Do you remember your first-ever email handle? Probably made in middle school, and likely referencing a defining hobby, trait, or hyperfixation of the time. Mine, for one, was “elainaisamazinggg.” Kenneth Blume’s was “kennybeats.”

And that’s the lore of how Kenny Beats came to be.

To the surprise of many (and chagrin of others), the pioneering force in contemporary music production has dropped his infamous stage name and shifted to sophistication, now going by his government name, Kenneth Blume.

They are telling me my new tag needs to be “hold your horses Kenneth”

— kenneth blume (@kennybeats) November 24, 2025

A few music commentators and fans were quick to comment about how the name change marks a shift in focus for Kenny, specifically suspecting that it points to the producer distancing himself from hip-hop; Kenny (sorry, Kenneth – that will take some getting used to) was also quick to clap back, saying the baseless assumption couldn’t be further from the truth.

“Produced four rap songs in the last two weeks and people still writing think pieces about me distancing myself from hip hop because I go by my real name now,” he shared in a post on X – hence, me writing a think piece on how he’s not straying from the genre.

“I named myself Kenny Beats on MySpace at 15 years old … I would love y’all to go by ur email address from middle school in your mid-30s. I just want to use my real name now .. for all genres.”

That last part might be the most important. For all genres. Because let’s not forget, the producer’s expansive discography spans a lot more than just “hip-hop.” Sure, his continuing creative collaborations with rappers like Vince Staples, Danny Brown, Freddie Gibbs, and Denzel Curry will always remain cemented as some of his best work, but for Kenny, it’s always just been about making music. No matter the genre.

Also, fear not, though, another user on X inquired what we’re all thinking: do we have to call him Kenneth?

“Nooooo call me Kenny call me KB call me baby I don’t give a f*ck. Just put my last name in the credits !”

The Cave saw a slew of traditional “hip hop” artists slide through, of course, including the aforementioned modern-day rap greats, yet again, it also saw a myriad of more genre-traversing musicians also post up underneath the “Don’t Overthink Shit” neon light in the studio for recording sessions riddled with just as much creative synergy. Mac DeMarco‘s episode still remains a fan-favorite episode, while other non-hip-hop leaning guests include indie-pop princess Remi Wolf, more electronic-influenced Channel Tres, and post-punk group IDLES; other seasoned collaborators Benee and Toro y Moi also popped out.

I’m sayin https://t.co/0yGgOVd4xa

— kenneth blume (@kennybeats) November 24, 2025

Dominic Fike is another artist Kenny has built an enduring sonic partnership with, who, just like Kenny, I’d say, doesn’t really fit into any box of “genre.”

To this day, the versatile Cave commander has produced a major of two full albums for IDLES, a couple of tracks with shoegaze songstress Deb Never, FKA twigs‘ R&B masterclass, “holy terrain,” and a handful of Wolf’s singles, including recent standout Cinderella cut “Motorcycle.” He’s also worked closely with singer-songwriter trailblazers Dermot Kennedy and James Vincent McMorrow.

One of the two rap songs Kenny has produced in the past two weeks is one with another fan-favorite Cave guest and seasoned Kenny collaborator, Rico Nasty. The duo has been locked in ever since this first meeting in 2018, and just last Friday, they made their triumphant communal return  with “PEPPER.” Kenny produced the entirety of Rico’s 2019 Anger Management project, and it’s actually one of the few projects he’s fully co-credited on; the album is “officially” by both Rico and Kenny.

“PEPPER” comes complete with a classic Rico “Kennyyyy” at the opening, so if that’s not a sign that the producer isn’t straying from his roots, but merely expanding their reach, then I don’t know what is. The track falls right in line with the rest of Kenny’s busy year, which, as per usual, consisted of far more than just rap offerings. TiaCorine‘s “Ironic” marked a particular hip-hop high point, but his work on both Geese‘s debut album Getting Killed and on the Lurker movie soundtrack.

The only thing predictable about the producer is his quality control; his discography, on the other hand, has remained one of the most versatile and unpredictable in the sonic zeitgeist. Don’t overthink it.