Myles Lloyd On Touring With JUNNY and Rebuilding “Drive Me Crazy”
Myles Lloyd makes romantic, restless R&B that moves like pop, which is exactly why his breakout hit “Drive Me Crazy” did not stay contained to one scene or one country. The Montreal-based artist watched the song take on a life of its own in South Korea, where it climbed onto the country’s Top 200, pulled in 25 million streams, and even earned a co-sign from ENHYPEN. That kind of reach does not happen by accident, and Lloyd’s response has been to treat it like a conversation worth continuing.
Out February 20, “DMC” picks up that thread with a K-pop-leaning rebuild of “Drive Me Crazy,” bringing in GEMINI, Karencici, and JUNNY. The goal is not to dress the original up, but to reshape it with the kind of forward motion K-pop does best while keeping the part that made the song hit in the first place. You can hear Lloyd’s love of both eras and new discovery in the choices: tight pop structure, nostalgic touches, smooth falsetto melodies, and an emotional pull that never gets cleaned out of the mix.
That collaboration also has a real-world footprint. Lloyd is on the road with JUNNY for the Canadian dates of the tour, so the link between them exists beyond a feature line on a tracklist. It’s music being tested in rooms, night after night, the way it is meant to be.
Though at 27, Lloyd has been steadily building toward moments like this through projects such as Goodbye (2019), Forever, Yours (2022), and WHAT MORE CAN I SAY? (2024), then closing out last year with I’m Still Thinking, a 13-track album that leaned into his most reflective writing yet. Now, he’s sitting down with Stardust to break down his exciting new collaboration while reflecting on his journey so far.
“Drive Me Crazy” finding an audience in South Korea must have been an exciting moment. Based on the responses you’ve gotten so far, what do you think people connected to first?
Myles Lloyd: Honestly, I think people connected to the emotion first. Even before the language or the production details, the feeling translates. “Drive Me Crazy” sits in that space of longing and tension. It's the push and pull of emotion that I think is a universal feeling. The response I’ve seen from South Korea feels so genuine. It’s not just ‘this sounds cool,’ it’s ‘this feels familiar.’ That’s been really powerful to witness.
When did “DMC” go from a fun idea to something you felt you had to execute?
Myles Lloyd: I felt like my purpose was to show love where love has been shown to me. I’m big on respect, and it felt so right. At first, it was just a creative spark, playing with influences I’ve always loved. But once the concept started to feel cohesive and I could hear the world around it, I knew I had to commit. It had to happen NOW.
What was the one non-negotiable from the original that you refused to lose in the reimagining?
Myles Lloyd: I just didn’t want to lose that slightly chaotic, lovesick urgency that the song has, but that was pretty self-explanatory. They all did amazing.
How did the collab come together with GEMINI, Karencici, and JUNNY, and what did each of them bring to the song?
Myles Lloyd: The collaboration was very organic. I’ve always respected what each of them does individually. GEMINI brought a certain smoothness and restraint. He has this way of making vulnerability feel effortless. Karencici is so cool, and she added an even more fun bounce to the song that I didn't know it needed. I love her attitude and confidence. JUNNY brought melodic instinct and emotional clarity to the song. He understands how to sit in a song and elevate it without overpowering it. The collaboration didn’t feel forced. It felt like everyone understood the assignment but still brought their own color.
You mentioned revisiting older K-pop favorites and discovering newer artists. What songs or eras were in your head while shaping “DMC”?
Myles Lloyd: I listen to K-pop music all the time, but there was a time when I naturally stopped listening. The love for this record made me scroll through my old playlist and get back into that mode. As I was doing that, I discovered JUNNY, Karencici, and Gemini.
Coming off a 13-track album, what did making I’m Still Thinking teach you that you’re applying now?
Myles Lloyd: Making I’m Still Thinking taught me patience and trust. When you’re building a 13-track body of work, you learn that not every idea needs to be rushed. You learn pacing, sequencing, and intention. I’m just a little more selective now and focus on building worlds around the music.
Does “DMC” open the door to more cross-scene collaborations, or is this one a specific response to this moment?
Myles Lloyd: It definitely opens the door. I don’t see it as a one-off. I think we’re in a time where scenes and genres are blending naturally. Not as trends but as conversations. If it feels authentic and there’s mutual respect, then I'm down for it. I’m not collaborating just to collaborate; it has to make sense musically and emotionally.
