Interview by: William Stolk
There aren’t many artists who can move between worlds with the ease of Dillon Cooper. Brooklyn-raised, action-sports-bred, and musically rooted in everything from boom-bap to jazz guitar, Cooper has carved out a lane that lives somewhere between a concert stage and a ski line, between the streets that shaped him and the mountains that inspire him. His recent live performance during Armada’s film premiere—where he rapped in real time over Sammy Carlson’s segment—felt less like a gimmick and more like the beginning of a new format. A reinvention. A collision of subcultures that, when you look at Cooper’s path, always felt inevitable.
Long before he was touring or releasing projects, Cooper was a kid attending open-air reggae shows with his parents and using skate videos as his unofficial music school. Those early influences built his sense of rhythm, storytelling, and crowd connection—skills that translate perfectly into the kinetic, visual, adrenaline-driven world of ski films.
Frank151 linked up with Cooper to talk Brooklyn roots, the marriage between hip-hop and freeski culture, rewriting what a film premiere can be, and why this crossover is only the beginning.
FRANK151: You’ve talked about growing up in Brooklyn and coming from a family steeped in music—how did that upbringing shape your vision for your live performances and for working outside just the studio?
DILLON COOPER: From as early as I can remember, I was going to live shows with my parents. Majority of them R&B and reggae shows with full bands—open-air events, big energy. So I’ve always had a very clear vision of what a live show experience is supposed to be. It set the bar high. A great show can shift someone’s whole energy. That stuck with me.
FRANK 151: Your live set during the Armada film premiere—where you rapped through Sammy Carlson’s segment—felt like a unique blend of ski culture and hip-hop. How did that idea first come about, and what were you trying to achieve?
DILLON COOPER: Me being part of the Armada family is how it started. Corey Stanton and I talked about it years ago, and it’s amazing to see it finally happen. Hip-hop and freeski culture have always been intertwined. I’ve done music for film parts—Phil Casabon and Henrik for Be Inspired, Henrik’s X Games Real Ski, Tanner Hall’s In The Meantime. Sammy and I have talked forever about doing something. The timing was finally right.
I grew up skating and snowboarding, and the music is what drives a section home. So my goal was to add a layer onto Sammy’s riding and help build the story around the visuals.
FRANK 151: Working with a ski-film crew is unusual for a hip-hop artist. What pulled you into that space, and how did you adjust your creative process?
DILLON COOPER: Honestly, for me it’s the opposite of unusual. This is where I’m the most comfortable. I developed my taste in music and style from skate videos. That’s how I discovered the sounds that shaped me. Music gets riders into a zone—that rhythm and flow is the universal language.
I didn’t really have to adapt. Whenever I make music, I make it so you can ride to it. Every single song. That’s part of my creative process.
FRANK 151: Your sound blends boom-bap, jazz, guitars, and modern production. How did you translate that palette into the kinetic world of ski-film premieres and live segments?
DILLON COOPER: It’s all about rhythm, flow, and style. When I do a live action segment or something for visuals, I try to capture the movement of the athlete—matching that in my flow and the production.
FRANK 151: The Armada film has been described as reinventing the ski-movie format. How do you see your role in that reinvention?
DILLON COOPER: I see myself as a leader in that. I knew since I was a kid that I’d work in entertainment or action sports. I just had to find my lane. This is something I’ve been working toward, so I’m ready to bring new ideas to the table but also revisit things that have worked and maybe been forgotten.
FRANK 151: When you performed during the premiere, did you treat it like a rap show or more like scoring a film moment?
DILLON COOPER: When I rapped during Sammy’s part, it felt more like a supper-club vibe—smooth and classy with the live band.
But hosting the night? I kept thinking, “What would Sal do?” I’ve looked up to Sal Masekela since I was a kid watching X Games. His hosting style is elite. So I used what I learned from him and built on it.
FRANK 151: Collaboration usually means compromise. How did you maintain your artistic identity when working across music, skiing, and film?
DILLON COOPER: You’ve got to know when to be a role player. Everyone has a job in making something successful. With the music, I’m just trying to amplify the emotion in the visuals.
And I’m intentional with the brands and projects I choose, so I don’t have to worry about compromising my artistic integrity.
FRANK 151: Looking at your career—from your early mixtapes to these ski-film crossovers—what does this say about where you see hip-hop going in non-traditional spaces?
DILLON COOPER: Hip-hop is the blueprint for the cool factor. You can’t go anywhere without seeing its influence. Every major fashion house has touched it. It’s just the norm now.
FRANK 151: For fans who might know you from skiing or action sports but not your full music catalog, what do you hope they take away from seeing you perform this way?
DILLON COOPER: I hope it makes them want to look me up and follow the journey.
FRANK 151: After the Armada project and these film-event performances, what’s next? More crossover projects or a return to pure music?
DILLON COOPER: The goal is to host/commentate at X Games, do documentary voice-over work, and interviews. I’d also love to tour with the band again and make more original music with them.