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Rhyme Report

Published on July 9th, 2022 | by MuzikScribe


Paloma Ford Returns With “Bentley Truck” Official Music Video Unveil








This past week, R&B singer/songwriter Paloma Ford made her official return with the unveil of her sultry new music video “Bentley Truck.” Written and co-directed by herself and 36 Neex, the music video acts as the first release from the R&B sensation since the release of her acclaimed EP X Tapes (2020).

“Bentley Truck” finds Paloma Ford turning a new page from the mindset of heartbreak and loss—themes she eloquently displayed on X Tapes. Paloma sets the stage for an intoxicating new era that speaks from the perspective of a woman finding her voice and confidence after facing loss of any sort.


Each aspect of womanhood impacts and inspires.

As a singer, songwriter, designer, actress, and style icon, Paloma Ford exemplifies the feminine ideal from multiple angles. Her sultry and soulful delivery consistently captivates listeners on the microphone, tallying tens of millions of streams and views across critically acclaimed projects.

Amidst all of these separate sides, she describes herself best…

I’m just a mother and a girl from Los Angeles who has been through a lot of relatable experiences,” she states. “I’m very optimistic. I try to see the good in others. I love being able to help and heal people. I’m a private person, so I don’t show everything on my social media. In my music, you can recognize moments of sensuality and strength. It’s all part of being a woman. That’s the message. It’s important for me to talk about other situations I’ve been in that other women can relate to.

Her recently released, raved reviewed EP X TAPES (2020) magnifies those sentiments.

Born in Los Angeles, she initially embraced music after moving to the Midwest. Settling in Ohio with mom “as one of only four black families in the neighborhood,” Paloma’s dad regularly sent boxes of CDs from Southern California. In these packages, she discovered The Notorious B.I.G., Mobb Deep, The Isley Brothers, and more. Between countless viewings of Moonwalker, she often dressed up like Michael or Janet Jackson and eventually joined choir in high school. “I was an athlete and a low-key choir nerd at the same time,” she smiles.

As she built a following on YouTube via independent tracks “Dollars,” “Ménage à Trois,” and “Hit of You,” Meek Mill enlisted her for his 2014 single “I Don’t Know,” which rose fast on the Billboard R&B/Hip-Hop and Rap Charts. During 2017, she unveiled her Nearly Civilized EP powered by a series of standout singles: “W.E.T.” [2.8 million Spotify streams], “Hit Of You” [1.8 million Spotify streams], and “Jada” [1.7 Million Spotify streams]. She appeared alongside Fabolous and Davo on “Connection” from Tory Lanez‘s chart- topping Memories Don’t Die in 2018.

At the same time, she carefully assembled what would become her 2020 acclaimed, independent EP, X TAPES.

Nearly Civilized was a collection of my best songs from a long time period,” she states. “There wasn’t as much of a specific direction other than making an introduction to music with a body of work. For X TAPES, there was a specific mood. I tried to tell a story. There was a breakup, but I had other relationships, went through different situations, and came back full circle. I was able to complete the entire narrative. It’s not just about one person either; that’s why it’s called X TAPES.

X TAPES made its arrival in August of 2020 and garnered attention from LA Weekly, Flaunt Magazine, Notion Magazine, Revolt TV, HNHH and more. The emotive collection of songs were placed on receptive playlists across Spotify, Apple Music and Tidal. Described by L’Officiel as “one of the most exciting projects to listen to,” Paloma Ford can now rest assured that the world is hearing her message and the woman behind the sound. For the lead track of the project “All For Nothing” featuring Rick Ross, the single was highlighted by UPROXX as “the best R&B track released for the week” when the project premiered and “nothing short of dazzling” by Paper Magazine. X TAPES the reception is continuing to be met with praise. X TAPES is 100% feel-good R&B and has a smooth, sultry nostalgic sound and style to the make.

She teased out the project with the single “Rain.” Acclaimed by Complex, Rated R&B, and more, it opened up the world of X TAPES and highlighted her songwriting as she took the reins as sole writer over production from Jowan Sanders. “It’s a fun and playful record,” she says. “You see someone significant in your life. You clearly have this connection, but the tone switches to, ‘Stop fucking playing with me’. Musically, it represents progression. It’s the first song I completely wrote by myself, so I pushed my vocals and writing.

Elsewhere, “Chrome” drips into a skittering beat and hummable bass as her voice stretches from heavenly verses into a hook-y chorus. “It’s about me,” she confesses. “I’m very sweet. However, if you overstep a boundary, I will cut you off and move on. It’s a mood. I can be extreme, but a lot of women feel this way. There’s no reason to take any shit.” Everything climaxes during the finale “Heartbreak on the Westside.” The track’s West Coast bounce gives way to nimble rhymes and another entrancing refrain as she admits, “I’m fucked up over you,” before a ripping guitar solo.

“I’m a girl from L.A.,” she reasserts. “It’s important for me to show that in my music. I’m telling a story. You get your heartbroken, jump in the car, drive, and singing. It was definitely true.”

In the end, Paloma relates through these real moments.

I hope fans hear and see the growth,” she leaves off. “I want you to appreciate my artistry. I also want to let you know a little bit of the story. I figured out where I wanted to go with music, but also how to be a full-time mom. It’s every element of my life.

Meanwhile, her film and television credits include NETFLIX’s Never Heard and more. As a fashion-forward force, she has starred in campaigns for Tia Adeola, Tommy Jeans, Karl Kani and graced the pages of ELLE, Glamour, Wonderland, and Vogue Italia, to name a few.











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