Vic Mensa shares what’s next after standout roles on “The Chi” and “Bel-Air”

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Vic Mensa truly embodies everything that it means to be a multi-hyphenate. Since starting in the industry toward the end of the blog era, the hungry genre-blending rap artist has progressively spread his talents across acting, modeling and other art forms. His persistence and ability to constantly reinvent himself have helped him become a success in many fields.

Once known for gritty lyrics and poignant songwriting, Mensa exponentially grew his fan base with standout performances in TV shows like Lena Waithe’s “The Chi” and Peacock’s “Bel-Air.” As a musician, he has received co-signs from A-list stars like JAY-Z, Beyoncé, BIA, Ty Dolla Sign and Ye. While the Chicago rapper gears up for his upcoming LP, which he describes as being influenced by African sounds from the ’60s and ’70s, Mensa is locked in more than ever.

During his sit-down conversation with Rap-Up, the “Liquor Locker” MC discussed the differences between his work as an actor and recording artist, how he has navigated the changes within the music industry and what inspired his forthcoming album.

Lately, you have been having many unforgettable moments and moving around a lot. How are you feeling right now?

I’m blessed and very grateful to be alive. I always try to root myself in gratitude, no matter what happens. Whether it’s going well, there’s always something to be grateful for.

Starring as Quentin, a successful venture capitalist debuting in Season 3 of “Bel-Air,” can you explain what, in that show, is special to you compared to your other roles?

You know “Bel-Air” came from a tape I sent in. Just that alone was like a milestone because I have been studying acting for a handful of years. I’ve done acting classes, private coaching, self-taped auditions and in-person ones. Anything that I have ever gotten before this one was relationship-based. They offered it to me because I knew them, but I have been doing auditions for a long time, and this is the first time I have been through an audition. That in itself is a milestone!

Beyond that, it’s just a great experience. All of the people that I worked alongside are super dope. There were many young, talented, multi-hyphenated artists in the cast. Everybody has music going, and some of them do theatre. It showed me that this is what the world is like now. All artists are true and no longer confined to one discipline or medium. They can do more than one thing in today’s creative landscape.

Do you believe it is easier for a musician to venture into other realms of entertainment, or is it easier for an actor to break into the music industry?

I think it’s probably a lot harder for your introduction to be acting and later [be] accepted into music.

Now that you have had a few successful roles, how do you believe your fans will receive your next project?

It’s interesting because everyone doesn’t realize the difference between television and reality. I have not considered how [my acting roles] would impact someone listening to or interpreting my music. I know people [who] have told me they discovered my music through TV.

The other day, I was at a restaurant in Paris with a friend, and a couple next to us celebrating a birthday mentioned how they loved my role on “The Chi” and discovered my music after seeing me in the show. That was ill to me; it was just a different window through which someone could enter my world. I don’t think it is a radically different process [since] I practice and study the craft. As a writer, that’s a massive part of me. When writing music essays or scripts, I am trying to see how many ways I can approach the subject I am talking about.

Currently, I am writing a song about a clown-esque topic. To determine how I would approach it — whether channeling Robin Williams or Tommy the Clown — I had to find various ways people view a painted face. Looking for all the different associations helped me tie them in later on. These are my first actual roles, so I am still trying to find ways to analyze them. I am taking the words I do have and bringing [in] my life experiences related to the role that I am in. It’s not so different from music. I feel like the better I get with this, [the better] I will be viewed as an actor the same way I am as a musician.

Can you talk to us about what you’re looking to achieve with your next musical offering?

I have been writing it for about a year. I’m just searching for new sounds. I have been concocting this new sound with African music inspiration — not just Afrobeats. I am drawing from some of the top artists from the ’60s and ’70s. I have been producing the music. Above all, I hope to convey something genuine, earnest and, most importantly, sincere, which is the Muslim name my aunt gave me.

I am telling stories about my family history in ways I have not touched on yet, detailing the inner workings of my mind and discussing money and fame in a context I have not had before. I am looking to be individualistic. I have told my friends I want this to sound like no one else could make it. My production is peculiar because I draw from different inspirations [and] always sounds different because I don’t want it to sound like it.

Your freestyles have always gotten attention online. Do you take a different approach to freestyling than to making a track?

It is different, and that is a piece that I hope is represented in the music. One thing about those is that a lot of the time, I write a bunch of different verses to land on the one that I want. Sometimes, I put them all together. For it to go crazy, it must be personal and super clever.

The punchlines always have to be poignant and well-executed, as a comedian would [do it]. They should make you laugh, be militant and political, and, lastly, ignorant and disrespectful. When I make albums, I ensure my comedy and self-reflection are correct and my punchlines land while the album comes together.

Who are the five people who inspire you that you would bring to your favorite food spot in Chicago?

I would love to have Waithe, André 3000 and my sister Aja Monet. I’m at three; maybe I would bring Sarkodie — the king of Ghana rap — and Jimi Hendrix. We would go to this Belizean Carribean restaurant called Garifuna Flava on West 63rd. It’s so hood. It’s straight food, no graphic design. It’s a huge menu filled with food from people familiar with their lineage living in Belize — some of the best oxtail I have ever had.

It is so good that my girl and I had to go to Belize to try it… But we met the people, and it was nice to explore their culture. We had to find them; we had to go on a canoe to get to them because they don’t communicate by phone. We spent time with them, and it was beautiful. The food was so good that we had to go to the source!