Zock Solid: The Bold Vision of Sista Zock and Her Genre-Defying Sound

Pittsburgh’s Sista Zock Redefines the Power of Performance.

Sista Zock, a dynamic artist from Pittsburgh, is known for blending jazz, spoken word, and hip-hop in a way that feels both rooted in tradition and forward-thinking. Her debut album, *Zock Solid*, is a bold fusion of genres, weaving together powerful storytelling with infectious rhythms. Sista Zock doesn’t just perform—she captivates, using her music to explore themes of self-empowerment, spirituality, and social justice, creating an experience that’s as thought-provoking as it is entertaining.

What makes Sista Zock truly stand out is her ability to transform the stage into a space of connection and reflection. Whether through her evocative spoken word pieces or her smooth jazz-inflected melodies, she invites listeners to join her on a journey of self-discovery and healing. Her performances often blur the line between music and activism, using art as a vehicle for personal and societal change, always staying true to her roots while pushing creative boundaries.

In our conversation, Sista Zock opened up about her artistic influences, the intersection of her musical and activist work, and how she views her role as an artist in today’s cultural landscape. She describes her art as a “spiritual practice,” a way to connect deeply with herself and the world around her, while also inspiring others to find their voice. With her unique blend of artistry and passion, Sista Zock continues to break new ground, making her one to watch in the evolving world of music and performance.

Read the full interview here!

Where is home?

Home is where I find freedom of expression. I grew up in an artistic haven having the same theatre teacher as Denzel Washington, we lived amongst Debbie Allen and Phylicia Rashard, Al b Sure, Heavy D all lived within houses from each other. I grew up a Hip Hop kid whether I wanted it or not, it was a wave and a way of life. The innovation of 1988 hip hop was powerful and spoke for the most part to elevating up as a culture. Brand Nubians, Boys 2 Men (R&B) Tribe Called Quest, and other groups spoke to knowing your history and cultivating your culture. Songs were made to uplift and give advice on how one should navigate the American terrain. I looked up to Brand Nubian, and my godbrother was DJ Alamo. I have spent half my youth in Knoxville and matured there. I learned some hard life lessons that have colored me and shaped me into who I am today. I feel like home is in the hills of Tennessee and also Harlem and Mount Vernon. That’s my triangle. Tennessee is special because I had to figure life out alone. I feel like a seed that got fertilized in Tennessee and was planted in Harlem.

What was the defining moment you realized you wanted to do music?

That’s a loaded question. Since I enjoyed the theatre so much working with the African American Appalachian Arts, The Carpetbag Theatre, and being a radio host at 1340 WJGN, creating seemed to be the next step.

As a youngster, I always made up songs in my head to express how I was feeling and create chants for the Razorback cheerleading team. I loved creating. I used to make up jingles and put them on my DAD’s answering machine, and people would think they got the wrong number. I grew up during the best hip-hop era in 1988. After college, I was making my way from Tennessee back to NYC, and crippled by “culture shock,” “again” I was back, knee-deep in the culture. I followed fellow Carpetbag artist Paula Larke, who recently moved from Tennessee to NYC. Paula had a gig at ST. NICK’S Pub. The owner asked me to watch the bar, and the rest was at HerStory. There, I was immersed in music, vibrant characters, and Harlem cultural artists.
Imagine being surrounded by artists who resonated deeply with their roots, like musician extraordinaire OLU DARA (Rapper Nas’s Father) from Mississippi. OLU went to Tennessee State University and dated Wilma Rudolph; he was a great mentor and a constant reminder that this job should be a stepping stone. I would get called by the Sunday night performer TC the 3rd, who saw me reciting lyrics in my head as he performed, to come to the stage, and I would freestyle to jazz standards. OLU soon introduced me to singer Lady Cantrese, who I had always admired; she was a little older but still, the youngest singer I had seen in the bar. I dreamed of working with her; her mom was former ST NICKS curator and promoter Berta Indeed. She made a group out of us called “POETRY AND SONG” I would write poetry to go along with jazz standards Lady Cantrese sang, and soon I could see the lyrics and poetry could take shape and form on its own.

What has it been like to be a part of Hip Hop Appalachia?

I feel that the Southern Northern blend makes me relatable. For my senior project at UT, I did a fundraiser talent show for a newly acquainted theatre company (I thought about working for), the TENNESSE THEATRE, called the “POSITIVE HIP-HOP DEMONSTRATION”, aka PHD. If I’m not mistaken, it was the first hip-hop show there, and I met Ashley Capp, whro is now over at the Big Ears Festival. That open call for talent caused a galvanization of groups and artists, I met so many amazing talented souls and was introduced to a scene that was a soon-to-be platform for the KUUMBA fest, which I have volunteered in producing since 1999. I was just doing what we did in NYC, and we held talent shows and sold tickets. I thought looking at it from a “ POSITIVE” lens would be interesting and elevating. Arts was such a form of expression for me growing up, and I needed it(an outlet) after hurting my knee at UT. I worked at The Carpetbag Theatre, a hub of my innovation. I created Antigua there and finished the 3rd verse in NYC. It’s interesting because the connections I forged in Tennessee allow me to be ubiquitous in two spaces. For instance, let’s take Kenneth Brown, whose brother and sister were in the talent show and now plays with me when I come to town. There is a network aligned with the mountains that I am looking to build upon.

How has the music scene in Appalachia impacted your style as an artist?

Although I was in a pop band as a preteen, I joined a band from the talent show network I built; I performed and wrote verses with a local artist who was above and beyond what I ever dreamed of in regards to flow style, and also their ability to make beats. And also the interracial element. OTR had Josh Hayes aka John Brown named after the abolitionist, Orlando of African American descent, and Caucasian brother King Resin. Resin was an amazing soul with an ethereal writing style I have always admired. He passed tragically at 23 not too long after we met. I recorded interludes and danced for rapper 5 Foot Giant. His lyrics were in me as I was choreographing for him.

I was doing “The Most” in Knoxville, throwing parties and recording our commercials in the studio, I soon became a radio personality and got my name SISTA ZOCK. I felt idle, but there was a lot of possibility in Tennessee. See, I was comparing it to NYC and needed, like I said, an outlet, so I enjoyed the natural freedom. I performed a poem with Kenny Springs singer, musician, and a songwriter, whom I met through Love United Gospel Choir at UT. He was having a Valentine’s Day show and asked if I would like to perform a poem to music. I was surprised, nervous, and honored. This feeling contoured my feelings of being “stuck in Knoxville, placing me in an innovative growth space. I was in a beyond toxic relationship and always kept my pad and pen near to write my way out… it took some time, but I realized what is put to paper is a blueprint of your soul channeling my future self. I saw the cathartic power of writing. Well, I see it even more now (years later ). It was not a walk in the park for me in Tennessee with college, injury, relationships, and culture shock. I see now that, in returning, Knoxville was like a warm bath; there was space, room, and time to think, but I wanted to fill up the dead air. At Carpetbag, I was first introduced to APPALSHOP I think the project was called Hollar from the Hills or the Hood. Well, it was a bunch of Jay-Z beats played with a fiddle. I never heard anything like that before, and I was also introduced to musician LOUIE BLUIE through Carpetbag and exposed to back mountain sounds that smelled like fresh foliage. I was a stranger to the mountains and was so in love with the landscape.

Music is all about expression. What do you like to express in your work?

I enjoy educating for the sake of healing, which speaks to oneness through my music, peace, and liberation. I like music that challenges people to explore positive ways of being through examples of transitional stories of my journey. I enjoy paying tribute and honoring individuals in my shows. I honored Yusef Salam of the Exonerated 5, drawing awareness to his circumstance, activism, and community involvement. Use your platform to celebrate others, and that’s fulfilling for me and making connections and building community.

Who are some Hip Hop pioneers that have inspired you to create? How have they influenced you as an artist?

Lauryn Hill, I fell in love with the FUGEES because of her. I remember going to SEC championships and listening to her spit that FIYAH I did not want to run anymore it was not fulfilling. Her grit-is-in-your-face strength was so pure and authentic that she was the epitome of self-love. She could relate to yPaoung black women; she was fiery and embraced by two of her homies. I loved the energy she brought with that album. Old Dirty Bastard ODB of WU-TANG he was just different. You know, I have always felt like an odd sista out, and he had his unique sound that spoke to me just finding my voice comfortably. Bilal and Erykah, now we brought them to the KUUMBA FEST; I continue to help curate that festival and would MC the Main Stage Acts. I have met more recording artists in TENNESSEE than in NYC, and have been able to work with them closely and share the same stage was lovely. Jill Scott and India.Arie, although not hip-hop, was embraced and a staple in the community. NAS’s Missy Eliot, for sure. I remember naming our Carpetbags Youth Theatre Festival “I Know I Can” which made meeting and being mentored by his father even more special.

What’s something people would be surprised to learn about you?

I worked with PAT SUMMIT, unsure if I have disclosed that before. Lady Vols look out for each other, which is such a great element of UT love. I ran track for the University of Tennessee. Or I am a wellness professional on the college level and a personal trainer.

The Fox Magazine is all about inspiration, what/who inspires you the most?

The power of rootedness inspires me to have someone raise their consciousness or just the ability to as Nina Simone says “make them curious or persuade them…” speaking to learning about your roots to achieve autonomy and individuality. I have always found the South intriguing, and the inability to deconstruct its complexities just piques my interest. Seeing how southern souls navigate the NYC Terrain and vice versa, with the societal obstacles. Nina Simone was seeking to move to NYC and perform at Carnegie Hall.

She was seeking fame, which society pushes, which to me comes with hierarchy when I know we all are GALATIC beings. That was her only dream until she found purpose and a reason for being, and she got rooted in the Civil Rights struggle for her liberation and the liberation of others through her lyrics, which was her activism. I met her percussionist at that bar in NYC (St. Nicks’ Pub). We play together now, and we have a show on September 14th at Mintons Playhouse. for his 85th birthday.

Elders and innovation inspire me, which speaks to the desire to do better, creativity, and create a culture that can give you sustenance, worth, and belonging. Also, the liminal dance I do with Jazz music and spoken word, song poetry, and rap, the non-conforming energy speaks to what I picked up living and dealing with TENNESSEE for over half my lifespan and trying to be well received in a Harlem Jazz Club. Olu wrote a song called Harlem Country Girl; I love that blended energy of NORTH and SOUTH. Nina said a true artist must reflect the time, which is synonymous with being with the people not above but shoulder to shoulder. I draw inspiration from elders and the youth. Their wisdom and innocence stimulate me.

 

What motto, quote, or words to live by do you use to stay motivated when you aren’t feeling inspired?

In the face of unfavorable circumstances, “How can I make this a teachable moment?” “Not why is this happening to me, but why is this happening for me.” These are two things my dad often says. I think I get my wordsmith energy from him and his sayings. Also, one of my song titles, something my dad and probably mom used to say often, is, “YOU SHOULD KNOW THAT.” I come from a family of educators. All these phrases have energy behind them, of doing good or wanting to increase the current vibration towards authenticity. Authenticity vibrates higher than love. You need love to be authentic, and it’s not fleeting but the bricks of your soul.

Can you tell us about any potential releases/projects you may have coming up?

I have an Album coming out in 2025; the track LOVE will also be on that project; we recorded many of the songs during the pandemic, and on Sept 14, we are celebrating Leopoldo Fleming’s birthday at Mintons Playhouse with “For the Lov of Nina” a tribute to Nina Simone. Leo is the keeper of the stories and the only one to sit at his feet and absorb the resilience, love, and freedom Nina displayed through her compositions. I am always looking to collaborate with artists along the trails of Appalachia.

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