A year ago, Mustard stood at the epicenter of a pop culture maelstrom.
The producer, 33, backed Kendrick Lamar at the Super Bowl LIX Halftime Show, where his irresistible beats — particularly on “Not Like Us,” Lamar’s anti-Drake diss track megahit (to the tune of 1.8 billion Spotify streams) — became the head-bobbing soundtrack for the entire planet.
The lowkey DJ with the bright yellow nickname is still riding the wave. Mustard added another Grammy to his collection on Sunday, his sixth, winning best rap song for “TV Off,” another infectious Lamar collaboration.
He toasted the win on Grammy weekend with Patrón, one of several brands that have hopped on the Mustard bandwagon. (Another, not surprisingly, is Heinz Mustard). Mustard feted the tequila brand by creating an entire song out of the sound of a bottle uncorking.
But The Hollywood Reporter managed to pull him away from the Grammy-week chaos long to enough to talk about where his name and tag came from, how he approaches about performance and preparation, and why trusting your ear still matters more than chasing trends.
Hey, Mustard! How did you come up with your signature tag, “Mustard on the Beat, hoe!”
That tag really came from YG. He said it first on “I’m Good” back in the early days, and it just stuck —because my sound was really becoming the sound of that time. Once people started recognizing it, I treated it basically like a signature on a painting. You hear it and you already know what time it is.
A year ago you were playing to the largest audience on the planet at the Super Bowl. What was that like? What would we be surprised to know about how that performance came together?
It was insane. That’s the biggest stage there is — millions of people watching, everybody judging, everybody excited and ready to talk about it afterwards. What would surprise people is how precise it is, that it’s not just “go out there and vibe.” It’s timing, cues, transitions, camera, pyro, stage marks, a lot of rehearsals. Everything’s got to hit perfect or it looks sloppy on TV. And when it’s live, there’s no “run it back” or “let’s try again.” Really, you just can’t overthink it. You just have to prepare and lock in and execute like any other performance.
How do you find your beats? What’s the secret to their catchiness and massive streaming success and cultural domination?
I find beats by hearing specific sounds and getting inspired by that. Sometime I’ll have some of my friends send me some sample chops and I can start the idea from there. I try to trust my instincts and I don’t chase what’s “catchy.” I’m thinking pocket, bounce, space — and the right melody that makes your head move without you even realizing it. Producing is a real craft. Every sound has got to have a purpose. That’s why I had fun with the Patron Signature Cork Pop idea, because it was a real creative challenge. Taking one sound and building a whole rhythm world from it — that’s the same muscle I use in the studio.
Who are some of your favorite artists to just listen to — even ones we might be surprised to know Mustard loves?
I try to listen to everything, but right now I’m really locked on Ella Mai. Her new album is on the way this Friday!
What are some of the rock star trappings you can’t resist?
I’m not really into the over-the-top rock star stuff. I’d rather splurge on dope moments or experiences, not just random things. Well, I can’t lie. I’m still going to put that shit on, whether it’s clothes, jewelry or whatever, but I’m not going to do anything too extra. As I grow, family, music and peace is what I’m on.
You just won a Grammy for “TV Off” with Kendrick Lamar. Do you have a specific memory from the recording session that brings a smile to your face?
Me and Kendrick had been going back and forth, just me sending him beats and ideas. “TV Off” is actually a combination of two different beats that I had sent him. Kendrick took that and did what he did with it. Obviously the first time I heard him yell “MUSTAAAAARD!!!” was pretty cool. That record ended up winning Best Rap Song at the 2026 Grammys, so, yeah, that moment is stamped forever.
Where do you keep your Grammys?
I keep them in my office at the crib. I like that my kids can see them, too, because I want them to understand it’s not just about fame or whatever, that this comes from hard work. It’s a reminder that being consistent can change your life.
I love your name. What’s the origin of that? I assume it has to do with your real name being Dijon? Tell me the whole Mustard story.
Yeah, my real name is Dijon, so “Mustard” was always right there. It started as a nickname, then it turned into a sound people could recognize in two seconds. Over time it turned into a brand.
The “Mustard story” is really an LA story. I came up DJ’ing parties with my uncle DJ Tee, who was DJ’ing, throwing parties, moving around the city. I was around all that early — seeing how music controls energy, how it brings people together. That’s what pulled me in.
Then I started DJ’ing myself from backyard parties to clubs. I was studying and had a good feel for what music people gravitated to before I ever touched production. When I moved into making beats, I just carried that same instinct with me and the rest is history. Literally.
Patrón and you are teaming up for a song based on the sound of a Patrón bottle uncorking. What are some other unconventional sounds you’ve used in songs?
I’ve always been the type to hear music in everyday sounds. Before this Patrón project, I was already building beats off things people don’t usually think of as “instruments” — like little percussive moments or textures, stuff like that.
With Patrón, what made it special was committing fully to the idea of building the beat using the cork pop. Sometimes it’s not about adding more — it’s about listening closer, because even the smallest sound, if you hear it the right way, can turn into the whole record.
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