Here is Sean’s story.

I started playing guitar when Guitar Hero became too easy on expert mode, much like Post Malone. Guitar made me feel powerful and in control. I could play entire songs just by listening to them and breaking them down into specific parts with my ear. At URI, I was so busy; I didn’t have much time for music. When I moved back home after graduation, I rediscovered guitar, and started messing around with music production on the weekends.

I got a job offer in Atlanta and decided to take it. I was spending the weekend there, looking for a place to live, when I decided to stop by Lenox Square Mall—which I’d heard of in underground hip-hop songs. In Atlanta, the mall is like a Mecca—people pull up on the weekends in their nicest ’fits, with cash to spend. I strolled into the Adidas store and noticed a guy with a Goyard bag, just sitting there minding his own business. I thought, ‘That’s an expensive bag; this might be someone.’ In fact, it was hip-hop producer Leland Wayne, aka Metro Boomin. I didn’t say anything to him in the store, but I knew I had to make my mark. It was either seize this moment, or wonder in regret forever. I stalkishly timed my mall exit with his—to elude the crowd he was attracting and try to have a conversation. I called his name and he turned around. I blurted out something like, ‘Hey man! I’m a huge fan! Dirty Sprite 2 with Future is absolutely legendary. Mind if I get a picture?’

While we took the photo, I mentioned my songwriter/guitarist/producer aspirations and said he should hit me up if he wanted to spice up any of his instrumentals with live guitar samples. We exchanged info; I figured he gave me a fake number. Turns out he’s a legit, down-to-earth dude.

We started collaborating. He would invite me to studio sessions with other artists, but I could never really get a second with him to build a new song from scratch. Being in the studio with him and other famous artists was amazing—and stressful. Initially, I didn’t possess the confidence in my abilities, and worried too much about others’ opinions. But over the next two years, I perfected my craft and gained that confidence. I started consistently sending tracks to Metro. Then one night he hit me up for some guitar samples to inspire his session. My girlfriend was already asleep in our small studio apartment. I knew I had to stay up and get to work. It was go time. I might never have this opportunity again. So I put on my headphones, plugged in my guitar, and started playing a spooky loop in a minor key that occurred to me after listening to some ideas I had laid down with my best friend and primary collaborator, Matt—we operate under the moniker, “Hypothetical” on all streaming platforms (shameless plug).

I sent Metro the recording that night, and a few days later he responded with a fire emoji. A few days after that, he responded again, saying ‘I’m using that guitar for something.’

Fast forward a couple months, and he’s rolling out some cryptic promo for his No. 1 debuting album on the Billboard 200, “Not All Heroes Wear Capes.” He released the track listing on Halloween night and told me my guitar was on the last song, “No More.” I couldn’t believe it. I listen to the song now and I still have a hard time believing it. The hottest rappers in the game—Travis Scott, Kodak Black, and 21 Savage—are flowing over my guitar track.

If hockey taught me one thing, it’s this: Shoot your shot. You never know if the puck will go in. I have to thank Metro for the assist though. My dad always said, “Sometimes the assist is just as pretty as the goal.”

Sean O’Neil ’14