My management is really into country music—they also manage Sturgill Simpson—and they introduced me to Morgan Wallen early on. His mullet was the main selling point. I was like, “Yes, cool. I’m down with the mullet guy.” He was kind of a renegade. I went to see him at his concert and we agreed to record together, but it took a while because even he was kind of scared of it. We were trying out this track with trap drums—I honestly didn’t think about it, it just felt like it had the right tempo—and it wound up being so controversial. That’s how Nashville works. The politics are unique. People don’t really want a Diplo song on country radio. They want to keep it the way it is and control the flow of the music, which is something we’ve been fighting for months. Eventually we decided to use that to our advantage. Morgan was like, “Okay, let’s do it. This’ll be my weird record.” And it became the biggest song we have. It’s like three times platinum now. It just keeps staying up there, finding a new audience.