Black Violin has built a career – and a legacy – by breaking down cultural barriers, stereotypes and expectations. The duo of classically trained musicians, Wil Baptiste (viola) and Kev Marcus (violin), began collaborating in college after discovering a shared appreciation for hip hop and other popular genres of music. They’ve consistently pushed the boundaries of what a “classical musician” should look or sound like, and they bridge cultural gaps to connect people through music who might not otherwise find one another.

Perhaps most importantly, they work intentionally to inspire youth to push their own boundaries, strive to be individuals, and to persistently challenge beliefs that hold them back from finding their own version of success.

We had the privilege to speak with Kev Marcus about the pair’s creative process and inspiration, and found our own inspiration in return.

How do you balance your creative process between classical technique and a fresh sound for diverse audiences?  
Our creative process stems from our obsession with creating art that is new and fresh, all while maintaining a familiar feeling and energy that the listener can relate to. The fusion of genres works best if the listener can identify the fused elements and therefore appreciate the final fusion.

Do you have any musical influences or mentors that might surprise your audiences? 
We have a wide range of influences spanning many genres and time periods. Classical influences are Bach, Beethoven, Debussy, Brahms, Mendelssohn, Vivaldi. Jazz influences include Miles Davis, Dizzy Gillespie, Stuff Smith, Duke Ellington and the whole Harlem Renaissance. More modern artists would be Jay-Z, Kendrick Lamar, Dr. Dre, Pharrell Williams, Timbaland and other champions of modern-day rap. Surprise influences would be our folk and funk influences: Mumford and Sons, Joe Pass, Victor Wooten, Parliament Funkadelic, Earth, Wind, & Fire. Artists like these, fill in the gaps and make music worth listening to.

If you could collaborate with anyone (living or not), who would it be? 
I truly believe it is likely that Bob Marley never published a song that he didn’t approve every word and every chord. An artist can only dream of such freedom. I would love to have sat with Bob and his guitar and pressed record. Stevie Wonder is another icon we would love to work with. We met him briefly at President Obama’s inauguration and he has an aura about him that’s legendary.

You’ve been known to say, “inspiration can come from anywhere.” What other art forms, genres, experiences or cultural elements regularly inspire your creative process? 
Lately, my inspiration has come from silence, deep meditation and breath work. Like I said, it can come from anywhere, and I have been working on finding the inspiration deep within myself on a daily basis. Every morning I start with a workout and a 5-10 minute meditation, with the intention of finding today’s inspiration.

Could you share a story or moment from one of your performances where you felt the most connected with the audience, or a show that particularly stood out for you? 
We performed a show in our hometown of Fort Lauderdale, FL in Nov. 2024, and it was the most present I had been on stage in a long time. Wil and I were born on that stage over 20 years ago – it was our home stage for our high school performances. This show was special, and it felt like we had come full circle in front of everyone who helped us build our 20-year career.

You two have clearly built a strong partnership over the years. That probably comes with both challenge and reward. What’s something you’ve learned about collaboration that has helped you both grow as artists and individuals? 
Our relationship is perhaps the most important aspect of Black Violin. Without a strong bond between the two of us, we would never have been able to reach these heights. I think we are successful because we both accept each other for who we are and try to allow the other artist to be their most authentic self at all times. It can be hard sometimes because one person’s energy can impede the other, but over the years, we have learned to give each other the space, time and grace to be 100% ourselves, especially when it comes to creative decisions for Black Violin.

Wil has said that Black Violin is “a movement.” What is that movement, and what kind of message or feeling do you hope people take away from a performance? 
Black Violin has always been bigger than Kev or Wil. It’s even bigger than the violin. This movement is a demonstration to any other artist that wants to do something different. Find the thing you love to do. Find a slightly different way to present it to the world. Do that thing over and over and over, and then over again. And one day you will wake up and find that you have added something to the world, created your own path, and best of all, you love every second of it.

What advice would you give to young musicians or aspiring artists who look up to what Black Violin has accomplished? What about those in urban communities, like Flint, who might think those goals are out of reach? 
Don’t be Kev or Wil. Don’t be Black Violin. You can only be you. That’s what we want to see. The truest version of yourself and your art. If people don’t understand your art, it doesn’t mean you are on the wrong track. It just means you have to find a clearer way to explain it to them. If they say they have never seen/heard anything like this? You’re onto something. Why would you want to do something that people have seen a million times before? Stay the course, and don’t take “no” for an answer. Be a champion of your art at all times. If you don’t stand up for your art, who else will?