s dope, it’s cool," and the second day I’m like, "What the heck just happened?" The third day, I called friends back home and was like, "Have y’all looked or scouted for talent down here?" and they’re asking me, like, "Why would you say that?" I’m like, "Because y’all are missing some major people!" That’s how I feel, honestly. I feel like there’s some really great talent down here and I feel like it’s necessary — it’s worth seeing in other parts of the world.
PS: It’s quite rare for Australia to break through and get to that next level internationally.
KR: Well I mean, labels just have to spend the money. They need to spend the money because, I must admit, I came from an era where Sony — I was signed with Columbia Records and it was under the Sony umbrella — they spent so much money making sure that DC [Destiny's Child] was in Asia, Europe, here [Australia]. Everywhere we spent that great amount of time, we broke it, and that's the reason we’re able to still sit here today and have a conversation. I broke here in this territory and had number one records in this territory — it’s freakin' amazing. So yeah, they’ve just got to spend the money to break them. Break the ice!